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STRATEGIES FOR STRING AUDITIONS Tomás Cotik

SUSTAINING YOUR TEACHER VOICE Brittney Redler

MANAGING CLASSROOM BEHAVIOR MUSIC EDUCATOR Fall 2026

Mari Schay

CURRICULUM FOR ADVANCED LEARNERS Robert G. Hendrickson

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TABLE OF CONTENTS

Volume LXXX #1 Fall 2026

7 From The Executive Director...

44 Mariachi - How and Why You Should Start One

10 Cole’s Top Four OMEA Resources: Places to Start

47 Sustaining Your Teacher Voice: Maintaining Vocal

JJ Sutton

Cole Haole-Valenzuela

12 Meeting in the Middle: Six (Or Seven) Habits to Consider for the Middle School Choir Teacher Kent Wilson

Valérie Gollmann

Health

Brittney Redler

51 Elementary School Music Column Kelly Archer

15 Beyond the Ensemble: Building Collaborative, Student-Centered Music Programs Hannah Abercrombie

53 How do we teach lifelong learning in music education? (Or do we?) Jason Rodgers

18 Doing the Good Work, Together! Erika Lockwood

20 A Preview of the 2027 OMEA Conference Elizabeth Soper

21 Justification Guide for Attending the OMEA Conference

56 Practical Applications for the Less Jazz-Focused Band Director Lars Campbell

58 Lessons from Dolly: Rurality, Community, and Education

Melissa Jmaeff

60 Managing Classroom Behavior Starts with Managing

23 All-State Chair Update

Our Own Behavior

Kristi Stingle

27 Making the Workforce Case for Music Education: Arts Ed & Durable Skills

Mari Schay

62 How Do We Get Kids Interested in Music? An Answer to Rural Educators

Laura Arthur

30 Strength in Numbers: A Starting Point for Data Collection for your Program Stephen Marshall

32 A Four-Part Series on Equitable Practices Dr. Roque Diaz

35 Tuning the Human Instrument: Balancing Director and Program Health Frank Petrik

36 Changes to the OSAA Qualifying and State Choir EventsFor the 2026-2027 School Year

Iris Erickson

64 Oregon Music Hall of Fame Awards Scholarships J. Michael Kearsey

66 Differentiating Curriculum for Advanced Music Learners

Robert G. Hendrickson

70 Excellence Says You Matter: What Ensemble Leadership Really Communicates Bill Humbert

73 OMEA District News & Celebrations

Kathy Briggs

39 Successful Strategies for Learning String Audition Excerpts Tomás Cotik

OMEA JOURNAL EDITORS

Dianne Nelson

Talmadge Middle School

Kendra Taylor

Western Oregon University

Olivia Salzman-Coon University of Wisconsin at La Crosse

Steve Kessler

North Medford High School

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

OREGON STATE UNIVERSITY

Music 2027–28 Scholarships and Admissions Auditions FEBRUARY 27 & 28, 2027

Learn More and Apply: beav.es/music-apply

Degrees and Study Areas BACHELOR OF MUSIC: Instrumental Performance • Vocal Performance, Pedagogy and Literature • Music Education • Piano Performance • Piano Performance and Pedagogy

BACHELOR OF ARTS/SCIENCE: Music • Music Technology and Production Contemporary Music Industry (Ecampus online)

MINORS: Music Performance • Music Studies • Contemporary Music • Guitar College of Liberal Arts SCHOOL OF VISUAL, PERFORMING, AND DESIGN ARTS beav.es/svpda For information in an alternative format, email music@oregonstate.edu

CREATING CREATING BRIGHTER BRIGHTER FUTURES FUTURES ONE DRINK ONE DRINK AT AT A A TIME TIME

MUSIC MAKERS EXECUTIVE BOARD OMEA President Cole Haole-Valenzuela West Salem High School Cole@oregonmea.org OMEA 1st Vice President Kent Wilson Whitford Middle School Kent@oregonmea.org OMEA 2nd Vice President Hannah Abercrombie McKay High School 2ndvp@oregonmea.org OMEA Past-President Erika Lockwood David Douglas High School Erika@oregonmea.org OMEA Conference Chair Elizabeth Soper South Medford High School conferencechair@oregonmea.org OMEA All-State Chair Kristi Stingle Lakeridge High School allstatechair@oregonmea.org OMEA Public Policy Chair Laura Arthur publicpolicy@oregonmea.org OMEA Treasurer Todd Zimbelman West Salem High School treasurer@oregonmea.org OMEA Executive Director JJ Sutton executivedirector@oregonmea. org

AREA CHAIRS Advocacy Chair Stephen Marshall Music & Arts advocacy@oregonmea.org Diversity, Equity, and Inclusion Chair Cynthia Navarro Clear Creek Middle School navarro16@gresham.k12.or.us

Band Chair Frank Petrik Lincoln High School Mr.fpetrik@gmail.com

SMTE/CNAfME Advisor Chair Mari Schay Portland State University mschay@pdx.edu

Choir Chair Kathy Briggs St. Mary’s High School kathy.briggs@smapdx.org

CNAfME Co-Representative Livy House University of Oregon Lhouse@uoregon.edu

Orchestra Chair Brigid Mayer West Salem High School mayer_brigid@salkeiz.k12.or.us

CNAfME Co-Representative Iris Erickson Portland State University irise@pdx.edu

Elementary School Music Chair Allison Halvorson Joseph Gale Elementary School ahalvorson@fgsd.k12.or.us

Membership Chair Andrew Bergh Tualatin High School abergh@ttsd.k12.or.us

General Music Chair Kelsie Demianew Cummings Elementary School Kelsie.demianew@gmail.com Secondary General Music Chair Jason Rodgers Woodburn High School jrodgers@woodburnsd.org Jazz Chair Jessika Smith Parkrose Middle School jessika_smith@parkrose.k12. or.us Small Schools Co-Chair Melissa Jmaeff Sutherlin School District melissa.jmaeff@sutherlin.k12. or.us Small Schools Co-Chair Paul Burch Lowell School District pburch@lowell.k12.or.us Mariachi Co-Chair Valerie Gollman Linus Pauling Middle School Valerie.gollmann@corvallis. k12.or.us Mariachi Co-Chair Lesslie Nunez Forest Grove High School Lnunez@fgsd.k12.or.us

Conference Exhibitor and Sustaining Membership Chair Dana Henson Oregon City High School exhibitorchair@oregonmea.org OMEA Chamber Ensemble Contest Chair Gary Riler Cleveland High School griler@pps.net OSAA State Solo Contest Chair Stewart Schlazer Forest Grove High School sschlazer@fgsd.k12.or.us OSAA Band/Orchestra State Contest Chair Dave Matthys Retired dtmatthys@comcast.net OSAA Choir State Contest Chair John Baker Retired johnbakerchoir@gmail.com OMEA State Jazz Contest Chair Dan Davey Mt. Hood Community College daniel.davey@mhcc.edu OMEA Student Composition Contest Chair Kathy Briggs Saint Mary's Academy kathy.briggs@smapdx.org

District 13 Chair Dana Henson Oregon City High School dana.henson@orecity.k12.or.us

DISTRICT CHAIRS District 1 Chair Gary Riler Cleveland High School griler@pps.net

District 14 Chair Allison Hedgepeth Forest Hills Elementary School hedgepea@loswego.k12.or.us

District 2 Chair Melissa Albert Reynolds High School malbert@rsd7.net

District 15 Chair Ben Adams Glencoe High School adamsb@hsd.k12.or.us

District 3 Chair Terence Madlangbayan Tillamook School District Madlangbayant@tillamook. k12.or.us

SPECIAL BOARD REPS/ LIAISONS

District 4 Chair Kimberly Skondin Silverton School District musicputnam@gmail.com

OMEA Recording Secretary Laura Wagstaff Claggett Creek Middle School recordingsecretary@ oregonmea.org

District 5 Chair Keith Chaiet Mountain View High School keith.chaiet@bend.k12.or.us

OMEA Historian Ben Lawson Redmond High School Ben.Lawson@redmondschools. org

District 6 Chair Ben Blessing Baker School District Ben@benblessing.com

Tri-M Liaison Lesley Bossertt Retired bosserttl@gmail.com

District 7 Chair Amber Yester North Bend High School Ayester@nbend.k12.or.us

NW NAfME Regional President Joe Dyvig NAfME Jdyvig@osd.wednet.edu

District 8 Chair Kaleigh Noble North Middle School Knoble@grantspass.k12.or.us

NW NAfME Regional President-Elect Chad Rose NAfME chad.rose@scsd2.com

District 9 Chair Ryan Egan Ontario Middle School ryaneganmusic21@gmail.com District 10 Chair Melissa Jmaeff Sutherlin School District melissa.jmaeff@sutherlin.k12. or.us District 11 Chair David Blake Cheldelin Middle School david.blake@corvallis.k12.or.us District 12 Chair Stephen Johnson Buena Vista Spanish Immersion Elementary School Bassmagic13@aol.com

NW NAfME Regional Past President Dusty Molyneaux NAfME dusty_molyneaux@gfps.k12. mt.us

PUBLISHING Journal Design Aren Vandenburgh www.arenv.com

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55 Music Tech Workshop For Teachers

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31 Stumptown Stages

9 Southern Oregon University

31 NAfME

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9 Beaverton Symphony Orchestra

34 Beacock Music

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35 Western Oregon University

11 Fund-Team

38 Western International Band Clinic

14 Portland Trail Blazers

43 Pacific University Oregon

17 Portland Orff-Schulwerk Association

46 Northwest Nazarene University 50 Willamette University

57 NAfME 57 Mt Hood Community College 57 University of Idaho 59 Portland State University 61 Pacific Lutheran University 61 Portland Youth Philharmonic 63 Metropolitan Youth Symphony 64 Young Musicians & Artists 64 Uptown Music 65 NAfME

71 Music Millennium 72 Valley River Inn 74 Salem Youth Symphony 74 NAfME 75 Oregon Coast Music Festival 75 Whitworth University 75 Forum Music Festivals 75 Music Camps @ Willowa Lake 76 Army National Guard 77 University of Oregon BC NAfME

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

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THANK YOU TO OMEA’S SUSTAINING MEMBERS OMEA would like to thank our Sustaining Members who have supported Oregon’s music educators with valuable resources including digital and physical products and services, that have allowed our teachers to provide connection, instruction and creativity for their music students. We are delighted to collaborate with our Sustaining Members who OMEA considers industry leaders in music and education.

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BRONZE LEVEL SPONSORS Bandworld bandworld.org Canter Flute Repair canterfluterepair.com

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Oregon Symphony orsymphony.org Pacific Lutheran University plu.edu/music/ Portland Orff-Schulwerk Association portlandorff.org Portland State University pdx.edu/music-theater

Willamette University willamette.edu/academics/ college/music/

Portland Youth Philharmonic portlandyouthphil.org/

Rose City Instruments rosecityinstruments.com Salem Youth Symphony salemyouthsymphony.org Young Musicians & Artists ymaarts.org

SUPPORTING MEMBERS Chamber Music Northwest cmnw.org

JW Pepper & Son, Inc jwpepper.com

Oregon Children’s Choir oregonchildrenschoir.org

Peripole Music peripole.com

The Lavenbarg Team lanalavenbarg. integrityagents.com

Oregon Coast Youth Symphony Festival youthsymphonyfestival.org

Portland Piano Company portlandpianocompany.com

Music K-8 musick8.com

Oregon Music Hall of Fame omhof.org

Fund-Team fund-team.com/music/omea

Nova Music International novami.org

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Ian Fuller Percussion linktr.ee/ ianfullerpercussion

Oregon Ambassadors of Music oregonambassadors.com

Educational Travel Services, Inc. etsi.ws Eugene Ballet eugeneballet.org

Pacific University pacificu.edu/music

Southern Oregon Repertory Singers repsingers.org Southern Oregon University sou.edu/academics/music Trophy Monster, USA us.trophymonster.com

University of Portland college.up.edu/pfa/musicprogram Western Oregon University wou.edu/music Willamette Valley Music Company wvmc.net Yamaha Corporation of America usa.yamaha.com

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

FROM THE EXECUTIVE DIRECTOR... JJ Sutton OMEA Executive Director

Welcome to the 2026 fall edition of the Oregon Music Educator. As you begin your new school year, please enjoy the articles contributed by our colleagues; they serve to share a wealth of knowledge, expertise, and inspiration. OMEA also recognizes the many financial contributions from our sustaining members and advertisers. They are a critical component in OMEA’s mission of supporting music educators and advocating for equitable access to highquality and comprehensive music education for all of Oregon’s students. This past spring, the OMEA Board grew by three! Please welcome Valérie Gollman (Corvallis Junior High School) and Lesslie Nuñez (Forest Grove High School)- they are OMEA’s inaugural Mariachi Co-Chairs! There couldn’t be two better board members in place as Mariachi continues to grow across our state. Additionally, Paul Burch (Lowell School District) now Co-Chairs OMEA’s Small Schools Advocacy with Melissa Jmaeff.

Valérie Gollman, Corvallis Junior High School

Lesslie Nuñez, Forest Grove High School

With OMEA All-State notifications being delivered and conference registration opening, January is just around the corner! Please read articles by Elizabeth Soper and Kristi Stingle regarding what you can expect at the 2027 All-State and Conference events in Eugene. The OMEA Board extends our warmest wishes to all of you as we start off the 2026 – 2027 school year. Thank you all for serving your students, thank you for being an Oregon Music Educator!

Paul Burch, Lowell School District

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

S E N D I N G P E AC E A N D LOV E

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

MAJORS Bachelor of Arts in Music Bachelor of Science in Music

CERTIFICATES Conducting Music Industry & Production Music Performance Music Theory & History Popular Music

ENSEMBLES Chamber Choir Concert Choir Jazz Ensemble Lyric Theatre MUSIX Percussion Ensemble Wind Ensemble

SCHOLARSHIP AUDITIONS In-person February 13th, 2027 or virtually on a rolling basis

APPLY TODAY sou.edu/admissions/apply 541-552-6347 music@sou.edu

COLE’S TOP FOUR OMEA RESOURCES: PLACES TO START Cole Haole-Valenzuela OMEA President

Over the past few years, OMEA has worked to become more than just an organization that puts on events. While we love creating opportunities for professional development and giving our students meaningful experiences to connect with one another and learn from world-class conductors, we also know that there is so much more we can do to support music educators across the state of Oregon. Part of that work has been creating resources that can help you in your day-to-day teaching, as well as providing tools and guides to help you advocate for your programs, your students, and music education as a whole. It is in this spirit that I want to share “Cole’s Top Four OMEA Resources.” These are four resources that are easily accessible for both new and veteran teachers and can make an immediate impact on your program, your students, and your community. OMEA: Advocacy Calendar & Proactive Marketing Tools • Makes advocacy manageable: The year-long calendar breaks advocacy into simple, actionable steps, helping music educators build relationships and promote their programs without adding an overwhelming amount of work. • Provides ready-to-use marketing tools: Templates, social media guidance, performance strategies, and communication ideas help teachers promote student accomplishments and demonstrate the value of music education without starting from scratch. • Strengthens advocacy and community support: OMEA provides information, resources, relationships, and support to help educators communicate with school leaders, families, legislators, and community members throughout the year. Quick Guide: Connecting with Your School Board through Music Education Advocacy

• Supports successful home concerts: Teachers can use the Home Concerts section as a checklist for venue setup, communication, volunteers, programming, and stage management to create organized and successful performances. • Helps share the workload: The handbook encourages teachers to delegate responsibilities to administrators, other teachers, boosters, families, and volunteers, making events more manageable and creating a repeatable process for future years. OMEA Mentorship Program Overview • Supports new music teachers: OMEA connects new Oregon educators with experienced mentors who provide practical, non-evaluative guidance. • Helps with teaching and program management: Mentors can assist with pedagogy, classroom management, curriculum, lesson planning, literature selection, administration, and work-life balance. • Provides flexible professional support: Mentors can work with mentees by phone, text, video, or in person, with participants receiving a PDU certificate upon completion. There are many other wonderful resources that have been developed by our OMEA board, and I encourage you to take some time to explore what is available on www.oregonmea. org. Think of these four resources as a starting point - a place to find some additional support for the work you are already doing and, hopefully, to spark some ideas about what music education can and should look like across Oregon. As music educators, we spend so much of our time giving to our students and our programs. OMEA wants to make sure that we are also giving to you.

• Builds strong school board relationships: The guide encourages educators to learn about board members, their priorities, and meeting schedules so music education stays visible and valued. • Provides practical advocacy strategies: Teachers can use short, student-focused public comments, performances, emails, and personal invitations to demonstrate the impact of music education. • Makes advocacy consistent and effective: Small, regular communication, student voices, connections to district goals, and support from parents and colleagues can strengthen advocacy without creating overwhelming campaigns. OMEA Festival and Event Handbook • Simplifies festival planning: The handbook provides step-by-step timelines, checklists, and planning guidance that teachers can use to organize large ensemble and solo/ensemble festivals without having to build the process from scratch.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

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MEETING IN THE MIDDLE

Six (Or Seven) Habits to Consider for the Middle School Choir Teacher Kent Wilson OMEA President- Elect

For many middle school students, the choir room is a place of safety, security, and familiarity. For others, it is the place to be seen, be social with friends, and occasionally make an effort for a resonant vowel or two. The choir room can also be a place of discovery and brand new sensations and experiences for a portion of your school population. The middle school choir room is a convergence of any and every type of kid from your school. In any given section, you can have students who take private voice lessons, students who double in band or orchestra, the next great triple threat, and the student who is discovering they do indeed have a “high voice” and “low voice”. In all of this, it can sometimes seem daunting to be a middle school choir teacher. Choral methods professors can only cover so much, and student teaching experiences, while incredibly valuable, place pre-service teachers in an already established community. What do you do then, as a teacher with your own classroom? One of my main goals during my time on the OMEA Board is to help strengthen the connection between all of us in the “middle”. Those who are just starting, mid-career like myself, and the ones who laid the groundwork for us, without a needoh or TikTok dance in sight. To start, I thought I would share six (or seven) pieces of advice that have been passed down to me, and that I have passed on to others!

1. Establish your class routines early and communicate them often. For all their spontaneity and mystery, middle school students do enjoy a bit of structure and routine from time to time. Humans don’t know what they don’t know. It is perfectly fine and acceptable to teach your students how to enter the classroom, how to ask a question, where to get their music, and how you want your classroom community to run. Your room is a new space for some lucky kid each year, and the best way to welcome those new kids to your community is by helping them learn the lay of the land. It is also perfectly okay to give students a heads-up when you need an exceptional amount of focus from them, or to let them know a routine change is going to happen. Some easy ways to implement this would be utilizing experienced students as class buddies for them, or having posters or other visual aids around the room. I frequently will turn it on the students and ask questions like, “What would an active sight-reading singer look like right now?” Giving students the chance to demonstrate what they know can, in turn, inform you on what you taught well, and maybe what needs to be reminded.

2. Embrace student choice Early on in my teaching, I learned to value the concept of student choice. For some, this will come easily, and for others, it may send waves of doubt and uncertainty. Giving students a choice in your classroom does not mean you are relinquishing total guidance and steering power to them. Rather, it’s done through strategic planning and task delegation

that empowers students to think critically, consider the environment they want to create, and teaches them how to maintain that environment. A non-exhaustive list of student choice initiatives could include: • Classroom norms and guidelines set by students • Learning targets or learning goals described by students • Collaborating with students on concert repertoire selection (providing whatever parameters you deem best for your program). • A class playlist • Choral folder personalization • Classroom celebrations or incentives • Warm-ups or sight-reading parameters Middle school students are at an age where brain development is happening rapidly, and they are able to process their world at an increasingly more meaningful level, and yet they are still at the mercy of many adults in their lives making choices for them. If they have to be at school, we as teachers can at least give them some freedom in how they spend their day.

3. You set the forecast for your classroom. Let the sun shine in and find ways to take shelter in the storms. “I’ve come to a frightening conclusion that I am the decisive element in the classroom. It’s my personal approach that creates the climate. It’s my daily mood that makes the weather. As a teacher, I possess a tremendous power to make a child’s life miserable or joyous. I can be a tool of torture or an instrument of inspiration. I can humiliate or heal. In all situations, it is my response that decides whether a crisis will be escalated or de-escalated, and a child humanized or dehumanized” (Ginott, 1972). One of my deepest held beliefs is that middle school kids keep you on your toes. No day is the same when you are deep in the throes of pre-teen and teenage life. When your students enter your room, they are entering with whatever proverbial baggage they left their homes with. As the adult in the room, our words, actions, and tone carry great power. Hearing this quote early on in my teaching career changed a lot about how I approach student discipline, engagement, and classroom expectations. We can add to the baggage students bring in, or lighten the load they carry. That is not to say that we as teachers should bear total responsibility for our students’ emotional well-being. We have our own selves to take care of! Rather, it encourages us to look inwardly before we interact with our students. What feelings are at play when I get frustrated with my students? How can I divert those feelings into something productive? What lesson can my students learn from me dealing with my own emotions in a moment that could be tense? We certainly can’t control our global atmosphere, but we can control our classroom atmosphere.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

4. “To be cringe is to be free”. Be a little silly from time to time! Over the years of my teaching career, I have amassed a respectable collection of rubber ducks, crochet pals, and various squishy stress toys. These offerings are an important part of my classroom ecosystem, as it were. Instead of being scoffed at, my students have taken to naming them, “babysitting” them, and even singing to them (our classroom is not the most spacious place, so an audience of rubber ducks with perpetual painted-on smiles is much more feasible for our space). While some might see these things as clutter, they represent years of students who have felt safe enough to leave a part of themselves in the classroom in a way that is unassuming, harmless, and a bit aloof. There is a playfulness that must still exist in middle school, that at times we often forget about. Levity and humor are necessary parts of life, regardless of age. I appreciate that at our school we still have “recess” for our students. If you walk into my class, you will hear some sillywarm-ups; you’ll hear a joke or two; you’ll hear an analogy or piece of “Wilson’s Wisdom,” as my students call it, and you’ll hear some laughter, and that’s by design. Singing is a vulnerable act - YOU are the instrument. For the kid who struggles to match pitch, or is going through a voice change, or maybe isn’t as clear and resonant as the others, creating an environment where it’s ok to try, to make a mistake, to crack loudly, to enter in boldly and a beat early, is just as important as creating a space where we hold ourselves to a standard of excellence and artistry. Find the balance that works for you and your students!

5. Get your game on! In the spirit of being a little silly from time to time, play some games too! While not every day can be a “Fun Friday”, there is a place in the classroom for gamifying how we teach and rehearse students. First coined in 2008, gamification involves adding elements of gameplay to non-gameplay situations. These elements can include creating avatars/game pieces, points, levels, badges, challenges or quests, and more (Deterding, 2015). Gamification in the choir room can happen with almost anything! Dale Duncan’s (2019) “S-Cubed” music literacy system incorporates the ever-popular “Poison Pattern”. Some teachers (myself included) have created resources like virtual escape rooms, put on a “Choir Olympics” multi-day event, or utilized review games resembling popular television game shows! Many teachers have memberships to assessment platforms like Kahoot, Blooket, or Sight-Reading Factory through their building or district. In my time, I’ve gathered and created a lot of various gamified ways to teach and reinforce theory concepts, revitalize the rehearsal process, and reinforce collaboration and teamwork among my ensemble members. Our middle school students are still kids, and appealing to play in the classroom from time to time can prove to be beneficial for both you and them!

email, save it, print it and frame it, or use their own preferred method of preservation! One of our fantastic OMEA Advocacy and Public Policy Chairs, Laura Arthur, says it best -advocating for your program can be as simple as just letting the outside world know what you are doing and when you are doing it! Feel free to take it a few steps further - advertise in your community if you can! In our district, we have a public-facing performing arts calendar that anyone can view. Our audiences have consisted of neighbors, babysitters, church friends, previous elementary teachers, and coaches. Find ways to perform in your community if you can! Take a group to a school board meeting, connect with a senior living community, sing at the mall, travel to feeder schools and sing for them, or even try to partner with some of the high schools in your district. The cherry on top? There is usually some sort of community funding/grant program for outreach initiatives!

7. “We’re all in this together!” Pardon the earworm that was just placed, but it’s a true sentiment! Just as we encourage our students to go out and make meaningful social connections, we must do the same! If you have a common prep time with your band colleague, stop by their room now and then (shout out to you, Jesse) - chances are you share some students anyway! If you are in a larger district, connect with your job-alike peers well beyond the professional development days. Work to make connections with nonteaching staff in your building, like your office manager, registrar, attendance manager, custodial staff, and kitchen staff. Get to know the other content area teachers in your building too! One of my favorite activities is compiling a list of all the teachers who were in band or choir in middle school and sharing that outside our classroom door “wall of fame”. It’s doubly exciting when those staff members come to a performance! And of course, find an OMEA event to attend! OMEA exists to support music educators and advocate for high-quality music education across the state (taken directly from our mission statement!) Supporting YOU is a part of the mission! One of the ways we hope to solidify this mission is through our Mentorship Program, where teachers who are maybe in a new assignment, brand new to the field, or just want a refresh can apply to be connected with another teacher who can help provide some guidance and insight for them! Head to oregonmea.org/resources/mentorship-program/ to learn more! Anytime I tell someone I teach middle school, I am met with a variety of responses ranging from “Oh, bless you” to “couldn’t be me!” In a sense, they are right! Middle school is not for every teacher. But for the teacher who finds themselves just right for the job, it can prove to be a life-changing experience with a lasting impact far beyond those risers. The sky is the limit! I wish you all a “peak” year, with the most “locked in” groups, and all the aura you can muster!

6. It’s all about comm-UNITY!

References

One of the first things I do at the start of the year, after all the dust settles from scheduling, is to send a welcome email to the important adults in my students’ lives. This email has everything you could need - concert and performance dates, uniform order links, calls for volunteers (with a link to the application), fundraising efforts, a link to our choir standards, and a link to our choir Canvas page. Affectionately titled “The Big One”, I encourage those important adults to pin that

Deterding, S. (2015). The ambiguity of games: Histories and discourses of a gameful world. In S. P. Walz & S. Deterding (Eds.), The gameful world: Approaches, issues, applications (pp. 23–64). MIT Press. Duncan, D. (2019). S-Cubed! Sight singing program. Music in the Middle with Mr. D. Ginott, H. G. (1972). Teacher and child: A book for parents and teachers. Macmillan.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

BEYOND THE ENSEMBLE

Building Collaborative, Student-Centered Music Programs Hannah Abercrombie OMEA 2nd Vice President

Last spring, a student in my choir came up to me and told me she wanted to quit Wind Ensemble, and my first response was to ask her, “Why?” She explained that it had become a lot to balance alongside Concert Choir, the auditioned contemporary a cappella group, volleyball, her job, and the demands of coordinating with her family and home life. I asked her, "But don't you love playing the horn?" to which she responded, “Yes, of course!” Despite feeling overwhelmed during festival season, this student continued through the spring, performing in both Wind Ensemble and Concert Choir and placing with both at the state championships. She currently serves as an effective section leader in both marching band and choir. I've been a director long enough to understand why this is difficult, and I've come to see that there’s something much bigger on the other side of that difficulty. Many students like this one have so much to offer, and their musical lives are richer because they are given the opportunity to pursue more than one path. If we limit those opportunities, are we really serving them to the best of our ability? What happens when we stop asking, "How do I keep this student in my program?" and instead ask, "How can I help this student become the musician they want to be?" As music educators, we should be creating opportunities for our students to flourish musically rather than unintentionally—or intentionally—limiting their experiences, successes, opportunities, and potential. This isn't a call for every student to participate in everything. It's about agency: allowing students to explore their interests and develop their musical identities without programs (or their teachers) becoming barriers to that exploration.

One School, Many Musical Communities The high school where I am fortunate to work has an unusually broad musical ecosystem: multiple levels of choir, band, and orchestra, jazz and marching band, symphony orchestra, Mariachi and Música de México, musical theatre and theatre arts, and other general music offerings such as piano and guitar. As a choir director with a background in band, experience directing musical theatre for both the stage and the pit, and a marching band staff position, I have had the opportunity to see this ecosystem from multiple perspectives. The amount of support, camaraderie, empathy, and work ethic that comes from students experiencing multiple facets of a music program is some of the best real-world skill-building, sense of belonging, and student-centered education I have seen in a high school. Our students have multiple musical homes, and those homes don't have to compete with one another. While not every school has this degree of ensemble choices, resources, and staff, the more important concept is that there are students in every program that can and want to participate in music in multiple ways, and we should support them in doing so.

Our Students, Not Our Programs As directors, teachers, and educators, we care deeply about our programs and the students they serve; we can

acknowledge the instinct we can have to protect them. We invest enormous amounts of time and energy into our ensembles where we build relationships with students, develop their skills, prepare performances, recruit, fundraise, and so much more. Understandably, losing rehearsal time with a student (or watching them choose another musical opportunity) can feel like a loss. However, students are not program possessions. Our responsibility is not simply to make our ensemble successful, whatever success may mean, but to help students grow as musicians and as people. These are just a handful of the multi-ensemble members, who are among the most dedicated students, that make up my Concert Choir: • Bass section leader – choir leadership team member, a cappella singer, Jazz 1 pianist, student collaborative pianist, marching band synth player/section leader • Bass section leader – a cappella singer, clarinetist and percussionist in Wind Ensemble, student collaborative pianist, marching band center marimba player/section leader, actor • Baritone section member – principal violist in Chamber Orchestra, violin player as a secondary instrument, member of the Salem Youth Symphony • Soprano section member – alto saxophone player, veteran Color Guard member • Alto section leader – a cappella singer, horn player in Wind Ensemble, mellophone section leader • Baritone section member – a cappella singer, principal euphonium player in Wind Ensemble, Jazz 1 trombonist A student's musical identity may not fit neatly into one ensemble. Each of these roles and responsibilities (which may be prioritized differently depending on the student, season, ensemble demand, etc.) can inform the others, creating a more enriching, well-rounded experience for each individual. “Throughout my four years of high school, being part of some of McKay’s top ensembles has taught me an abundance of skills and given me some of the most enriching experiences of my high school journey. When I entered high school, I wasn’t the most organized, social, or compassionate person. What changed was having the opportunity to step into the shoes of those who showed me not only how to lead, but how to become a better person. Participating in these ensembles has taught me how to be better not only for myself, but for the people around me. When you are part of an ensemble, you are not simply contributing to your own growth; you are contributing to the growth and success of everyone around you. Ensembles like choir, band, and orchestra are not independent of one another, but rather interdependent, not only from

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

student to student, but from ensemble to ensemble. My years in these top ensembles have been some of the most fulfilling and rewarding experiences of my high school career, and I only hope to pass that on to others as well.” – Student in Concert Choir, Jazz Band, Scots-Appella, Wind Ensemble, and Marching Band at McKay High School Is it challenging to make sure these students are where they need to be for each ensemble? Yes. Do we help them make it work? Absolutely. Are we responsible for managing their busy schedules? No, that would be too much. But we can help give them the tools to be successful. We are teachers first!

What Students Can Gain From Crossing Musical Boundaries 1. Perspective Different directors, rehearsal styles, musical traditions, repertoire, and ensemble roles broaden students' understanding of music and the world around them. 2. Musicianship Students bring knowledge from one ensemble into another. An instrumentalist can influence a choir's rhythmic understanding; a vocalist can bring breath and phrasing concepts to an instrumental ensemble; students tend to develop a greater understanding of how their contribution fits into the whole after experiencing a different musical part. 3. Agency Students learn to make choices about their own musical interests and develop ownership of their education and ensembles. When those choices are supported across programs, students begin to see music as a larger community rather than a collection of individual, mutually exclusive ensembles. They have more opportunities to find where they belong, build relationships across programs, and develop a personal investment in the success of that community. That investment can become a powerful foundation for student advocacy, especially when students have something they genuinely value enough to advocate for. Consider this: If our goal as music educators is to expose students to diverse cultures, traditions, composers, genres, and ways of making music, we should be careful not to take those experiences away simply because our program doesn't offer them. Jaimie Hall, Co-Director of Bands at McKay High School and a longtime music educator in Salem, describes the culture that can develop when music teachers approach their programs as a collaborative community: “I am honored to be a member of the McKay Music Staff. There are so many amazing things happening here at a school where many music educators might seek an easier place to spend their careers. The “can-do” attitude I see within our music staff, combined with the unwavering support of our administration, is unlike anything I have experienced in my career. Unlike many challenging Title I schools, our music teachers want to spend their careers here. We are constantly looking for ways to create learning environments that allow all of our students

not only to participate, but to exceed expectations and excel. That commitment is evident not only in our highly successful Band, Choir, and Orchestra programs, but also in our Mariachi, guitar, and piano classes. The McKay Music Staff embraces challenges and finds ways to succeed. – Jaimie Hall, Co-Director of Bands, McKay High School

The Challenge: Sharing Students Requires Trust Let’s acknowledge the realities and challenges of building a collaborative music community: • Scheduling conflicts happen • Students occasionally have to choose between events • Directors won't always agree with a student's decision • Students can overcommit themselves • Communication between directors becomes essential Rather than seeing a challenge as a reason to limit a student’s experience, we can instead see it as an opportunity to teach them prioritization, communication, time management, responsibility, accountability, self-advocacy, and decision-making: • Conflict resolution requires preparation, communication, and compromise • Students and directors come up with an agreement on how to prioritize events (rehearsal vs. performance, long-standing event vs. short-notice event, high vs. low impact gig, etc.) • Students can learn how to navigate multiple activities, as they do with sports, jobs, and other extracurriculars • Mistakes and failure are an important part of the learning and growing process; however, we should absolutely help students recognize when their commitments become unhealthy or unsustainable. • Communication between directors models constructive collaboration between adults. “I’ve found that students involved in multiple ensembles are often more prepared for rehearsals, despite the fact that they have to learn more music. They build a strong sense of phrasing and musicality from singing in choir. Many involved in band have strong senses of pulse and rhythmic literacy. I also think it’s helpful for a student to have multiple perspectives from different directors. We all provide feedback in different ways, and students will be more prepared post-high school from learning to work with so many teaching styles already.” – Alex Figueroa, Orchestra Director, McKay High School

What Happens When We Let Our Programs Connect? When students move between programs, knowledge and relationships move with them. Directors begin learning from one another, students begin advocating for one another's ensembles, and musical skills developed in one space can strengthen another. From my own perspective, here are some examples of program connection and culture that have become the norm at my school:

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

• Students from the choir and orchestra programs support the marching band eagerly from the stands during halftime at the football game • Students and directors attend each other’s concerts, and often assist in the setup, teardown, and flow of the concert • Directors and students work together to solve problems, particularly for transportation between same-day events outside of the ensemble’s control (i.e., 5A State Choir and 6A Jazz Championships) • Featured instrumentalists at a choir performance or vocalists at an instrumental performance • Stronger communication skills and expectations across the entire music program, not just among multi-ensemble students • Students from orchestra, band, and choir join forces in the Mariachi program. What begins as one student participating in two ensembles can become a culture of collaboration between entire programs. “Students in multiple ensembles and programs experience a blended music education, where teachers, cultures, and mediums are different but the outcomes and expectations are the same. It allows students a chance to experience multiple ways of achieving the same goal. At the end of the day, our kids perform really well with pride and respect.” – Scott Avzaradel, Band Director, McKay High School

From Collaboration to Community and Advocacy A connected music program does more than create opportunities for students to participate in multiple ensembles. It creates a larger sense of community. When students see themselves as part of that community, they are more likely to recognize its value, speak about their experiences, and advocate for its continued support.

advocate for all of our students, while also maintaining a high standard of excellence in their own programs. To the music educator who may be the only staff member in their field within their school or district, there are people in your corner as well. When I taught in rural Southern Oregon, those people were principals and administrators, community members, fellow teachers, parents, and music teachers in neighboring districts that continually supported music through successes, budget cuts, and COVID. Make them hear you; find your people and create a network that will support you, your program, and most importantly, your students.

Conclusion: Let Them Flourish The choir student who persevered through one of their most challenging seasons as a student-musician is an even stronger communicator, musician, leader, and person now than last year. Just a few weeks ago, she proactively crafted and sent an email to directors on behalf of all of the Concert Choir members who were also in the Marching Band, with a proposed scheduling conflict solution that ultimately felt fair to all parties involved. Scheduling conflicts, difficult choices, moments when a director feels disappointed by a student's decision, and times when a student cannot participate in everything will always happen. Those realities are part of teaching, but they don't have to prevent us from building a culture where students are encouraged to take ownership of their musical and educational journey. Our programs are important, and they exist to serve our students. When we give students room to explore, collaborate, and discover who they are as musicians, we aren't diminishing what we have built; we are giving them more opportunities to flourish, and in doing so, building a stronger musical community for everyone.

This culture of collaboration also has implications beyond our rehearsal rooms. When band, choir, orchestra, Mariachi, and general music are seen as parts of one musical community rather than competing programs, students, families, and administrators can more clearly see the collective value of music education. At a time when many districts are navigating difficult budget decisions, that shared community can become a powerful foundation for music advocacy. The strongest voices are those of our students, especially when they understand that all of these experiences belong to them. On a personal note, it is extremely validating and comforting to know that my high school music colleagues are in my corner, support each other, and

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

DOING THE GOOD WORK, TOGETHER! Erika Lockwood OMEA Past President

As Past President, I have the privilege of serving as the Advocacy Co-Chair alongside Stephen Marshall and our Public Policy Chair, Laura Arthur. This year, we are REALLY excited to release an Advocacy Calendar with concise and manageable marketing tasks for each month to keep music programs visible throughout the school year! The goal here is to be proactive rather than reactive in our advocacy and marketing efforts. These measures help to elevate the benefits of music education to all decision-makers in order to prevent destructive program cuts before they are even on the table. Below are some highlights for the remainder of the year, with credit to Laura Arthur for compiling this information into one place. Mark your calendar and see the full document with expanded ideas for marketing and social media HERE. Each advocacy committee meeting calendar link is next to the corresponding month. I encourage everyone to put those on your calendar - it is only an hour on Google Meet, and you will come away inspired, informed, and with some advocacy actions completed! November: Committee meeting November 16 (click to add to your calendar!) • Publicize the names of the students who have been accepted into All-State:

February: Committee meeting February 22 • Gather a list of your upcoming performances to share with your elected officials, either in person at Capitol Day or through the Virtual Capitol Day campaign • Participate in OMEA’s Capitol Day in Salem, either in person or virtually. February 18, 2027! • (Training meeting Feb 8, 5:30-6:30 pm online) • Prepare for Music In Our Schools Month® in March: • Plan a special project to highlight MIOSM or a MIOSM Concert/Event in your school district • Prepare a program insert/graphic for your March performances, including any district-wide events, or use one from NAfME. • Formally invite your administrators and school board members to speak about the importance of music in the schools March: Committee meeting March 15 Music in Our Schools Month • Change your social media profile picture to highlight MIOSM. • MIOSM Shareable Graphics – NAfME

• Template: All-State Ensemble Acceptance Press Release

• Investigate getting your principal, school board, superintendent, or PTA to pass a resolution or proclamation for Music in Our Schools Month or simply have them make an announcement.

• Share with school newsletters, booster groups, school board, local media, and thank parents for their support!

• Include MIOSM graphics in any March performance program, including all-district festivals.

December: Committee meeting December 14

April: Committee meeting April 19

• Formally invite your administrators, school board members, and even elected officials to your Winter Concert. Recognize them from the stage and thank them for their support and/ or invite them to participate!

• Arrange with your principal to perform at any “incoming student/future parent night” event

• Incorporate research, data, & quotes on the benefits of music education into your winter concert presentations! This is in the form of a program insert, slideshow presentation, posters, etc. January: Committee meeting January 11 • Attend the OMEA Conference and participate in the Advocacy & Public Policy Roundtable. • Request a personal day if you are planning to participate in OMEA’s Capitol Day in February. • January is School Board Directors Recognition Month. • Honor your school board members with a brief informative performance before a January board meeting. • Send them thank-you notes for serving their communities and/or for supporting music education in their schools.

• Share a Music Department “State of the Union” with your building/district administrators • Emphasize the data – current enrollment, anticipated enrollment, retention statistics, future needs, program successes, etc. May: Committee meeting May 17 • May is Teacher Appreciation Month! Have your music department perform a mini-concert for the teachers in your building before a faculty meeting. • Send the teachers thank-you notes for supporting the arts in your school, and encourage your students to do the same. • Invite your building faculty and staff, administrators, and school board members to your Spring Concerts. • Use the pre-concert slideshow (template) to recognize your students and help build audience capacity for advocacy.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

June: Committee meeting June 7 • Collect perspective data from students and student families - share with your administrators • Foster relationships between current music department students and those not yet involved We look forward to partnering with you this year as you continue to provide the best music education experiences for your students! Please reach out anytime if you have ideas or questions about advocacy or the work of OMEA. Don’t miss an invite! Use this form to receive email invites and updates regarding advocacy committee meetings and to-dos. See you there!

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Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

A PREVIEW OF THE 2027 OMEA CONFERENCE Elizabeth Soper OMEA Conference Chair

Help, I Have Never Taught Jazz! How Do I Start? — Doug Doerfert

The OMEA 2027 Conference, Make Them Hear You, is just around the corner! Join music educators from across Oregon and beyond January 14–17, 2027, at the Graduate Hotel in Eugene for a weekend of professional learning, collaboration, performances, and connection.

Designed for teachers who are new to jazz, this practical session covers everything from finding music and setting up an ensemble to navigating the rhythm section, understanding a score, teaching articulations, and finding useful resources. Bring an instrument if you'd like to participate hands-on.

Registration is open now! Visit oregonmea.org to register. Register before January 1 to receive the discounted registration rate and a ticket to the OMEA banquet.

Conference Highlights

A Curricular Framework for Music Technology: Identifying Core Skill Domains for Digital Musicianship — Jason Rodgers

With sessions spanning elementary music, band, choir, orchestra, jazz, secondary general music, advocacy, DEI, small schools, collegiate music education, and more, there will be plenty of opportunities to learn something new and bring fresh ideas back to your classroom. Here are just a few sessions to look forward to:

Explore a practical framework for teaching music technology through creation, production, and real-world application. Using accessible tools such as DAWs, participants will consider how digital musicianship can support student identity, creativity, and technical fluency in both ensemble and non-ensemble settings.

Songs of Babatunde Olatunji – World Music — Kalani Das Explore accessible songs and ensemble drumming inspired by Babatunde Olatunji, whose work brought the “African Sound” to popular music. Participants will discover ways to use these songs across learning and creative expression while building musical experiences around rhythm and community. Conducting: From Potential to Kinetic! — Jason Missal How can thoughtful score study and musical interpretation become meaningful conducting gestures? This clinic explores score study, interpretation, gesture, rehearsal, and inspiration as tools for developing creative and informed conducting. Sing What They Love: Turning Pop Music into Program Loyalty — Sarah Strobel Discover how incorporating music students already love into warm-ups can build trust, increase participation, and create a positive, inclusive choir culture. This interactive session offers practical examples and strategies that can be put to use right away.

These are only a few of the many sessions available. Whether you are looking for immediately useful classroom strategies, new perspectives on teaching and advocacy, ideas for expanding your program, or simply an opportunity to reconnect with colleagues, the 2027 conference has something to offer.

Concert Hours Concert Hours will once again be an important part of the conference, featuring ensembles from across Oregon and a variety of school, university, and community programs. With multiple performances throughout the weekend, attendees will have plenty of opportunities to hear outstanding student and collegiate musicians and gather ideas to bring back to their own programs. One featured performance will be the Silver Falls School District Choir Programs, bringing together students from 4th through 12th grade in a collaborative vertical-aligned concert. And, of course, the weekend will include OMEA All-State ensembles, bringing together student musicians from across Oregon for an exceptional musical experience. We hope you'll join us in Eugene this January to learn, listen, connect, and Make Them Hear You!

Developing Beginners' Bow Technique — Myriam Gendron-Dupont This hands-on orchestra session explores beginning bow technique through approaches drawn from several string pedagogies, including Suzuki, Rolland, and Bornoff. Participants will practice exercises using everything from pencils and bows to PVC tubes, with all materials provided.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

Justiﬁcation Guide for Attending the OMEA Conference For use with administrators, principals, and district-level decision makers The Oregon Music Education Association (OMEA) Annual Conference is the leading professional development event for K–12 music educators in the state. Attendance at this conference is a vital investment in teacher growth, student success, and program quality.

Why Attend the OMEA Annual Conference? Highly Specialized Professional Development Educators receive content-speciﬁc training in band, choir, orchestra, general music, modern band, mariachi, and other areas. Sessions are differentiated by grade level, ensemble type, and teaching focus—offering relevant tools and strategies that directly improve classroom instruction.

Enhancement of Teacher Effectiveness Workshops are led by expert clinicians and master teachers from Oregon and across the nation. Attendees gain research-informed, classroom-tested practices that align with state and national standards and elevate student learning.

Alignment with District and School Goals Conference learning supports continuous improvement, equitable access to music education, and culturally responsive teaching — goals shared by districts and administrators across Oregon.

Concert Hours with Model Ensembles Daily concert sessions feature outstanding K–12 ensembles from across Oregon, providing valuable examples of high-level repertoire, musical interpretation, and ensemble pedagogy that educators can bring back to their classrooms.

Support for All-State Ensemble Participation Educators with students selected for All-State ensembles are required to attend. Teacher presence ensures student safety, support, and continuity throughout rehearsals and performances — an essential part of the All-State experience.

Networking and Mentorship The conference fosters statewide collaboration, professional networking, and mentorship across experience levels, strengthening Oregon’s music education community. This unique professional development event provides music teachers a chance to work with other educators who teach the same classes they do – a rarity in many schools, as music teachers are often the only ones teaching their specialized subject.

Sharing Learning Upon Return Many attendees provide post-conference reﬂections or lead mini-sessions for colleagues, extending the impact of the experience beyond the individual attendee.

Conference Attendance Supports: ● ● ● ●

Professional Growth & License Renewal Student Achievement & Engagement Program Quality & Visibility Statewide Music Education Equity

For more information, including past conference schedules, visit oregonmea.org/conference Oregon Music Education Association | oregonmea.org Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

ALL-STATE CHAIR UPDATE Kristi Stingle OMEA All-State Chair

I am honored to serve once again as your OMEA All-State Chair for the upcoming 2027 conference! The Executive Board, ensemble managers, and conference planning team have been working diligently behind the scenes to craft an inspiring, seamless experience for our students and membership alike.

All-State Venue News for 2027: All-State Returns to the Hult Center! We are thrilled to announce that for the first time since January 2018, OMEA All-State performances are returning to the Hult Center for the Performing Arts! Over the past several years, we have been deeply grateful to all of the partner venues across Eugene that stepped up and hosted our All-State ensembles. We initially transitioned away from the Hult Center due to scheduling conflicts with the national touring Broadway circuit as well as venue cost increases. Thanks to the tireless dedication of Erika Lockwood, our OMEA Past-President, over the past 18 months, we now have the incredible opportunity to bring our ensembles back to this premier hall. Erika and the team worked diligently with Hult Center management to negotiate an achievable pricing structure for our organization and families. While future conference years may still be subject to touring theater schedules, for 2027 we are overjoyed to give our students the unforgettable experience of making music in this world-class, state-of-the-art venue!

All Hands on Deck: Member Volunteers Needed at the Hult

• Saturday, January 16 • 5:00 PM: High School Jazz Band (Soreng Theater) • 5:00 PM: Elementary Honor Choir (Silva Concert Hall) • Sunday, January 17 – High School Gala Concerts (Silva Concert Hall) • 1:00 PM: High School Instrumental Concert • 4:30 PM: High School Choral Concert

2027 OMEA All-State Ensemble Conductors The All-State managers have put together a stellar lineup of guest conductors to inspire and create music with our 1,200+ student musicians:

Elementary School • Choir: Raymond Sexton, Troy University (Alabama)

Middle School • Band: Tyler Grant, Tyler S. Grant Music Works, LLC (Georgia) • Orchestra: Veronica Jackson, Alexandria City High School (Virginia) • Tenor-Bass Choir: Dr. Bridget Sweet-Manternach, University of Illinois Urbana-Champaign • Treble Choir: Marcela Molina, University of Arizona

High School

Part of our partnership with the Hult Center requires that OMEA provide our own support team during the weekend. To make this event a success, we will need OMEA member teachers to step in as ushers and backstage chaperones. An all-call will go out in December and early January with signup opportunities. In addition, All-State managers may reach out directly for extra hands to help move equipment and guide ensembles as they transition from their rehearsal venues to the Hult Center for dress rehearsals and performances. We appreciate your willingness to serve in this capacity—it will take an "all hands on deck" community effort to pull off this grand return!

• Jazz Band: Annie Booth, University of Colorado Boulder

2027 All-State Concert Schedule at the Hult

Each of these conductors will also be presenting clinic sessions during the conference, and they look forward to connecting with you. I encourage you to attend their presentations throughout the weekend!

Mark your calendars for an extraordinary weekend of culminating performances across both Hult Center performance halls: • Friday, January 15 – Middle School Gala Concerts (Silva Concert Hall) • 5:00 PM: Middle School Instrumental Concert • 7:00 PM: Middle School Choral Concert

• Symphonic Band: Ricky Badua, California State Polytechnic University, Pomona • Wind Ensemble: Linda Moorhouse, University of Illinois Urbana-Champaign • Orchestra: Evan Harger, The University of North Carolina at Chapel Hill • Treble Choir: Dr. Iris S. Levine, VOX Femina Los Angeles • Mixed Choir: Joseph Kemper, St. Olaf College (Minnesota)

You are also invited to observe rehearsals. Watching master educators connect with an ensemble in such a short window remains one of the most rewarding aspects of the All-State experience, and these observation hours count toward your Professional Development Units (PDUs). While seating may be limited in select venues, ensemble managers will be on hand to guide you. Exact rehearsal times and room locations will be posted in the Guidebook.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

Updates for 2027 Returning for a 4th Year: All-State Scholarship Lottery To continue breaking down financial barriers and expanding access across our state, the OMEA Executive Board will once again hold the All-State Scholarship Lottery. One deserving student from every OMEA District will be selected to receive a 50% tuition scholarship toward their registration fee. Students must be accepted into an ensemble and opt into the drawing during the registration window. Selected recipients will be notified by email, and the award will be reflected directly in Opus before payment is finalized.

Registration Timeline & Opus Details Our streamlined registration window continues this year to ensure music reaches students as quickly as possible for preparation:

• Refund Policy: Audition fees are non-refundable. Once students register, funds are committed to non-refundable venue and event operations. Please review the OMEA Refund Policy under the "All-State Event Information" tab online. • Travel Insurance: Families may want to consider thirdparty travel insurance (such as Allianz, Faye, or Travelex) to protect their investment against unexpected cancellations or travel disruptions. If you have questions or suggestions related to the student experience at All-State, please email Kristi at allstatechair@ oregonmea.org. Thank you to everyone for supporting your students throughout the audition process, and a tremendous thankyou to our OMEA All-State managers and logistics team. We look forward to seeing you at the Hult Center in January!

• October 21: Acceptance and placement results sent via Opus (noreply@opusevent.com). All applicants (accepted and unaccepted) will receive notification. Please remind families to check spam/junk filters. • October 21 – November 1: Registration window open. Payment must be finalized by 11:59 PM on November 1. If an accepted student declines, please notify OMEA immediately so an alternate can be invited. • November 2 – November 15: Add/ drop and alternate registration window. • November 20: Sheet music and student information packets distributed to directors via email/ mail. Please distribute to your All-State students as soon as possible. • January 14 – 17, 2027: OMEA All-State Conference and Performances in Eugene, Oregon. Registration Accuracy: Please ensure parents and guardians complete all contact details, emergency numbers, and medical notes accurately in Opus.

Important Reminders • Teacher Attendance: Per OMEA policy, any director with participating students must register for and attend the conference. Full details are outlined in the Policies & Procedures section on the OMEA website.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

Making the Workforce Case for Music Education:

ARTS ED & DURABLE SKILLS Laura Arthur OMEA Public Policy Chair

For decades, music educators and arts advocates have articulated the many ways music education contributes to students' development. We know that students learn to listen critically, collaborate with others, solve problems, communicate ideas, respond to feedback, persist through challenges, and adapt when circumstances change. We also know that students develop these capabilities while engaging in something that is intrinsically meaningful: making music. A new report from the Arts Education Partnership, Arts Education, Durable Skills and Workforce Success, provides an important framework for communicating these outcomes to audiences beyond the music classroom. For music educators engaged in advocacy, the report offers particularly useful language for connecting music education to one of the most frequently cited priorities in education policy: preparing students for an uncertain future of work. The report begins by painting a picture of a changing economic and technological landscape. Advances in AI, economic uncertainty, environmental changes, and social and political disruption are changing both the nature of work and the skills employers seek. The report distinguishes between technical or “hard” skills associated with particular occupations and what it calls durable skills, or the capabilities that remain valuable across occupations and changing circumstances. These include creativity, empathy, complex problem-solving, communication, collaboration, critical thinking, adaptability, and related competencies (Arts Education Partnership [AEP], 2026). The distinction is significant for arts educators because it provides a way to describe an essential feature of arts learning without reducing the arts to preparation for a particular occupation. According to the report, an analysis of 76 million U.S. job postings from 2023 and 2024 found that employers requested durable skills in 76% of jobs, with nearly half requesting three or more such skills. At the same time, the report cites a projection that 39% of workers' existing skills will become outdated between 2025 and 2030. As technical skills change rapidly, the report identifies increasing demand for capabilities such as creative thinking, resilience, flexibility, and curiosity. In other words, the workforce case for education is not limited to teaching students what they need to know today. It increasingly includes developing students' capacity to learn, adapt, communicate, create, and solve problems as circumstances change (AEP, 2026). This is where music education has an especially compelling story to tell.

From “Benefits” to Demonstrable Learning One challenge in arts advocacy is that music educators often communicate the value of their programs through broad statements about benefits. “Music builds confidence”. “Music teaches teamwork”. “Music develops creativity.” While these statements are certainly true, they can be difficult for decisionmakers to translate into educational practice or policy.

The AEP report provides a more useful approach: identify the specific skills being developed and connect them to observable learning experiences, especially those found in music and arts classrooms. The report finds substantial convergence between in-demand durable skills and the artistic processes and anchor standards (Creating, Performing, Responding, and Connecting) contained within the National Core Arts Standards. These processes require students to generate and refine ideas, interpret and evaluate information, communicate meaning, collaborate with others, respond to feedback, and connect artistic work to personal, cultural, and societal contexts (AEP, 2026). For music educators, these connections are readily apparent in everyday classroom practice. When an ensemble identifies an interpretive problem and experiments with possible solutions, students are engaging in creative thinking and problem-solving. When musicians adjust balance, articulation, tempo, or phrasing in response to what they hear, they are analyzing information, evaluating outcomes, and adapting their approach. When students rehearse as an ensemble, they must establish shared goals, communicate, listen actively, accept accountability, resolve disagreements, and build trust. When a student receives critical feedback, revises a performance, and attempts the passage again, that student is practicing resilience, self-awareness, adaptability, and reflective learning. These are not hypothetical workforce connections. They are already embedded in high-quality music instruction. This creates the approachable advocacy opportunity – not to add to what music educators are already doing, but instead to become more intentional about naming what students are learning while they do it.

The Ensemble as a Durable-Skills Laboratory The ensemble provides perhaps one of the clearest examples of the relationship between comprehensive music education and durable skills. As a note – while many people only associate “ensembles” with traditional secondary band/choir/orchestra, we must remember that an elementary music classroom is also an ensemble, as are Modern Bands, mariachi groups, and other emerging ensembles. A successful ensemble cannot function through individual achievement alone. Students must understand their own responsibilities while simultaneously attending to the work of others. They must listen, adjust, respond, communicate, and make decisions within a shared artistic context. The AEP report specifically identifies ensemble work as an environment built upon trust, communication, and shared goals. It also connects arts learning to skills such as accountability, follow-through, conflict management, delegation, active listening, relationshipbuilding, and openness to others' ideas (AEP, 2026).

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

Rather than saying, “Band teaches teamwork,” we can explain that ensemble performance requires students to establish shared goals, listen actively, respond to feedback, manage individual responsibilities, and coordinate their decisions with those of a larger group. Rather than saying, “Choir builds confidence,” we can describe how students develop the capacity to communicate ideas, accept constructive feedback, recover from mistakes, and perform publicly. Rather than saying, “Orchestra teaches perseverance,” we can describe the iterative process through which students identify challenges, test strategies, evaluate results, and refine their work. The distinction is important. Advocacy becomes stronger when we move from claims about music education to evidence of what students actually do through the course of their music education.

The Workforce Argument Should Complement, Not Replace, the Educational Argument There is an important caution in using workforce language as an advocacy strategy – music education should not have to justify its existence solely because it produces desirable employees. All music educators know the skills and learning outcomes that students experience as part of a comprehensive music education are broader than workforce preparation. All students across Oregon and the country deserve opportunities to create, perform, understand culture, express themselves, develop artistic identities, and experience the intellectual and human dimensions of music. The AEP report supports this broader perspective. It describes high-quality arts education as serving multiple purposes: developing technical artistic skills, fostering creativity, providing perspective for understanding the world, and creating opportunities for students to engage with communities and social issues. The report also identifies benefits associated with observation, innovation, critical thinking, communication, collaboration, and work ethic (AEP, 2026). The workforce argument should therefore be viewed as one advocacy frame among several, rather than the sole justification for music education. This distinction is particularly important when communicating with different audiences: • A parent may be most interested in belonging and confidence. • A student may care about creative expression and relationships. • An administrator may be interested in student engagement and transferable skills. • A school board member may be thinking about student success and community priorities. • A legislator may be focused on workforce readiness and economic development. Effective advocacy does not require us to choose one of these narratives. It requires us to understand that different audiences may need different entry points into the same fundamental argument: music education contributes to the development of well-rounded, capable, and adaptable human beings.

A Practical Advocacy Tool for Music Educators The AEP report can become particularly useful when educators translate its findings into language they can use throughout the school year. A teacher does not need to become an expert in workforce policy or distribute a 15-page report to every stakeholder. Instead, the report can serve as a source of shared language and evidence. For example, before a concert, a program might communicate that students are not simply preparing repertoire; they are developing their ability to establish shared goals, communicate, respond to feedback, and refine their work. During recruitment, educators might explain that music provides students with authentic opportunities to practice creativity, problem-solving, collaboration, and adaptability. In conversations with administrators, teachers can describe how ensemble participation provides repeated opportunities for students to manage responsibilities, respond to changing conditions, and work toward a common outcome. When speaking with legislators or school board members, educators can connect these classroom experiences to the durable skills identified by employers and reflected in many contemporary “Portrait of a Graduate” frameworks across Oregon’s school districts. The report also provides a useful bridge between music education and broader conversations already occurring in schools. The report notes that an analysis of 272 district-level Portraits of a Graduate across 36 states found that durable skills appeared in more than 95 percent of the frameworks. Common competencies included critical thinking and problem-solving, social awareness, communication, selfmanagement, collaboration, and creativity and innovation (AEP, 2026). For music educators, this creates a practical advocacy question: If these are the skills our schools say they want every graduate to possess, where are students developing them? Music classrooms should be part of that answer.

From Individual Advocacy to Systems Advocacy: OMEA Is Here to Help Within the report, AEP also identifies six system-level policies that should guide state and local education leaders as they develop and protect access to arts programs. These include building “Portrait of a Graduate” frameworks that recognize the durable skills developed through arts learning, implementing career-connected and applied learning, creating flexibility in student pathways, and strengthening the policy infrastructure that supports learning within the arts classroom. For individual music educators, engaging in this level of policy work can feel daunting, particularly alongside the already demanding responsibilities of teaching. This is precisely why systems-level advocacy is emerging as a priority for OMEA. Rather than expecting every music educator to become a policy expert or advocate independently, OMEA can bring the collective voice of music educators to these larger conversations, translate research and policy developments into accessible resources, and advocate at the state and system levels on behalf of educators and students.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

At the same time, educators are always welcome to participate in ways that feel meaningful and attainable to them. For some, that may mean simply staying informed through OMEA communications. For others, it may mean sharing a local story, responding to an advocacy action, attending a meeting, connecting with a legislator, or participating more directly in OMEA’s advocacy efforts. The goal is not to add another responsibility to an already full workload, but to create multiple entry points for educators who want to contribute to a collective effort. The AEP report also identifies barriers that will be familiar to Oregon educators: teachers are stretched thin, resources are limited, instructional requirements can constrain flexibility, and statewide alignment among policy, resources, educators, communities, and leadership remains challenging. The report argues that state policy is an important lever for addressing these barriers (AEP, 2026).

Music education does not need to become something other than music education to make this case. The elementary music classroom, the concert stage, the composition process, the individual practice session, and the ensemble already provide authentic environments in which students develop creativity, communication, collaboration, critical thinking, problemsolving, adaptability, resilience, and self-awareness. Our responsibility as advocates is to make that learning visible.

Reference Arts Education Partnership. (2026). Arts education, durable skills and workforce success. Education Commission of the States. https:// www.aep-arts.org/wp-content/uploads/Arts-Education-DurableSkills-and-Workforce-Success.pdf

This is where the report becomes more than a resource for defending individual music programs. It provides a citable, researchbased framework that OMEA can use to advocate at the systems level, demonstrating that access to high-quality arts education is part of the infrastructure necessary to achieve the broader outcomes schools and states say they value.

A More Complete Story About Why Music Education Matters The current environment requires music educators to communicate the value of their programs clearly and consistently. In Oregon, where decisions about the structure and availability of arts education can vary considerably among districts, advocacy cannot begin only when a program is threatened. Communities need to understand the educational purpose of music before difficult decisions occur. The Arts Education, Durable Skills and Workforce Success report gives music educators a contemporary vocabulary for that work. It provides evidence that the skills developed through arts and music education align with skills increasingly emphasized by employers, schools, and policymakers. More importantly, it provides a framework for making the learning already occurring in music classrooms visible to people who may not understand what that learning looks like. The most effective advocacy can begin with a simple shift in how we describe our work. We should of course continue telling people that music education matters, but we should also be prepared to explain how it matters, what students are actually learning, and why those capabilities matter beyond the music classroom.

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STRENGTH IN NUMBERS

A Starting Point for Data Collection for your Program Stephen Marshall OMEA Advocacy Chair

Your program is awesome. Your program makes a difference. You work extremely hard to provide your students with a program that probably would take the work of several people, and still your administration, community, co-workers, or school board members might not see it. In the absence of specificity in our advocacy, we open ourselves to being overlooked or passed over for louder voices. Behind closed doors, uninformed decision makers take the totality of the many disciplines of Music Education required to offer a robust and complete music program that elevates our ENTIRE education system, and turn it into a box to check that says that they offer “music”. Pathos is an important part of telling the story of our impact, but ethos are essential in putting it into quantifiable terms. Laura Arhtur, our Public Policy Chair, has started to develop a larger network of Music Education Program data in our state, with the long-term goal of using that information to help advocate for your programs at the state and federal level, and to make that information readily accessible to our membership. However, no data will be more valuable to you, than your own specific data.

to a broad audience. Obviously not all of these will apply to all program types, but, in particular, access to elementary Music Education impacts ALL grade levels. So feel free to ask beyond just your building if you are a secondary teacher. Access • Number of students enrolled in music • Participation rate by grade • Participation by school • Participation over the past 5–10 years • Beginning vs. advanced ensembles • Retention from year to year • Number of students in multiple music courses Achievement • Grade point averages • State assessment performance in reading and mathematics

Without more preamble, these are some suggestions for how to start a conversation with your leadership to get the information that describes your impact, and a reminder to share it with your administration, co-workers, families, and community. There is strength in numbers, both in numbers you can collect that describe your program, and in the number of voices you bring in to share that information. There is no perfect message that will speak to everyone, so get enough information to have the answers your audience is looking for. Whatever result any stakeholder in education is looking for, it is almost certainly found through your classroom.

• Course completion or pass rates

Who Should You Ask? A great place to start may be your district or school’s Research and Evaluation, Assessment, or Data Services department. Depending on the size of your district or school, these responsibilities may also fall under the Director of Teaching & Learning, Chief Academic Officer, or a district data analyst. If you're unsure where to begin, your principal or district office can usually point you in the right direction.

• Student retention from one year to the next

When making your request, be clear that you are seeking aggregate, program-level data rather than information about individual students. District staff are accustomed to providing de-identified reports that protect student privacy while still offering meaningful insights.

Remember, the goal is not to prove that music alone causes these outcomes. Instead, the data helps illustrate how music programs contribute to the broader educational mission and why they deserve continued investment.

What Data Should You Request? Rather than asking for every available report, focus on a handful of measures that align with common district priorities. We know large data sets consistently show positive relationships between music access and student learning outcomes, but more and more we are seeing skepticism at micro levels to support programs as fully as necessary and being ready to have those conversations with the information that speaks loudest to your stakeholders is critical. Here are some suggestions that speak

Student Success • Graduation rates (for secondary programs) • Discipline referrals or suspensions • Advanced coursework participation, if available Participation (for elective programs) • Music enrollment by grade level • Participation rates over the past several years Attendance • Average daily attendance • Chronic absenteeism rates These measures help tell a more complete story about how music students are thriving both inside and outside the classroom.

Start Small Don't feel like you need years of research before beginning your advocacy efforts. Even a few simple data points collected annually can reveal meaningful trends over time. As your district becomes familiar with your requests, you may be able to expand your reports and develop a dashboard that tracks your program's growth year after year.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

Sample Email Subject: Request for Aggregate Music Program Data

STUMPTOWN STAGES 2026 2027 MUSICAL SEASON

Hello, I am working to better understand and communicate the impact of our music program(s) and was hoping you could help. Would it be possible to provide aggregate, deidentified data comparing music participants with the overall student population in the areas of participation, attendance, academic achievement, and student success (such as graduation or discipline, where applicable)? I am looking for program-level information only and do not need any personally identifiable student data. Any reports or guidance you can provide would be greatly appreciated. I would love to discuss this further with you and can provide more specific requests. Thank you for your time and support. In Conclusion Start getting this information. Share it with us (please, advocacy@oregonmea.org). Send a report home to families. Have families share it with your school board. Bring it to meetings with your administrators. If your data isn’t sharing the story we know it can, we want to provide you with similar examples to make the case for you getting more support, for the benefit of your leadership. It is in THEIR best interest to utilize Music Education to better your school. Contact the advocacy or public policy team and we can try to give you comparative data to show what the impact could be. As we build a network of information, we help ourselves, our students, and each other. Good Luck!

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A FOUR-PART SERIES ON EQUITABLE PRACTICES Dr. Roque Diaz Founder, Progressing Forward, LLC

All parts reprinted with permission from National Association for Music Education (NAfME). The original article published on July 25, 2025 can be found here: https://nafme.org/blog/culturalappropriation-versus-cultural-appreciation-in-the-arts/ As we are in the midst of the start of the school year, here are some great reminders of ways we can implement equitable practices in our classrooms. Part One

Cultural Appropriation versus Cultural Appreciation in the Arts As educators and professionals in various creative fields, it is crucial to understand the impact of our work on different cultures and to foster a respectful and inclusive environment. A few related thoughts on this topic: Defining Cultural Appropriation: Cultural appropriation refers to the adoption, borrowing, or imitation of elements from another culture, often without proper understanding or respect for its historical or social context. It can perpetuate stereotypes, commodify traditions, and even lead to the erasure of underrecognized voices. As arts educators, we must be mindful of the power dynamics at play and recognize that cultural expressions are deeply rooted in personal and collective experiences. Embracing Cultural Appreciation: On the other hand, cultural appreciation involves genuinely recognizing, respecting, and celebrating cultures. It involves engaging with cultural practices, traditions, and art forms in a way that honors their origins and empowers the communities from which they originate. By appreciating different cultures, we can foster cross-cultural understanding, promote diversity, and create meaningful connections through our artistic endeavors. Navigating the Arts: In the realm of arts, it is essential to approach cultural influences with sensitivity and ethical considerations. Here are a few key points to keep in mind: • Educate Yourself: Take the time to learn about the history, significance, and context of the cultural elements you wish to incorporate into your work. Understanding the cultural background helps avoid misrepresentation and promotes appreciation. • Collaboration and Empowerment: When exploring cultural themes, consider collaborating with stakeholders from those cultures. Their perspectives and insights can enrich your work while ensuring authenticity and inclusivity. • Give Credit Where It's Due: Acknowledge and credit the cultural influences in your art. Highlighting the origins of your inspiration shows respect and helps raise awareness about different cultures.

• Amplify Underrecognized Voices: Instead of appropriating cultural practices, use your platform to amplify underrecognized artists and their work. This promotes inclusivity and allows for authentic representation within the arts community. Striving for Cultural Exchange: Ultimately, our goal should be to foster a culture of genuine appreciation and respectful exchange. By actively engaging in conversations about cultural appropriation versus cultural appreciation, we can create a more inclusive artistic landscape that celebrates diversity, equity, inclusion, access, and promotes understanding. Part Two

Embedding Diversity, Equity, Inclusion, and Access (DEIA) in Repertoire Selection Striving for Representation As music educators, it is our responsibility to ensure that our artistic choices are equitable, inclusive, and representative of the world we live in. Representation matters. When selecting repertoire, it is crucial to consider the backgrounds, experiences, and perspectives of our students/audiences. By including works that reflect a wide range of cultures, identities, and narratives, we create an inclusive, representative, and welcoming environment for all. Few thoughts: Reexamine Your Selection Process to Embed DEIA Concepts into Repertoire Selection Take a moment to reflect on your current selection process. Are there any biases or limitations that may hinder equitable representation? Consider implementing the following strategies: • Research and Explore: Delve into various artistic traditions, styles, and genres from different cultures and communities. Broaden your knowledge and understanding of different artistic expressions to expand your repertoire options. • Collaborate with Artists: Engage with artists from different backgrounds and communities during the selection process. Their insights and perspectives can help identify works that authentically represent their cultures and experiences. • Seek Community Input: Involve your local community in the selection process. Conduct surveys, hold focus groups, or establish advisory committees to gather feedback on repertoire choices. This collaborative approach ensures that the programming resonates with your students. • Prioritize Historically Underrecognized, Excluded, and Marginalized (HUEM) Artists: Actively seek out works by HUEM artists, including BIPOC (Black, Indigenous, and People of Color), LGBTQ+, differently-abled, and other marginalized communities. Elevate their voices and contribute to a more equitable music landscape.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

• Intersectionality Matters: Recognize that individuals have multiple identities that intersect within themselves. Aim to include works that explore the intersections of race, gender, sexuality, ability, and other aspects of identity. • Balance Traditional and Present-Day Works: Blend traditional masterpieces with present-day creations that reflect the evolving cultural landscape. This balance allows for a dynamic repertoire that speaks to your students/ audiences. • Education and Context: Provide educational materials or pre-performance talks that offer historical and cultural context for the selected works. This enhances audience understanding and appreciation of different artistic traditions. • Engage in Dialogue: Create spaces for open dialogue and conversation about the repertoire choices. Encourage student/audience feedback, host panel discussions, or facilitate Q&A sessions to foster a deeper connection between artists and the community. Let's continue to challenge ourselves to embrace DEIA, amplify HUEM voices, and celebrate the richness of our collective human experience through the power of music. Part Three

Embracing Diversity, Equity, Inclusion, and Access (DEIA) in the Audition Process As we strive for progress and inclusivity in music education, it is crucial that we create audition processes that prioritize equity and provide opportunities for historically underrecognized, excluded, and marginalized individuals. By embracing DEIA and balancing representation, we can enrich our musical ensembles. Here are some key considerations to foster a more inclusive audition process: • Expand Outreach and Engagement Efforts: To ensure a varied pool of talent, it is essential to actively reach out to communities that have been historically underrecognized. Collaborate with community organizations, schools, and outreach programs to connect with individuals who may not have had access or awareness to audition opportunities. By cultivating our networks, we can uncover talents and perspectives. • Reevaluate Audition Requirements: Traditional audition requirements may unintentionally or intentionally exclude certain individuals or perpetuate biases. Consider revising audition criteria to align with the organization’s/institution’s mission, values, and other DEIA areas to establish a sense of belonging. This allows for a more inclusive evaluation process. • Balanced Representation in Audition Panels: The composition of audition panels plays a vital role in ensuring equitable representation. By intentionally and actively seeking out panelists from different ethnicities, genders, abilities, and cultural backgrounds, we can minimize unconscious biases and provide a more balanced evaluation. • Foster Inclusive Spaces: Create an environment where performers feel safe and comfortable to express themselves.

Encourage open dialogue, actively listen to concerns, and address any instances of discrimination or bias promptly. By fostering a supportive atmosphere, we can empower performers from historically underrecognized, excluded, or marginalized communities to shine and thrive. • Provide Mentorship and Development: Recognize that historically underrecognized, excluded, or marginalized individuals may face unique challenges due to systemic barriers. Offer mentorship programs and development opportunities to help them navigate the industry successfully. By investing in their growth, we can foster a more inclusive and equitable music education community. • Regularly Evaluate and Adapt: Embracing DEIA is an ongoing journey. Regularly assess your audition process, seek feedback from participants and other stakeholders to make necessary adjustments to address any shortcomings. Continuously learning and evolving will help create a more inclusive and representative performing arts landscape. Let's commit ourselves to creating audition processes that celebrate DEIA, promote inclusivity, and provide opportunities for those who have been historically underrecognized, excluded, and marginalized. Part Four

Recognizing and Addressing Bias in Repertoire Choices for Music Educators As music educators, we have the incredible responsibility of selecting repertoire that not only showcases the talents of our students but also reflects the culturally diverse world we live in. However, it's important to recognize that our personal biases and unawareness can unintentionally influence our choices. To ensure we provide a well-rounded and inclusive curriculum, we must actively work to check our biases. Here are some strategies to help us navigate this process: • Self-reflection: Start by acknowledging that we all have biases, whether conscious or unconscious. Take the time to reflect on your own preferences and consider how they may impact your repertoire choices. Ask yourself: Am I favoring certain genres, styles, gender, or artists based on my personal background or experiences? • Expand your sources: Develop your resources and seek out a wide range of perspectives. Look beyond your own cultural background and explore works from different regions, ethnicities, and time periods. Engage with artists and educators from different backgrounds to gain new insights and recommendations. • Engage in dialogue: Foster open conversations with colleagues, students, and parents about the repertoire choices. Encourage feedback and actively listen to different viewpoints. This collaborative approach will help you gain a more comprehensive understanding of the impact your selections may have on various communities. • Research and educate yourself: Take the time to research the historical context, cultural significance, and representation within the repertoire you are considering. Understand the stories behind the pieces and their potential impact on different communities. This knowledge will enable you to make more informed decisions.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

• Embrace inclusivity: Strive to include a wide range of voices and perspectives in your repertoire. Seek out works created by underrecognized artists, composers, and playwrights. By expanding the voices we showcase, we create a more inclusive and empowering environment for our students.

A professionally trained trumpeter, Dr. Diaz has performed internationally in orchestral, chamber, jazz, and Latin music settings. His leadership is shaped by a commitment to ensuring that future generations experience more inclusive and culturally responsive environments.

• Seek external input: Consider consulting with experts, organizations, or cultural institutions that specialize in promoting diversity, equity, inclusion, and access (DEIA) in music education. Their expertise can provide valuable guidance and help ensure that your repertoire choices align with best practices.

He currently serves on several nonprofit boards and advisory groups focused on arts, education, and social justice, bringing expertise in governance, strategic planning, fundraising, and inclusive leadership.

• Regularly reassess: Continuously evaluate your repertoire choices and be open to adjusting as needed. As societal norms evolve, so should our curriculum. Stay informed about current conversations surrounding representation in music education to ensure that your choices remain relevant and inclusive.

Follow Dr. Diaz on his LinkedIn page to learn more about DEI across the arts here.

By recognizing our biases and implementing these strategies, we can create a more inclusive and enriching music education experience for our students. Let's embrace DEIA, challenge our preconceptions, and empower our students to explore the vast world of artistic expression. Together, we can make a positive impact in shaping the future of music education.

About the author: Dr. Roque Diaz is a seasoned executive leader with over two decades of experience in education, arts administration, and diversity, equity, and inclusion (DEI) strategy. A firstgeneration, neurodivergent Puerto Rican, Dr. Diaz brings a deeply personal and systemic approach to advancing equity across sectors. He previously served as the Senior Director of DEI at MacPhail Center for Music, where he led the organization's equity strategy, integrated DEI into a $25M capital campaign, and secured the largest grant in the institution’s history. He also launched innovative statewide education programs and built partnerships that expanded access to high-quality music education for historically underserved communities. Dr. Diaz is the Founder of Progressing Forward, LLC, a consulting firm dedicated to inclusive systems change, strategic planning, and capacity building across nonprofits, schools, and arts organizations. His work helps institutions move from transactional DEI efforts to sustainable, equity-driven impact.

Vancouver Eugene Albany

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

TUNING THE HUMAN INSTRUMENT Balancing Director and Program Health Frank Petrik OMEA Band Chair

As music educators, we spend countless hours tuning instruments, fixing intonation, and balancing sections. We plan logistics, half-time shows, and manage budgets down to the last penny. We rarely apply that same precision to our most important instructional tool…..ourselves. We are engineers at balancing the ensemble, but may be completely out of tune when it comes to our own lives. I know this struggle well. Looking back over my 28-year career in music education, I hit a massive wall around year 15. I was exhausted, overwhelmed, and completely out of balance. I realized that if I didn't make a shift in how I managed my time and energy, I wasn't going to make it to retirement. I had to completely restructure my approach to teaching to ensure my personal health and the longevity of my career. The old-school martyr complex of the band director is a broken, unsustainable model. You know the drill, the director who practically lives in the band room, survives entirely on concession stand nachos, and sacrifices their personal life for their program. It is time to retire that script. Prioritizing your well-being is not a luxury, it is a professional responsibility. When you burn out, the music stops. To keep your ensemble thriving, you must balance personal health with programmatic vitality. Micro-Habits for the Podium Although it would be nice, you do not need a three-week vacation to practice self-care. Wellness is built through small, intentional, maybe slightly ridiculous boundaries into your daily routine: • The 5-Minute Rehearsal Reset: Before the morning chaos begins, sit on your podium. Close your eyes. Breathe. Ignore the percussionist hitting a random brake drum in the corner. Just ground yourself for five minutes. • The Silent Commute: Use your drive home as a psychological buffer zone. Turn off the radio and the podcasts. Drive in total silence to separate the school day from your home life. Your ears deserve the break.

• The Instrument Swap: Spend 10 minutes of your planning period playing an instrument that isn’t your primary. Try to squeak out a scale on an oboe or buzz on a tuba. This reconnects you to raw, fun, curiosity. Shared Leadership, Shared Peace Balancing your life also means structuring your program to share the lift. Stop trying to do it all. Empower your student leaders by delegating logistics and other duties that allow you to focus on the music. If a student can do it, a student should do it. Shift your definition of success away from grueling perfectionism and toward sustainable growth and musical joy. When you model healthy boundaries, you teach your students how to love music for a lifetime, rather than teaching them how to become exhausted. You cannot pour from an empty cup, and you certainly cannot conduct with one. This school year, give yourself permission to step off the podium, take a breath, and recharge. Your band and your future self will thank you for it!

Western Oregon University offers outstanding opportunities for music majors, minors, and students who want to keep music as part of their college experience.

Thousands of dollars in scholarships are available to music majors.

• The Walk: Step away from your desk during your planning period. Spend 10 minutes walking around the school courtyard without your phone. Let your mind drift completely away from permission slips and instrument repairs.

Earn your Bachelor of Music or Bachelor of Arts degree in four years with concentrations in Music or Music Education.

• The Hydration Station: Keep a dedicated water bottle on your podium. Make a rule to take a sip every time you say "one last time" and actually mean it. You will stay incredibly hydrated. Prepare healthy snacks to accompany the water.

You can also audition for one of our outstanding ensembles!

• The Absolute Exit: Pick two days a week to leave the building exactly 30 minutes after the final bell. Treat this boundary as commitment to your sanity. School will still be there tomorrow. • The 3-Minute "Guest Conductor" Break: Invite a trusted student leader to take the podium for a few minutes of a rehearsal block. Let someone else drive the bus for a moment.

Stay updated on scholarship opportunities. Scan this QR code or contact us at music@wou.edu or 503-838-8461. wou.edu/music

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CHANGES TO THE OSAA QUALIFYING AND STATE CHOIR EVENTS For the 2026-2027 School Year Kathy Briggs OMEA Choral Chair

There are many changes being implemented this year to Oregon high school choir state qualifying contests and the OSAA State Choir event. All high school choir directors are encouraged to read the OSAA Choir Handbook in its entirety to be well-informed. • OSAA Choir Website: www.osaa.org/activities/cho • OSAA Choir Handbook: www.osaa.org/docs/handbooks/ chohandbook.pdf • Oregon ACDA Website: www.oregonacda.com

Changes Qualifying Choirs The OSAA proposed combining 1A/2A/3A categories. Due to strong opposition from ACDA and school districts across the state, that proposal did not pass. The categories will remain the same. However, despite strong opposition from the ACDA and choir directors, OSAA reduced the number of qualifying ensembles. See 3.4.1 - A maximum of 20 - 6A choirs, 12 – 5A choirs, 10 – 4A Choirs, 6 – 3A Choirs and 8 - 2A/1A choirs shall be scheduled to perform at the state championship. Qualifying Scores for State To qualify for State a choir must receive a score of 81 or higher from two of the adjudicators. See 3.3.1. Choirs in a state qualifying event or league event are still ranked by their combined (not averaged) judges’ scores in the contest report sent to OSAA to determine the league automatic qualifier and help determine which qualifying choirs are selected from the tape pool. This process has not changed. The rule that the league champion choir must also have an average score of 85 or higher from the three adjudicators has been removed. There was a previous change to “4.9.1 Awards” regarding awards given at qualifying festivals that has now reverted back to the original rule. The rule had previously been changed to ratings (Superior, Excellent, Good, Fair, Limited) awarded at qualifying festivals being determined by the average of the three judges' scores. This rule has been reverted to its original language of rankings and that rankings at qualifying festivals are determined by adding (not averaging) the total of the three scores. See 4.9.1 Neither rankings nor ratings shall be posted publicly but only shared with directors for their group only. See 4.9.3 Ratings (not rankings) at State ACDA conducted two surveys, both which indicated a strong majority of our state’s high school choir teachers desired a move to a rating system instead of a ranking system at the OSAA State Choir event. ACDA made a proposal for this change to the OSAA Championship. The OSAA Championship Committee met this past spring to hear feedback on the proposal. The championship committee took into consideration the survey results, several letters to the OSAA committee, and in-person/ zoom testimonials from choir directors and students at the meeting. The proposal was approved. See 6.12. Awards will be determined by the average of the three judges scores plus the sight-reading score. All choirs that earn a Superior rating at State will be presented with an OSAA trophy.

New Adjudication Rubric ACDA collaborated with renowned conductor and adjudicator Dr. Angela Kasper to create a new, improved adjudication scoring rubric. The new accessible and user-friendly rubric and rationale were shared with choir teachers at the August 2026 ACDA Summer Workshop. Per OSAA rules, judges at all qualifying festivals statewide must use the new rubric. All currently certified choral adjudicators are still eligible to adjudicate qualifying contests until their certification expires. However, it is strongly recommended that they attend an ACDA training this year to familiarize themselves with the new rubric. Qualifying festival hosts are strongly encouraged to check with their hired adjudicators to ensure they are familiar with the new rubric far in advance of their event. Adjudication training and certification workshops to learn about and work with this new rubric are scheduled for Oct 17 in Salem, at the OMEA conference in Eugene in January, and online in February. Current adjudicators not yet due to re-certify will be able to attend these workshops free of charge to receive training on the new rubric. See the OSAA website and the ACDA website for the new adjudication rubric and rationale. Updated Sight-Reading Rubric The sight-reading rubric language has been changed regarding the wording around errors. It has been clarified to read "total amount of errors" instead of "errors per part". See the OSAA website and the ACDA website for the updated sight-reading rubric.

FAQs Why did the OSAA reduce the number of qualifying schools selected to perform at State? The OSAA championship threshold task force asked the OSAA state championship committee to lower the percentage of participating team sports, individual sports, and activities competing at state to 30%-40%. According to OSAA, this promotes equity across team sports, individual sports, and activities. Why did the ACDA/OSAA change the state contest from rankings to ratings? This has been a topic of discussion for decades among Oregon high school choir teachers. ACDA conducted two surveys of our state music teachers – one in 2021 and another in 2025/2026 – both which indicated a strong majority of our state’s high school choir teachers desired a move to a rating system instead of a ranking system at the OSAA State Choir event. The 2021 survey results showed 78.4% in favor of the change. The 2025/2026 survey received responses from 71 Oregon high school choir directors from all parts of our state, representing small and large schools, 1A-6A. 64 teachers were in favor and 7 were opposed, showing 90% of teachers are in favor of this change. Based on this data from our Oregon high school choir teachers, ACDA made a proposal for the change to the OSAA Championship Committee. The OSAA Championship Committee met this past spring to hear feedback on the proposal. The championship committee took into consideration the survey results, several letters to the OSAA committee, and in-person/zoom testimonials from choir directors and students at the meeting. The proposal was approved.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

Why are there still rankings at qualifying events if we no longer have them at the state event? Rankings are still needed at qualifying events to determine which outstanding choirs are invited to perform at the OSAA state choir event. The automatic qualifier is determined by rankings, and the ranking of the choirs with qualifying scores is needed to help determine who is selected from the tape pool. Are rankings shared at qualifying contests now? No. Rankings from qualifying events will be shared only with OSAA to determine automatic qualifiers and qualifying tape pool choirs. Neither rankings nor ratings will not be posted but only shared with directors for their group only. Only the automatic qualifier at each OSAA league qualifying event will be publicly known. Are rankings or ratings shared at State now? There will be no rankings (1st, 2nd, 3rd, etc.) at State. Trophies will be presented to all choirs in each division who earn a Superior rating. A list of all choirs receiving a Superior rating and a “masked” score array of sight reading score totals with school names removed shall be posted on the OSAA website. See 6.13 Do certified adjudicators need to be re-certified for the new rubric? It is strongly recommended that current certified adjudicators attend an ACDA training this year to familiarize themselves with the new rubric. Festival/Contest hosts are strongly encouraged to check with their hired adjudicators to ensure they are familiar with the new rubric far in advance of their event. All currently certified choral adjudicators are still eligible to adjudicate qualifying contests until their certification expires, but it is in their and our students’ best interest that they receive training on the new rubric. Adjudication training and certification workshops to learn about and work with this new rubric are scheduled for Oct 17 in Salem, at the OMEA conference in Eugene in January, and online in February. Current adjudicators not yet due to re-certify will be able to attend these workshops free of charge to receive training with the new rubric. See the OSAA website and the ACDA website for the new adjudication rubric and rationale.

last spring at several festivals where judges filled out the previous rubric as well as the new one and again at the 2026 State Choir Championships by board members in attendance (not the actual state judges). Will judges at both league/qualifying contests and at state use this new rubric? Will the tape pool adjudicators use this same rubric? Per OSAA rules, judges at all qualifying festivals statewide must use the new rubric. All events and adjudicators are required to use the new rubric, including state-qualifying festivals, league contests, tape pool adjudicators, and the state choir competition. Can adjudicators give half scores? On the scale of 1-5, can they award a 4.5 in a sub-category? No, judges cannot give half scores. The adjudication rationale document, found on the OSAA and ACDA websites, explains how the scores of 1-5 apply. Further training and practice with the new rubric will be available at the above-mentioned adjudication workshops. Why are there two sets of rating names? What is the need for both Superior/Excellent/Good/Fair/Limited and Exemplary/Strong/Proficient/Emerging/Rudimentary? Superior, Excellent, Good, Fair, and Limited are the names of the awards. Exemplary, Strong, Proficient, Emerging, and Rudimentary are the pedagogical descriptors. Why are the Superior and Excellent ratings highlighted on the Adjudication Rationale document? These ratings represent scores of 81 or above, the prerequisites for qualifying to advance to State.

2026-2027 ACDA ADJUDICATION WORKSHOPS October 17 - South Salem HS Training on the new rubric for current certified adjudicators is FREE. Certification/Re-certification ($55) www.oregonacda.com January 15 or 16 - OMEA Conference, Eugene, OR Training on the new rubric for current certified adjudicators is FREE. Certification/Re-certification ($55) www.oregonacda.com February 20 - Online (and recorded) Training on the new rubric for current certified adjudicators is FREE. Certification/Re-certification ($55) www.oregonacda.com How was the new adjudication rubric developed? Has it been tested with adjudicators and choirs? The new rubric was developed by a subcommittee of the ACDA board in conjunction with consultant Dr. Angela Kasper. The push came out of a summer ACDA conference where we examined the fallacies with the current system. It was tested

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

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SUCCESSFUL STRATEGIES FOR LEARNING STRING AUDITION EXCERPTS Tomás Cotik Professor of Violin, Portland State University

Auditions for high school all-state, regional honors, and youth orchestras could be considered purely as a means to an end when trying to land a seat in a coveted ensemble. However, the benefits of preparing for an audition during high school extend far beyond simply winning a spot. The audition process allows students to improve and become better musicians by learning their strengths and discovering areas in need of improvement. More specifically, learning audition excerpts gives students the opportunity to master typical challenges of the orchestral literature and to learn to adapt with consistency to changes in style and character in short fragments of music while playing in a way that would fit within a large ensemble.

The effectiveness of subdivision can be clearly perceived in Mendelssohn’s “A Midsummer Night’s Dream,” Scherzo excerpt (Figure 1).

As a frequent coach for all-state and honors orchestra placement auditions, I find the most substantial audition excerpt issues concern rhythm, bow stroke, articulations, dynamics, intonation, vibrato, style, and phrasing. Below, I offer strategies and general advice for students to tackle the common problems that arise within each area. While all these suggestions can be easily applied to other instruments and literature, the following short list of frequent and wellknown violin audition excerpts is used to illustrate each point: Mendelssohn’s “A Midsummer Night’s Dream,” Scherzo; Mozart’s Symphony No. 39, Mvt. 2; Schubert’s Symphony No. 2, Mvt. 1; Mendelssohn’s Symphony No. 4, Mvt. 1; and Beethoven’s Symphony No. 7, Mvt. 2.

Thinking of running sixteenth notes helps to avoid compressing the rhythm of the sixteenth notes, coming late on beat 2 of measures 17 and 19, distorting the rhythm in the double upbow stroke in measures 18 and 20, and coming late off the slurs in measures 21 through 24. A particular challenge in measure 24 is making sure that the first short value note after a longer note comes in on time. To achieve this, one option is to shorten the D slightly and to make sure that the following C speaks clearly and in tempo.

An audition jury can tell many things about a player within the first moments of an orchestral excerpt. Auditionees with a strong sense of rhythm, solid intonation, and the appropriate sound quality for the excerpt will stand out immediately. Much of this perception will derive more directly from the student’s years of work on their technical foundation, rather than on the hours spent learning the excerpts. It is best to start preparing for an audition as early as possible and to embrace a comprehensive approach that encompasses all layers of musicianship. A good diet of scales, arpeggios, double stops, and Schradieck, Sevcik, Kreutzer, Fiorillo, Rode, and Dont can do wonders for the technique necessary to tackle any excerpt. Regular, slow, mindful practice, the weekly guidance of a teacher, and the recording of practice sessions form the foundation for success. “Learning audition excerpts gives students the opportunity to master typical challenges of the orchestral literature and to learn to adapt with consistency to changes in style and character in short fragments of music while playing in a way that would fit within a large ensemble.”

Rhythm

To me, rhythm is the most essential aspect in music and one to which juries will be very attentive. Common rhythmic problems include compressing or distorting rhythms, starting notes late after a rest or a long note, and rushing rests or passages that crescendo. Subdivision is not only the answer to most rhythmic problems but is essential to playing together in a section and maintaining the integrity of the rhythmical clockwork. It is helpful to use a metronome to uncover unwanted, unconscious tendencies and to build the skill of habitual mental subdivision.

Figure 1. Mendelssohn “A Midsummer Night’s Dream,” Scherzo excerpt (Measures 17 to 25).

In measures 33 through 40, the subdivision helps keep the crescendo from becoming an accelerando and in counting during the rests where it is often easy to lose focus (Figure 2).

Figure 2. Mendelssohn “A Midsummer Night’s Dream,” Scherzo excerpt (Measures 33 to 40).

The excerpt from Mozart’s Symphony No. 39, Mvt. 2, offers an additional insight into the benefits of subdivision (Figure 3). Special differentiation should be made for dotted notes so that they do not sound like a triplet rhythm.

Figure 3. Mozart Symphony No. 39, Mvt. 2, excerpt (Measures 1 to 4).

Practice playing this excerpt with thirty-second note subdivisions. A fun exercise is to record the sixteenth note version and then to play the original part along to the recording. Subdividing will make the dotted values distinct and consistent so that they do not become a triplet rhythm. It will also keep the eighth-note rests from becoming too long.

Bow Stroke Audition excerpts often provide students an opportunity to demonstrate control over a range of bow techniques.

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Understanding style and score markings is imperative when assessing the amount of bow, speed, weight, and sounding point. Most often, players struggle with fast, off-the-string passages, losing control of the bounce of the bow and failing to coordinate their left and right hands. Starting from the string is helpful for precisely timing the start of a note and starting absolutely together in a tutti section, having the tone speak clearly, and in keeping the bow stroke controlled and consistent. Even for spiccato, which is often featured in audition excerpts, I recommend thinking of the bow stroke as “on-ish” or “off-ish” rather than completely off the string. For fast bow strokes such as those found in the excerpt from Schubert’s Symphony No. 2, Mvt. 1 (Figure 4), the natural elasticity and flexibility of the stick will take care of the bounce. I recommend thinking of keeping the bow on the string in order for the bounce to happen effectively on its own. Experimenting with different possibilities and reassessing unproductive habits are always part of a good practice routine. For example, being aware of having a loose thumb, relaxing the muscles behind the shoulder blade, and keeping an economy of movement in mind even when practicing at a slow tempo. Good coordination is also paramount to spiccato as well as fast passages, string changes, and intricate passages. Making sure that the left finger is in place and that the bow is angled properly on the correct string before moving the bow will help solve coordination challenges.

Figure 4. Schubert Symphony No. 2, Mvt. 1, excerpt (Measures 11 to 18).

Articulations In an audition excerpt, the performer is showcasing their ability to produce the control, consistency, and malleability in shaping notes that will help an ensemble and music director create music together. The articulation of every note should be intentional and consistent. Articulation problems arise when players do not pay enough attention to both the start and end of each note, and when sforzandos and accents are played outside of their dynamic context. A particular challenge is making sure that the first note after a comma, rest, bow retake, or long note speaks clearly and on time. Acoustically, these notes get swallowed if they are not given the proper attention. Think of the way an actor slightly overenunciates certain consonants or exaggerates facial expressions so they can be perceived clearly and easily by the audience. For example, in the excerpt from Mendelssohn’s Symphony No. 4, Mvt. 1 (Figure 5), the eighth notes starting the motifs in measures 2, 3, and 6 should sing clearly and not be played too short. In measure 5, the D should speak clearly and be separated from the previous note. In addition to the great attention paid to the start of each note, focus should also be placed on the end of each note and each

Figure 5. Mendelssohn Symphony No. 4, Mvt. 1, excerpt (Measures 2 to 10).

passage. The ending eighth note of the motifs in measures 3 and 4 should not be too long. This idea also applies to the ending quarter notes in measures 6 and 10, which have the tendency to slow down. To avoid these common pitfalls, it is important to keep the articulation consistent and to be aware of the musical line and the underlying rhythm of the other instruments that are playing along. Strive for clear left-hand articulation in all slurs, especially in measures 7 and 8. In terms of the notation, accents and sforzandos should be in the context of the phrase and dynamics. Conventional problems consist of not executing the written indications, misreading their exact placement, or exaggerating by playing them out of their dynamic context. In measures 11 and 12 of Schubert’s Symphony No. 2, Mvt. 1, for example, the sforzandos should be played within the context of pianissimo, not letting the energy and excitement of the articulations affect the written dynamic (Figure 4). Some musicians will consider a subtle placement of the note before the sfz to improve the clarity of the articulation and to avoid rushing. Familiarization with the stylistic meaning of the notation for a particular style is also important. Most dots in baroque and classical repertoire (like the ones in Beethoven, for example) do not refer to spiccato, but indicate that the notes are separated, and the beginning and end of each note can be heard clearly. Likewise, dots under a slur do not mean staccato; they require a separated, short bow stroke in a sustained manner, a sort of portato (Quantz 1976) (Figure 6).

Figure 6. Beethoven Symphony No. 7, Mvt. 2, excerpt (Measures 51 to 58).

Dynamics IFine nuances in the execution of dynamic markings have a big impact on the listeners’ perception. While dynamics indicate one fourth of the information we have from the composer on the page at any given time, curiously, they are most often not given their deserved attention. Particular challenges students encounter are the execution of subito dynamic changes, dynamic changes that happen gradually throughout many measures, subtle hairpins that need to be played in the context of an overarching dynamic, and the sustainment of extreme dynamics (pp or ff ) for a long period. Expanding and respecting the full range of dynamic possibilities can be improved through dedicated practice sessions where most of the focus is given to the dynamics. A copy of the score marking dynamics with different colors can be helpful in increasing awareness. Knowing the context of the part is essential. For instance, when a passage is in octaves with a lower string section, like in the beginning of Mendelssohn’s Symphony No. 4, Mvt. 1 (Figure 5), the sound will be supported by the lower voice. It is helpful not to force or over-project in real life nor in the audition excerpt. Further considerations should be based on the style. For example, dynamics contrasts in Mozart should not be as exaggerated, nor should dynamics be confused with the character of the music; forte could be elegant or aggressive, piano could be gentle or have urgency. Executing sudden drastic changes in dynamics, like in measure 19 of Mendelssohn’s Symphony No. 4, Mvt. 1, is demanding (Figure

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7). Preparing emotionally for these changes before they happen can help players ready themselves for the physical changes that need to take place. An old trick to facilitate the execution of a subito piano is to place a comma directly before it, yet it is also possible to realize the subito dynamic change simply by mentally preparing ahead of time for the instantaneous change in bow speed and pressure that is needed.

rotating the hand to play the note in tune without tension can help. In second and fourth positions, like in measures 17 and 18 of the Schubert excerpt (Figure 9), rotating the wrist inward when needed can help so that the third and fourth fingers are not too sharp. Practicing scales in different positions while maintaining the integrity of the finger shape and keeping the fingers close to the fingerboard is always useful.

Figure 7. Mendelssohn Symphony No. 4, Mvt. 1, excerpt (Measures 14 to 20).

Recording and self-assessing is one of the most helpful tools when it comes to intonation. Students should mark the spots that are the most challenging in terms of intonation in their parts early on in the learning process and have an extra copy of the part with arrows written in that indicate the opposite of their problematic intonation tendencies.

The difficulty is different in the excerpt from Beethoven’s Symphony No. 7, Mvt. 2 (Figure 8), where long crescendos and diminuendos need to be created seamlessly throughout the excerpt. One way to achieve this is to think of the passages as “terraced,” keeping the classical articulations and the relative importance of the beats inside each measure intact. Instead of increasing the dynamic for individual notes, the player could choose to increase the dynamic slightly with each motive. In contrast, another common mistake occurs in long, soft passages, like those found in the excerpt from Schubert’s Symphony No. 2, Mvt. 1 (Figure 4), where students often crescendo inadvertently. Writing reminders on the part can help

Figure 8. Beethoven Symphony No. 7, Mvt. 2, excerpt (Measures 51 to 58).

Intonation Students must learn to listen vertically and horizontally to maintain excellent intonation while performing orchestral excerpts. While expressive intonation, leading tones, and the resonance created by sympathetic vibrations of the open strings are needed for solo playing, understanding and hearing the harmony created by the rest of the orchestra will help improve intonation in excerpts. The difference between tight leading notes and wide major seconds needs to be exaggerated, particularly when playing very fast passages. The C–B ♮ / C–B ♭ in measure 18 of Schubert’s Symphony No. 2, Mvt. 1 (Figure 9) is a good example of where greater differentiation between these two intervals is needed.

Figure 9. Schubert Symphony No. 2, Mvt. 1, excerpt (Measures 16 to 18).

Special attention should always be placed on the fourth finger, with which a lot of students have technical problems. For extensions of the fourth finger, like in measure 5 of the Mendelssohn Symphony excerpt, releasing the first finger or

Vibrato The difficulty in addressing the use of vibrato lies in that each excerpt or musical style requires a different approach. Additionally, personal and stylistic preferences can differ. While knowing the sound and aesthetic of the prospective orchestra can be very helpful, there are general tendencies to a balanced approach that should be followed. These include keeping the vibrato focused to avoid excessive pitch variation and using vibrato with discretion in classical and Baroque repertoire. Typical problems with vibrato include not being conscious of instances when the vibrato randomly starts and stops as well as vibrating the notes that are physically easy to vibrate versus the notes that make sense musically. Recording can help assess the consistency and effectiveness of musical decisions and determine, for each note, whether vibrato or non-vibrato is appropriate. Just as a practice technique, at letter B in the excerpt from Beethoven’s Symphony No. 7, Mvt. 2 (Figure 6), it is useful to practice with vibrato on every single note to avoid a lack of vibrato on the important first notes of each measure. Vibrato with the fourth finger, such as in measure 60, is often neglected (Figure 10). Typically, students over-vibrate resolutions or ends of phrases, which lack harmonic tension, and do not give enough emphasis to the dominant chords or to the leaning notes that come before. A typical example of this tendency is vibrating the resolution in measure 66 more than the preceding notes (Figure 10). Finally, practicing a passage completely senza vibrato can help uncover unconscious, unintended outbursts of vibrato.

Figure 10. Beethoven Symphony No. 7, Mvt. 2 (Measures 59 to 66).

Vibrato also helps the resonance of the sound and should be directly connected to the use of the bow. For example, at letter B in the excerpt from Beethoven’s Symphony No. 7, Mvt. 2, a narrow vibrato can help with the resonance between the articulated notes (Figure 6). At letter C, when more weight is used in the bow, more vibrato is needed to keep a resonant, singing sound (Figure 11). In this excerpt and in general, it is also important to keep in mind that the higher up on the fingerboard the notes are, the narrower the vibrato should be to accommodate for the smaller distances between notes.

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over! Most times, another instrument continues the phrase and an accent is not appropriate, for example, in measure 58 of Beethoven’s Symphony No. 7, Mvt. 2 (Figure 6). Figure 11. Beethoven Symphony No. 7, Mvt. 2 (Measures 75 to 82).

Style and Phrasing In addition to solving technical challenges, it is important for students to work on musical playing within the framework of a tutti section. Among the most frequent problems with phrasing are bad habits such as unintentional accents and non-written portatos, portamentos, and swells. Students often fail to notice these unintended variances during their practice and performances. A lot of valuable work on phrasing can be done away from the instrument, be it through readings, studying the score, or singing. Even some limited reading about the composer, the piece, and general performance practice of the time can be very inspiring and contribute to becoming a better musician. Historical performance treatises, for example, help form an understanding of the different relative importance of the beats inside the measure. In classical repertoire such as Mozart’s Symphony No. 39, Mvt. 2, and Beethoven’s Symphony No. 7, Mvt. 2, it is important not to overemphasize the second beats of the measure, which, unless marked otherwise, should be weaker than the main beats. Likewise, the “and” of each beat should be weaker than the main beats. Studying the orchestral score is also recommended in order to understand the context of the part, figure out the harmonies, be aware of which other instruments are playing at the same time, and how the rhythms interlock. Listening to recordings while following along with the full score will help incorporate stylistic practices. It is helpful to imagine the musical line and to sing it to gain an understanding of the overarching musical landscape. Attempting to sing a long phrase such as the sixteen-measure periodic phrase (measures 51–66) in Beethoven’s Symphony No. 7, Mvt. 2, without taking a new breath can help students envision the larger musical landscape. Doing so at different tempi helps in varying the focus of attention on different musical layers, which range from articulation and precision to the overarching shape of the music. To understand large arches of music and avoid vertical accents on every measure, it is helpful to understand the structure of a periodic musical phrase. Shaping groups of measures into musical phrases in the excerpts from Mendelssohn’s “A Midsummer Night’s Dream” Scherzo or Beethoven’s Symphony No. 7, Mvt. 2 (Figures 1 and 6), can be made easier by practicing with one metronome click per measure, then one click every two measures, and even one click every four measures. While maintaining the clockwork in the inner structure of each measure, this exercise helps conceptualize larger musical units. Typical unintentional accents are also created due to string crossings. Besides technical difficulties, some students are unaware of how the difference in the projection of each string can alter the perceived dynamic and quality of the sound. This can be readily observed in the excerpt from Schubert’s Symphony No. 2, Mvt. 1 (Figure 4). Yet another unintentional accent often occurs as mentioned earlier on the last note of a passage, like a subconscious celebration that the passage is

Once again, recording practice sessions can help expose all these habits. Additionally, playing along with the recordings of professional orchestras on occasion can teach students to feel the length, direction, and scope of big phrases, the context of their part within the whole work, and expose them to various interpretations in terms of vibrato, sound quality, and tempo. All the issues presented here point to the great responsibility and influence of each student in the ensemble as a whole. Mastering these challenges will contribute to music-making at a higher level and can save precious rehearsal time. I have found that the work students put into preparing audition excerpts along with the goal of placing in an ensemble motivates and inspires. The challenge is not against the other players; it is to grow and learn, focusing on the process and identifying learning opportunities along the way. I believe that, in itself, will bring fruitful, long-term results that extend far beyond the audition.

Recommended Resources Parts: “Category: OM Parts.” IMSLP Petrucci Music Library. http://imslp.org/ wiki/Category:OM_Parts (accessed September 12, 2020). “Search the Digital Archives.” New York Philharmonic. http://archives. nyphil.org/ (accessed September 12, 2020). Wulfhorst, Martin. The Orchestral Violinist’s Companion, Volumes 1 & 2. Bärenreiter: The Musicians’ Choice. https://www.baerenreiter. com/en/shop/product/details/BVK1758/ (accessed September 12, 2020).

Video and Audio Tutorials: “Audio Orchestral Excerpts by Leading Players with Spoken Commentary by the Artists.” Orchestra Pro Series. http://www. opus-two.com/Orchestra_Pro_Series.html (accessed September 12, 2020). Cole, Nathan. “Nathan Cole.” YouTube. https://www.youtube.com/c/ natesviolin/videos (accessed September 12, 2020). “Excerpts Library.” The Philadelphia Orchestra. https://www.philorch. org/your-philorch/education/young-musicians/excerpts-library/ (accessed September 12, 2020). National Association for Music Education. “Dr. Tomas Cotik: Published Resource Articles.” http://excerpts.tomascotik.com (accessed September 6, 2021).

Scores Used for Article Figures Beethoven, Ludwig Van. (1915) 1960. Symphony No. 7, Op. 92. Leipzig: Breitkopf & Hartel. Reprint, New York: E. F. Kalmus. Mendelssohn, Felix. (1880) 1933–1970a. A Midsummer Night’s Dream, Op. 61. Leipzig: Breitkopf & Hartel. Reprint, New York: E. F. Kalmus. Mendelssohn, Felix. (1880) 1933–1970b. Symphony No. 4, Op. 90. Leipzig: Breitkopf & Hartel. Reprint, New York: E. F. Kalmus. Mozart, Wolfgang Amadeus. 1933–1970. Symphony No. 39, K. 543. Leipzig: Breitkopf & Hartel. Reprint, New York: E. F. Kalmus. Quantz, Johann Joachim. 1976. On Playing the Flute. London: Faber and Faber. Schubert, Franz. (1890) 1933–1970. Symphony No. 2, D. 125. Leipzig: Breitkopf & Hartel. Reprint, New York: E. F. Kalmus.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

MARIACHI - HOW AND WHY YOU SHOULD START ONE Valérie Gollmann OMEA Mariachi Co-Chair

As a young student growing up in Oregon, I was exposed to a set of music options that many students nation-wide see today: Private lessons, Band, Choir, and in some cases, Orchestra. With supportive parents and teachers, I explored many options and wandered through a variety of instruments and musical experiences. These included community groups, church choirs, school ensembles and more. I count myself as extremely fortunate that I was supported in all of these endeavors.

many guitar players are waiting to be discovered because they play Norteño music at home instead of rock or pop.

Imagine my anxiety at being told that I would be co-teaching and then taking over a Mariachi program in its infancy. My previous experience with Mariachi was simply knowledge that it was a genre of Mexican music, and now I’d be working with instruments I had little to no experience with, teaching music that I had no exposure to, and working with an entire population of students that is typically underrepresented in Western Music ensembles.

Start small, with what you have. If you only have access to steel-string acoustic guitars and/ or electric bass guitars, use those while the group is getting established. Don’t worry about going all the way in on vihuelas and guitarrónes - it is easier to field donations and find used guitars and basses in your community. Unless you can source many violins and trumpets, work with a handful. Focus a lot on building the singing and meet your musicians where they are at, and work on stage presence and appearance.

Coming through several years later, I can honestly say that taking the leap into Mariachi is one of the best personal, musical and professional experiences I have ever had. Although barriers may exist to the creation of a Mariachi ensemble in your school, program or community, they really are no different than those that are faced for your more “typical” options. Let’s break them down and explore why Mariachi may be a good fit for your program.

What if I don’t know how to play the instruments? Mariachi groups function as an incredible blend of many disciplines of music. Violins, trumpets and voice (collectively the melodía section) provide your melodic material, with the singers often coming directly from your Violin and Trumpet sections. Solos, duets, trios and tutti singing all abound depending on the repertoire and difficulty. The armonía section provides the foundation, consisting of classical guitars, vihuelas and guitarrónes. Classical guitars and vihuelas (an instrument that emerged in Mexico in the 18th century) provide the chords which exist on the bassline of the guitarrón (another Mexican instrument, which emerged as a portable bass range alternative to the harp, which can be bulky and very delicate). Given that the array of instruments can require different areas of expertise, it does likely mean that a solo teacher must delve into learning and mastering some new instruments - to a point. Do you need to be the best? No. Do you need to have sufficient knowledge to be able to get students pointed in the right direction with solid foundations? Yes. Do you need to take private lessons to get up to snuff? That’s up to you. You will also find that as your musicians get older and move beyond the beginning stage, they will surprise you with how much they accomplish even if it’s not your area of expertise. The burden of learning new instruments or disciplines eases if you are in a situation to team up with other teachers with different strengths. If you teach Band, consider working with a Choir/ Vocalist to help address the singing aspects. Team up with a local Violin teacher or reach out to a local university to find college volunteers. Find Spanish-speaking members in your communities and find a lead for guitar players - you will be surprised by how

What if my program can’t afford all of these new instruments? Much like Band, Orchestra, or any other instrumental ensemble, funding can be a barrier and may necessitate a long-term plan for instrument acquisition.

Spend your early stages as a mariachi director networking and exposing yourself to Mexican music (not just Mariachi; listen to Mexican pop, rock, Norteño, Banda, and so on), even if you have no idea what the lyrics are - you need to get acquainted with a variety of new sounds and reinvent your definition of styles and genres. Don’t forget the smaller instrumental necessities - they can be easy to overlook! • Violin strings • Shoulder rests • Rosin • Valve oil • Tuners • Cases • Guitar neck straps (this one is important - Mariachi typically perform standing up. It’s preferable to have classical guitars with neck straps that attach on the rosette/soundhole, but if you have only have steel string acoustics with typical neck straps, use them until you can work up to classical guitars) • Guitar picks - go for thicker, sturdy picks. Mariachi guitar is primarily strummed, and you’ll get a richer, more vibrant sound with a stiff pick. Avoid very flexible, thin picks • Guitar strings - if you’ve got young students, go for a lighter gauge as they will be a little more finger friendly. Also, note that if you have classical guitars, the D string is the most likely to break so keep a stock of D strings on hand as well as full sets. If you do get vihuelas and/or guitarrónes: • Vihuela neck straps (note that because vihuelas are smaller, guitar neck straps usually don’t work and will be too long!) • Finger picks - the vihuela is usually strummed with a finger pick on the index finger of the right hand, or the fingernail itself (not recommended unless your player wants to grow it out specifically and kept it well manicured for strength)

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

• Guitarrón strap - a regular guitar strap will not work due to the size of the instrument • 1-2 back up sets of guitarrón and vihuela strings is likely sufficient - your guitars will need string replacements far more frequently Work up to the rest of the instruments. Once established, start setting your sights on acquiring vihuela(s) and guitarrón(es). The number will depend on the size of your ensemble. Ideally, a balanced group resembles violins > trumpets > guitar = vihuela = guitarrón, but the reality is likely to be that guitar players are very easy to recruit in comparison to your other instruments. Guitar players can easily swap to vihuela as their string layout is almost identical, and the vihuela provides a very bright and distinctive counterpoint to the timbre of the guitar. Guitarrón will necessitate a player with good hand strength as the instrument can be physically demanding due to the thickness of the strings. As a bonus, consider looking into an arpa (harp) for your most long-term projections. The arpa is the original bass instrument of the Mariachi ensemble, and is making a resurgence in popularity within these ensembles due to its unique function as both melodía and armonía. Certain classic tunes (for example, La Bamba) feature the harp prominently within the mariachi genre. However, their bulk and fragile nature should be taken into consideration, as well as their cost (expect to pay upwards of $5000 for a harp).

What do we do about performance apparel? Unless you are in a position to invest significant funding into purchasing trajes (the traditional Mariachi suit), there are a few other options that are easily available to you and your musicians. A common option for young or emerging Mariachi groups is to wear black dress shoes, black pants or a floor-length black skirt, and a white long-sleeved dress shirt. This performance uniform should be finished with a moño (bowtie) in school or program colors. These are all items that families can often procure without too much trouble, and moños can run from $5$20 a piece (depending on color, material, and embellishments). Another option can be to purchase matching hairbows for students with long hair, and even coordinating earrings (gold or silver filigree are typical). For programs that are more established, feature older performers or have access to funding, other options may be available. Consider purchasing matching trajes bottoms (just the pants and/or floor-length skirts) and pairing them with a dress shirt and matching vest, finished with the moño. For groups committing to the entire suit, a full traje typically consists of pants/floor length skirt, a vest, and a chaqueta (jacket) worn over a dress shirt, finished with a moño. Mariachi may opt for dress shoes or matching botines (boots). For the final touch, a sombrero may be added, but these are typically worn for the entrance on stage, first song, and then placed on the floor leaning against mic stands as a visual decoration as they can get very heavy over time.

What if this takes away students from my choir/ band/orchestra? In conversation with other mariachi educators and based on my own experience, this is not likely to happen. Here’s why: Mariachi will invite students who are typically not going to align with choir,

band or orchestra in the first place. Mariachi is an incredible tool to reach out to the Spanish-speaking community in your area, which is likely full of students and individuals who have grown up with family members listening to Mariachi music, especially for families that maintain close ties to Mexico and neighboring countries. Additionally, Mariachi serves as a powerful method to reach out to students whose interest may align with guitar and contemporary music, rather than the Big Three. If you’re lucky, it actually can be a great recruitment tool to gain students who decide to commit to multiple music ensembles! Simply put, the Venn diagram of overlap between mariachi and other musical disciplines is not usually significant enough to worry about retention of numbers in other ensembles, especially if you can create an entry-level armonía-based offering that allows students to explore guitar under the umbrella of Mariachi, and then exit to explore contemporary music in another way.

What if I’m not of Mexican Heritage? This is a big, legitimate concern that many educators share when they first begin testing the water of Mariachi pedagogy. As we continue to hone our craft as directors/teachers/ musicians/people, we look for ways to honor and celebrate differences while respecting and upholding different cultures and values from what we know. This can cause a fair amount of stress and anxiety about whether we are overstepping bounds, participating in cultural appropriation, or being offensive. It also can cause concern about not being the right fit, or not knowing/being enough to fill these shoes. I felt this too, and still have my days where I feel that. However, there are thousands of children, community members and families that need Mariachi in their lives in Oregon. The Mariachi community of performers and educators welcome newcomers with open arms. Repertoire and advice is shared freely. Resources are often open-source, and many directors are also arrangers in their spare time who will arrange tunes to fit the needs of your unique ensemble. Professional development and conferences exist for the exact purpose of spreading awareness and advocacy for this unique and rich cultural practice. Every single Mariachi performer and Educator I have ever met has only ever expressed enthusiasm and joy over learning that more young people are getting access to this art form, and are usually offering their phone number or email within moments so you can message them with questions and get advice. Mariachi groups exist across the entire globe, dedicating themselves to sharing their craft in their region, whether that be Japan, Russia, or Western Europe.

Is it worth it? Is it worth it to begin a Mariachi ensemble in your area? Ask yourself what the answer is if you were asking this about Choir, Band or Orchestra. The answer would likely be a resounding YES. It’s the same for Mariachi - it’s about celebrating music, language, culture, history and the beauty of sharing communal experiences. The only difference is the vehicle that is bringing those experiences, and who it might reach. Immersing yourself and your students in Mariachi is a life-changing experience that broadens musical horizons, reaches an often underrepresented population, engages the community in a unique way (can you say fiesta music night?) and honors an incredibly rich cultural tradition stretching back hundreds of years. Is it worth it? Every minute, every day. ¡Viva Mariachi!

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

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Sustaining Your Teacher Voice

MAINTAINING VOCAL HEALTH Brittney Redler Vocal Music Teacher, Brunswick School, New Hampshire

I was diagnosed with nodules while working on my master’s degree in vocal performance. The news felt like a huge hit to my identity as a singer. Since recovery, I have taught in the classroom again for nine more years and in the voice studio for 10 years vocal injury free, but not without mindful strategies and some conscious trade-offs in routines. My situation motivated me to study voice science and become a vocologist. Caring for the voice is a shared concern for all teachers, and especially music teachers. Vocal strategies and tools offer both immediate vocal relief and extended vocal sustainability so that every teacher can find the nuance, phrasing, intention, and expression they need with their voice when speaking and singing in their classes. Some clear guidance and practices can help maintain and strengthen your voice in and out of the classroom.

Voice Demands of Teachers The National Center for Voice and Speech (NCVS) classifies teachers as one of many occupational voice users. Their website states that “teachers . . . are among the top groups of people who are at risk of vocal fatigue.” According to vocologist and NCVS board member Diane Owens, writing in the Journal of Speech, Language, and Hearing Research, “teaching is a high-risk occupation for voice health. Studies have shown that more than 50% of teachers are likely to develop a voice disorder during their lifetime.” Vocal health or fatigue is determined by vocal dose: how much we actually use our voices throughout the day or week. Vocal folds vibrate several hundred times per second, and when multiplied over the hours of voice use in a day, the number of vibrations, also known as collisions, adds up to more than a million vibrations per day. NCVS Founder/Executive Director and voice scientist Ingo Titze wrote in the Journal of Singing that studio singing teachers actively vocalized about a quarter of the time they were teaching. In the article “Vocal Demands on Teachers,” he calculated that “for an average 200 Hz fundamental frequency in speech, there are 200 collisions per second, 720,000 collisions per hour of continuous voicing, and 1,440,000 collisions per day with an equivalent of about 2 hours of continuous voicing (1/4 of 8 hours).” In a Journal of Speech, Language, and Hearing Research article, Titze and fellow voice scientist Eric Hunter reported on their study of the vocal dose of 57 schoolteachers and found that upwards of 2 million vocal fold collisions occur in an eighthour teaching day. Put another way, tiny vocal folds travel about five kilometers in an eight-hour teaching day! If you’re running a 5K race every day, you get tired eventually. These calculations could probably be considered conservative. In their Journal of Voice article “Comparison of Voice-Use Profiles Between Elementary Classroom and Music Teachers,” music education researcher Sharon Morrow and neurophysiologist and voice researcher Nadine Connor cite that “among teachers, music teachers are roughly four times more likely than classroom teachers to develop voice-related

problems.” They investigated the vocal use in time, average pitch, and intensity and their “results suggest that typical vocal loads for music teachers are substantially higher than those experienced by classroom teachers.” Jennie Rozsa is a general music teacher in Solon, Ohio, and Director of The Cleveland Orchestra Children’s Choruses. She wrote to me about her vocal dose. “I currently teach kindergarten through fourth grade general music to about 500 elementary students. My classes are 50 minutes long, and each class period ranges from 24 to 30 students. I have five periods of music a day. Sometimes my annual class schedule requires that I teach four of those classes in a row. I also sing professionally in a chamber choir, conduct an afterschool ensemble, take voice lessons, and enjoy talking to my friends and family. “Like many elementary music teachers, I had a lot of struggles with maintaining my vocal load. At the urging of my voice teacher, who detected problems in my voice, I went to speak with the otolaryngologist at the Cleveland Clinic. They have a special department that works with professional singers. For a whole year, I attended vocal therapy every other week and worked with an otolaryngologist to address the root cause of my vocal problems. I was never diagnosed with anything formal, just extensive vocal overuse. In fact, an otolaryngologist called my vocal use heroic.” NAfME’s Council for General Music Education Chair Stephanie Benischek has been an elementary general music teacher for 29 years. She has always identified as a singer. Her current school in Star, Idaho, is growing, and while she taught 520 students three years ago, she currently teaches 900 students each week. Her class sizes range from 24 to 44 students (with no overflow paraprofessional), and she has very little to no time between classes besides a 30-minute lunch. She also sings in a choir and could tell by October of this school year that her voice was losing range. She found a local ear, nose, and throat (ENT) doctor, made an appointment to get her vocal folds scoped, and was diagnosed with nodules. “I’ve worked 29 years without vocal problems,” she told me. “I feel like I was doing alright until they put me in a position where I feel like I’m set up to fail.” She has been working with a speech therapist at the Idaho Voice and Swallow Center since January and is starting to make some progress, but at a cost to her teaching routine. Neither of these stories are anomalies among general music teachers, a position that involves vocalizing throughout each lesson along with a typically high volume of students, a tight schedule, and plenty of background noise with which to compete. Even the most well-managed music classroom is bound to have some joyful noise. Band and choral directors as well rely heavily on their voices throughout the day, with high student numbers, long days (often extending into the evening), and loud rooms, or large fields, to speak over. Kittie Verdolini Abbott, clinical speech pathologist, vocologist, and researcher at the University of Delaware, makes an

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

analogy of a long-distance runner. A slight imbalance, while potentially unnoticeable to the average person, increases the risk of injury for endurance athletes. The fundamental cause of vocal injury is impact stress. The sheer amount of time music educators spend using their voices makes them like marathon runners; a slight imbalance or inefficiency in the voice can increase the risk of injury. “You’re superhuman vocalists,” Owens says. “It’s not normal, what you’re asking of the vocal folds. But most importantly, there is some help and some hope here for you.”

Causes of Voice Loss Of multiple causes for voice loss, a fundamental one is impact stress, due to prolonged use or excessively intense or pressurized use. General stress, as the NCVS website notes, “often leads to excess muscle tension in the neck and shoulders, which can understandably impact the quality of the voice.” Dehydration, Verdolini Abbott instructs, can be either due to lack of adequate systemic hydration—taking in enough water to counter perspiration and dehydrating beverages—or due to surface dehydration, which is brought about by exposure to dry air, mouth breathing, and any drying medications such as decongestants, antihistamines, and psychotropic drugs. Episodes of a condition called laryngo-pharyngeal reflux (LPR), commonly occurring at nighttime during sleep, involve acidic stomach acids causing inflammation and irritation in the larynx, leaving the voice hoarse and/or breathy. Inhaled irritants such as cigarette smoke, toxic environments, and pollution will also cause voice hoarseness. Those of us teaching in older school buildings may have shared experiences with the effects of working in these spaces regularly. Of course, another possible cause of inflammation is from a virus. As your body fights off the illness, the tissue in your larynx might swell. This is normal, but when we need to speak through the inflammation, often we use excessive muscular effort to force the sound through swollen vocal folds, leading to impact stress. Then, with prolonged muscular effort, we risk carrying this new habit of pushing to create sound with us even after the swelling has gone down.

Common Causes for Voice Loss: 1. Impact stress from prolonged or excessively intense use 2. Stress 3. Dehydration 4. GERD, reflux 5. Inhaled irritants 6. Illness; especially upper respiratory infections

Vocal Hygiene Tips So, what can we do about it? To start, vocal hygiene refers to how we care for our voice outside of how we use it. Verdolini Abbott teaches this concept as indirect therapy to her speech pathology students. She mentioned that in a recent large study of teacher voice use, when working with teachers who did not currently have a voice disorder, simply adjusting vocal hygiene habits in an individualized, targeted manner was enough to improve and sustain vocal health over a twoyear period. There are many tips to care for the voice, but Verdolini Abbott has found that the best results come from

choosing two to three specific, individualized habits that you can consistently implement into your routine.

Common Vocal Hygiene Care: • Hydration • Drink plenty of water (approximately 1.5–2 liters per day) • Avoid excessive caffeine • Account for drying medications • Account for strenuous physical activity and sweating • Use a humidifier • Avoid mouth breathing • Control inflammatory exposure, like reflux, pollution, and chemicals • For reflux (besides medication): sleep on an incline, avoid spicy or acidic foods, avoid carbonated beverages, eat at least two hours before sleep • Avoid shouting and screaming, or speaking in loud environments • Use ear plugs to filter out background noise and hear yourself better • Use amplification where appropriate `Rozsa says, “my team gave me incredible individualized care and things I could do with my diet and with medication to help manage the inflammation in my voice. I’ve found ways to lessen my vocal load, such as making videos of myself in the summer while healthy, limiting talking in loud environments, and always using a microphone at school.” Edward Reisert, a 30-year choral director, vocologist, and current Pan-American Vocology Association (PAVA) Eastern Governor, says “Sleep cannot be underestimated. The same can be said for hydration. Think about your vocal behaviors outside of the classroom. Do you eat lunch in a noisy room? Do you spend a lot of time speaking in a noisy hallway? Are you teaching in an auditorium with little or no amplification? How are you engaging your voice for assigned bus duty? All these things impact your vocal load for the day.” Benischek uses a microphone in her classes now and uses recordings of herself and others to limit her repeated vocal use. She also switched morning duty from greeting the car drop-off line to welcoming students at the bike rack, which typically is less vocally demanding. In addition, she drinks as much water as she can realistically push throughout the day and uses a nebulizer. Sara Shikowitz, in her NAfME webinar “Vocal Health as Self Care for Teachers,” reminds participants to “not let pride get in the way” of using amplification—that, in fact, “the point of amplification is to not get to the point where you ‘need’ it.”

Voice Use Tips In the recent research that Verdolini Abbott mentioned, for teachers who did have a vocal disorder at the time of the study, changes in vocal hygiene were not sufficient to improve vocal health. Systematic, data-driven vocal training was needed. She devised a therapy program called the Lessac-Madsen Resonant Voice Therapy (LMRVT) to serve a population of people who needed expressive, performative voice use instead of simply speaking quietly as a solution to vocal fatigue.

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

The exercises of the program train you to vocalize using what Verdolini Abbott refers to as “barely touching or barely separated” vocal folds. A simplified way to know you’re doing it, she says, is “if you feel vibrations in the front of your face, even flitting by, and your voice is easy.” When your vocal folds are just barely together, minimal effort is needed to begin making sound. If they’re too far apart, we hear breathy voice, which is inefficient for the classroom and difficult to sustain over prolonged use. When they are too pushed together, we hear pressed voice, which takes excessive muscular effort and puts undue stress on the voice causing fatigue and possibly injury.

accommodations are not legally required. Health insurance may or may not cover the cost of getting scoped by an ENT. Despite the cost and the hassle, Owens notes that “it’s important for teachers to begin to assemble a voice team before an urgent need arises. If our voice doesn’t work, we don’t work. Identify specialists in your area who you trust such as a laryngologist, speech pathologist, vocologist/singing voice teacher, or voice care clinic.”

Semi-occluded vocal tract exercises (SOVTEs) are welldocumented and proven to be useful in finding this barely touching/barely separated position of the vocal folds. Exercises can be as simple as humming, doing lip trills, or singing through a straw (many people love straw phonation in water, making bubble water or bubble singing.) Titze introduced the idea of straw singing from the laws of physics, knowing that bringing extra resistance to the front of the face will reduce resistance and pressure at the point of the vocal folds, while still encouraging full vibration. This is the theory behind semi-occluding the vocal tract.

• Change in voice quality

Examples of SOVTEs: • Straw Phonation • Straw in Water • Humming/Nasal Sounds Sustaining “m”, “n”, or “ng” sounds • Lip Trills • Tongue Trills (rolling Rs) • Raspberries • Fricative Sounds Prolonging “vvvv” or “zzzz” • Cup Phonation (humming, speaking or singing into a cup that has a hole in the bottom) As far as the reality of fitting in new vocal care protocols into a busy day, vocologist Ed Reisert says, “discipline is the key. Every morning, schedule some sort of vocal warm-up, even in the car on the way to school. Keep some straws in the glove compartment, so they are available to use for straw phonation at the beginning and end of the day. . . . A vocal reset throughout the day is critical. Some lip trills or other SOVTEs while the classes are transitioning into and out of the classroom can prepare your voice for the lesson ahead. A little bit is better than none at all.” Choral directors know the importance of singing technique; we all need to apply the same expansive, released breaths, forward resonance, and easy production to our speaking technique as well.

Advocate for Yourself Benischek shared that throughout her long days with such large classes, now with a vocal diagnosis, she feels that “either I’m failing the kids or I’m failing myself. It’s really hard for a mom, a teacher, a caring person like myself; it’s really hard to choose me.” She cautions teachers: “If you think something’s not right, believe yourself. I think I was a little bit in denial—that maybe it was just where I was in my life age-wise and my voice was changing and that’s why. It’s an important thing; go get it checked.” The unfortunate truth is that most common voice disorders are not considered medical disabilities, so administrative

Signs You May Want to Seek Help: • Persistent hoarseness or complete loss of voice • Pain while speaking • Reduced vocal range • Frequent throat clearing • Vocal fatigue • Breathy quality in voice • Symptoms lasting more than two weeks Other ways to advocate for yourself include getting a microphone, switching morning, lunch, or dismissal duty, or even connecting your school with a voice clinic for schoolwide professional development, since this is not simply a music education issue. Verdolini Abbott and Owens have both either conducted research on teacher voice use or given teacher workshops on vocal care strategies in schools. Verdolini Abbott has a completely digital “down-and-dirty” voice training program for teachers. Karin Titze, clinical speech pathologist, vocologist, researcher, and co-author (with her father, Ingo) of Voice Is Free After SOVT, recently ran a workshop with Diane Owens and reminded the participants that “teachers are vocal athletes. Most athletes will sustain an injury or need advice. Get help; small adjustments can make a huge difference!” Karin Titze actually gives free scopes periodically. Not many voice clinics are as openly generous, but more teacher voice team collaborations would be mutually beneficial in the future. It wouldn’t hurt to propose a relationship with either a voice clinic or a local PAVA chapter for support.

A Little Goes a Long Way As teachers, we rely on our voices, not just for direct communication, but as musical models. Limiting or quieting voice use, at work or at home, can be a nice short-term solution to combat vocal fatigue, but it might not be sustainable or realistic. I can’t imagine never reading to my own kids at bedtime or idly chatting about our days together simply because I couldn’t use my voice at home. Additionally, preliminary and anecdotal evidence suggests that the quality of our voice can affect the nervous system regulation and cognitive abilities of our students. Maintaining our full range of vocal control, nuance, and expressivity in both speech and singing is critical to feeling fully successful in the music classroom. Take care of your voice. Pay attention to any risk factors that might be affecting you: choose to implement just a few vocal hygiene habits or vocal dose adjustments. Then, be mindful of the sensations of your voice: find exercises to fit into your day that awaken a sensation of forward vibration and ease of production. If challenging symptoms persist, form a voice care team. As a musician already self-aware of technique and

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

discipline, you will be a quick study in voice training. A little bit can go a long way! Advocate for yourself, and get the support you need to feel vocally secure.

More Voice Care Resources: • Pan-American Vocology Association (PAVA): List of Recognized Vocologists • National Center for Voice and Speech (NCVS): Videos on Voice Health • Ingo Titze: Vocal Straw Exercise (4:36) • Karin Titze: High Resistance Straw Exercise in Water (2:36) • Mindy Pack (NCVS Affiliate): The Science Behind Straw Phonation (1:42), Voice Straw H2O: How to Use (5:12), and How to Choose Your Straw Size (5:19) • Comprehensive Online Reference for Teacher Voice Health: University of Iowa Voice Academy: Free Vocal Health Tutorials for Teachers

References Morrow, Sharon L., and Nadine P. Connor. “Comparison of VoiceUse Profiles Between Elementary Classroom and Music Teachers.” Journal of Voice 25, no. 3 (2010): 367–72. https://doi. org/10.1016/j.jvoice.2009.11.006. National Center for Voice and Speech (NCVS). “Tips to Keep You Talking.” Ncvs.org. https://ncvs.org/tips-to-keep-you-talking/. Roy, N., Merrill, R. M., Thibeault, S., Gray, S. D., & Smith, E. M. “Voice Disorders in Teachers and the General Population.” Journal of Speech, Language, and Hearing Research 47, no. 3 (2004): 542–51. https://doi.org/10.1044/1092-4388(2004/042). Titze, Ingo R. “Vocal Demands on Teachers.” Journal of Singing 64, no. 1 (2007): 67–69. https://vocology.utah.edu/_resources/documents/ vocal_demand_on_teachers_titze.pdf. Titze, Ingo R., and Eric J. Hunter. “Comparison of Vocal Vibration-Dose Measures for Potential-Damage Risk Criteria.” Journal of Speech, Language, and Hearing Research 58, no. 5 (2015): 1425–39. https://doi.org/10.1044/2015_jslhr-s-13-0128.

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ELEMENTARY SCHOOL MUSIC COLUMN Kelly Archer Riverdale School

This article first appeared in the fall 1996 Oregon Music Educator. Kelly Adamson-Asby now resides in Vancouver and is enjoying retirement with her husband, Kevin. Upon returning to school this Fall, of us are once again faced many with change, be it schedule, assignment, or school structure. Many schools are moving towards reform models which utilize much integration among the staff. Integration is not a new concept at my elementary school, but it wasn't until this past school year that I wondered how that term really affected me and the music program that I have worked so hard to keep intact. This past summer I spent some time grappling with this idea of integrating with my classroom teachers. I needed some answers as to why integrate, and how to make this idea. work in my particular situation. I'd like to share some of my thoughts and findings with you on the why's and how to's of integration.

Why Integrate? 1. Extra Time

With all of the cutbacks we are facing in schools, integration is one way to make sure that the students are getting some music outside of the limited time you see them in music class each week. You have selected the music materials being used by the classroom teacher and given them guidelines on how to present it. Students could conceivably be getting some music everyday. This is a plus for your program! 2. Valuable Learning Tool

As music educators, we know the value of musical training to other parts of the curriculum. Howard Gardner, in his book, "Frames of Mind: The Theory of Multiple intelligences" hasdefined intelligences which include forms of processing information that deal not only with language but with music, bodily-kinesthetic information, spatial information, and other areas. While each person possesses all of the intelligences, each of us are unique in the way our intelligences work together. All of our students have different levels of these intelligences and learn in different ways. By integrating with the classroom teacher, we are assisting students in the learning process. "You need to be willing to learn outside your area of expertise to provide a richer integrated experience, not only for the students, but you too.” Musical ventures, whether creating, reflecting upon, performing or analyzing have lessons of their own to teach, enlarging the students sense of the world and showing them the ways available to understand it. Music activities can help the learning become more relevant to the students and bring some depth and emotion to the process. 3. Great PR

Integration is great PR for your music program. Students, administrators, parents and community see you as an equal with the classroom teacher. You are an essential part of the elementary team and they need your musical expertise. You are seen by the community as actively involved in the entire educational process. You are no longer viewed as the "frill", but a key player on the team.

How to Integrate 1. Survey Classroom Teachers

Survey the classroom teachers on what units, themes and topics they plan to study this school year. Choose a theme from each grade level and start the search through your resources for activities and songs which could be worked into this theme. You may decide to narrow this down to one grade level until you feel comfortable with the process. Start out small so you give yourself and the process a fair chance. Add more as you gain confidence and knowledge. Don't try to force integration. It either works or it doesn't. I have to admit that some of my best integrating was done sponta- neously and accidentally. I remember sitting with my classroom teachers several years ago discussing a unit on life cycles when all of the sudden, it was a full blown musical presentation about growing up. It was terrific!! You know how it is when you get those creative juices flowing! 2. Make Time

It is important to try to arrange time to meet with the classroom teachers throughout the year. I know that with increasing work-loads and assignments, this sounds impossible, but this needs to happen in order for integration to work. You need to be willing to learn outside your area of expertise to provide a richer integrated experience, not only for the students, but you too. Learn the classroom teachers language and share with them. You are the yours music and classroom teachers expert need guidance on how to present musical activities or reinforce activities taught in the music classroom. If possible, make recordings of songs and listening selections which correspond with the theme or unit. I have found that most classroom teachers are afraid to present music activities because they don't feel comfortable with their own musical skills. Make it as easy as possible so they feel successful doing it. 3. Share

Set a program date to share the integrated theme with the parents and community. Your portion of the program may include performance of existing literature, student compositions, dances created by students, etc. BE CREATIVE! While your portion may only take five to ten minutes, it will be an integral part in the sharing experience. There are many positive outcomes and reasons for looking towards integrating with your classroom teachers. The arts bring in new understanding of concepts making them more concrete and relevant to the students. Brown University semiotician Robert Scholes states that "the arts can help students understand aspects of culture that really matter to them now, and expand the range of things that may matter to them in the future. All students will ultimately become consumers, and to some degree producers of culture. The goal of schooling should be to make them more critical consumers and more creative producers." Integration is an exciting and rewarding way for your students and you to learn. Try it and see the positive results it can bring to your music program!

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HOW DO WE TEACH LIFELONG LEARNING IN MUSIC EDUCATION? (OR DO WE?) Jason Rodgers OMEA Secondary General Music Chair and Composition Contest Co-Chair

I want you to think for a moment: what do you hope your students will take with them from your music classroom when they graduate from high school? What does lifelong learning and a love for music look like? The best-case scenario might include entering university as a music major to study the instrument or voice they just spent the last 7+ years performing, or continuing to perform in an open ensemble as a non-major. Bonus points if they choose to study music education! If college isn’t in the cards, maybe there’s an active community ensemble they can join to keep their chops sharp. At the very least, they should leave our programs with an understanding and appreciation for music that goes beyond the average listener, become staunch advocates for music education in their communities, and encourage their own children to participate in music as they did. Right? But what else? Recently, I had an illuminating conversation with a friend. As I’m sure you’ve probably found, when people hear that you are a music teacher, they want to tell you all about their childhood music experiences. This person told me that they had played alto saxophone from 5th through 12th grade and loved every minute. After graduation, though, they set the sax aside. They went to college, studied education, and became a Spanish teacher. Now, in their early 40s, exploring a new career, they’ve considered getting back into playing again. Their mom even had the saxophone serviced and surprised them with it for their birthday, but they hadn’t touched it, yet. I probed a little: “What do you think you’ll do?” “I’m not sure. I still have my old band book, so maybe I’ll start there. At one time, I had all my scales memorized.” “Then what? How are you going to make it an ongoing practice? Will you find a community band to play in? Will you find someone to jam with? What style of music will you play? Will you look up songs to learn on YouTube? Will you improvise?" My barrage of questions was a little overwhelming, and they admitted that they didn't have any answers. Actually, they hadn’t even considered many of the questions I posed. So, to our question “What does lifelong learning and a love for music look like?” perhaps we need to ask a follow-up question: “When school stops providing a music infrastructure for students, how will they know what to do next?” I think this is an important question to pursue, because the future of music education in American public schools might depend on the answer. Two articles published this year have pushed me to think about that question from very different directions. The first article is “The Storm is Here: Seven Threats Every Music (and Arts) Educator Must Understand Right Now.” It was written by Bob Morrison, longtime arts education advocate and education policymaker, founder of the Music for All Foundation, and former chairman of MakeMusic. In this article, Morrison outlines how federal legislation, state tax reforms, increasing costs, declining enrollments, and teacher shortages are causing a cumulative erosion of the supports that have historically kept

music programs afloat. He urges educators to document their programs, strengthen relationships with stakeholders, and advocate before a crisis occurs, using both measurable outcomes and the deeper human and cultural purpose of arts education. It’s good advice, and our Public Policy Chair, Laura Arthur, can help you with resources if you don’t know where to start. If the first article spooked music educators, the title of the second likely ruffled a few feathers. “What Sports Understands That Music Education Can Learn From,” by Kevin Droe, proposes an important reframing of traditional music education in America. As Associate Professor of Music Education at the University of Northern Iowa, Droe teaches music education, researches innovative music education for special populations, and gives workshops in audio production, Modern Band, and popular music education. While Morrison asks what external forces are threatening music education, Droe asks us to consider whether some of our vulnerability comes from the way we have designed music education itself. And he’s not talking about competition. The argument Droe makes is that athletics and physical education have built an ecosystem in which the whole community can participate in a variety of ways, at a variety of depths, across a variety of ages, while school music often builds isolated programs of increasingly narrow focus. The article can be reduced to six principles: 1. Create many ways to belong: Performing is only one possible musical identity. Production, songwriting, engineering, DJing, promotion, criticism, video, lighting, event production, etc. can all be legitimate ways into the musical ecosystem. 2. Design for audiences, not just performers: A concert isn't just an assessment presented publicly, it's an experience for the people who attend. Repertoire, pacing, venue, presentation, interaction, visuals, and atmosphere all matter. 3. Build around community identity: Don't merely bring the institution's musical traditions to the community. Find out what musical cultures already exist there and build reciprocal relationships with them. 4. Provide multiple entry points: The traditional "start in fifth/sixth grade or forever be behind" instrumental pathway is extraordinarily brittle. Healthy ecosystems let beginners enter at age 9, 14, 17, 35, or 70. No, we’re not responsible for everyone’s music education after age 18, but that leads us to… 5. Prepare students for musical life after graduation: A student shouldn't require 59 other musicians, a conductor, a rehearsal room, and school-owned equipment in order to continue being musical. Production, songwriting, guitar, keyboard, Modern Band, DJing, etc. create highly portable forms of lifelong musicianship. 6. Fix the product before marketing it: This may be his sharpest point: "Marketing matters, but marketing cannot solve a design problem." If students don't want what we're offering, another recruiting poster explaining

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that band improves teamwork isn't necessarily the answer. First, ask whether we've built something they actually want to join. With all the elective options students have today, we may need to come to grips with the possibility that school music as we have traditionally designed it does not have the same draw it once did. For many secondary music educators, the response to this expanded vision might be: “But I don’t know how to teach songwriting, music production, or DJing! I studied viola performance and orchestra education in college.” Fair enough. Many of us were trained as specialists, and thinking about secondary music education in more generalist terms may seem daunting. I spent much of my own career teaching within those same structures. And when our programs and calendars are built around performance and the annual festival season (the comparison with athletics that Droe did not make), finding room for a broader range of musical experiences may require us to rethink some long-established priorities. Beyond the practical challenge, though, Droe's last phrase captures a deeper philosophical shift: "...consider what music education might become if we offered… experiences designed around participation rather than preservation.” He's not saying preservation is bad. Concert band, orchestra, choir, jazz ensemble, and the literature and practices associated with them are worth preserving. He's challenging the assumption that preserving those institutions is synonymous with providing music education, and that distinction matters enormously. If the mission is "preserve the concert band tradition," then declining band enrollment is an existential problem; if the mission is "help every student develop a meaningful musical life," declining band enrollment is an important data point about the health of the ecosystem. And that actually

strengthens Morrison's foundational advocacy argument: if we're going to tell policymakers that music belongs in schools because humans deserve musical lives, then logically our programs should be designed around students' musical lives, rather than requiring students to adapt themselves to the institutional structures the profession has inherited. So, back to my saxophone-playing friend. By almost every traditional measure, their school music experience was a success: eight years of participation, proficiency on an instrument, and memories positive enough that decades later they want to play again. Yet without a director selecting repertoire, assembling musicians, organizing rehearsals, and creating performances, they didn't know what to do next. If you've been a music educator for long, I'm sure you've had some version of this conversation, too. This story is not an outlier, and that should give us pause. This is where Morrison's warning and Droe's challenge converge. Morrison gives us compelling reasons to defend music education against the forces eroding its place in public schools. Droe asks us to examine what, exactly, we are defending. If our mission is to help students develop meaningful musical lives, our definition of music education must be broad enough to include the many ways those lives might actually be lived. That doesn't mean abandoning band, choir, orchestra, or the traditions that generations of students have loved. It means building outward from them: more entry points, more musical identities, and more pathways students can carry beyond graduation. Perhaps that's the real test of lifelong learning in music education. When the rehearsals end, the concerts are over, and the teacher is no longer standing on the podium, have we taught our students enough to know what to do next?

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PRACTICAL APPLICATIONS FOR THE LESS JAZZ-FOCUSED BAND DIRECTOR Lars Campbell Director of Instrumental Music, Clackamas Community College

Often at the OMEA conference, I’m struck by how many of the attendees at the jazz workshops are the jazz-focused band directors who already embrace jazz ensemble as a serious art form, who are trying to continue to learn and create groups with exceptional musicianship. In many ways, I think, hey, these sessions are working! But I also think about how many of the directors who run a jazz band but may have a more classically-focused background would get so much out of the sessions but aren’t attending the jazz sessions. This article is a hope to grab some of those folks’ attention and get them thinking about how they can strive for great teaching in jazz ensemble, and how giving their students both experiences at a high level is incredibly valuable. I grew up playing both orchestral music and jazz. All my university degrees are in jazz studies! But I spend a big part of my adult performance time in the orchestral realm. I’m always surprised by how people in both settings are surprised that there are folks who can be equally comfortable in both genres. I think in our day and age, it is IMPERATIVE that musicians are equally comfortable. It is what we should give our students who will head out into a highly competitive professional world or head out to become a part of an active amateur performer realm, both of which benefit from a good understanding of both performance skill sets. So, if you played the bassoon as your main instrument, or the viola, or you’re a vocalist who teaches big band, and you didn’t spend more than one jazz techniques class learning how to be in a jazz band, how can you start to help your students succeed in jazz? Let’s talk practical advice. 1. This is the most cliche thing you will hear, but also, the most

important: students must listen to jazz to understand it. Play them recordings of jazz masters! Encourage them to listen to them on their own time. Give them extra credit for listening reports. Give them triple extra credit for learning to play along with a lick or three from an artist they like. The more they hear that language, the more they will be able to replicate it.

2. Encourage small group playing and practice it during your

classes. We can all get stuck in the classroom aspects of jazz education. Engaging the whole room, trying to work on repertoire that you’re performing in concerts and festivals soon. But, if you get to the solo section, and those soloists have had significantly less time practicing THEIR craft of improvisation, how can you expect them to be successful? I’ve had a lot of luck with practicing improv in my classes in groups. Have one trumpet, one trombone, one saxophone, and one rhythm section player improvise simultaneously. The timbre differences let everyone hear themselves, and also let you, their director, hear them all individually to provide feedback. Doing this can allow you to spend 20% of the time on teaching soloing to beginners while getting a similar result. Bonus: they feel less scared to improvise when three others are also doing it!

3. “Use more air” doesn’t work as well here. I could write

an entire article about this one bullet point. But it’s imperative that you realize that the old standbys for good sound in wind band don’t hold true at the same level in jazz ensemble. Does it work on the long note? Absolutely. But jazz articulation is inherently different from classical articulation and phrasing, and it means adjusting your airflow. Here are a few things to know: a. Slurs don’t mean to never tongue in a jazz band setting. They are truly phrase markings, and almost never mean to not articulate under that slur. You’ve likely heard someone say to accent the first, last, and highest notes? This is good practical advice!! All of those notes need to have an articulation, they can’t be slurred into. But there’s even more to it than that. ALL peak notes need accents. All notes next to a rest need an accent. b. Bebop tonguing is the basis for eight note lines. Bebop tonguing is articulating the notes on the “and” of the beat and slurring them to the next beat. This all happens under a slur (or where nothing is marked) in jazz eighth note lines. Once the music gets very fast, this practice diminishes, but for much of the swinging music you work on, this is the place to start with your students. c. Dynamics are drastic in good jazz phrasing; a phrase marked forte should have notes that are piano in it, and plenty of notes that are mezzo-piano or mezzoforte! Your students can’t just jam air in the horn and sound authentic. The note after an accent will sound best if you play at least one dynamic softer, often two. So ask your students to try this and listen to it. Have the peaks of the line be the printed dynamic and have the other notes be one dynamic softer (their notes will also be more in control!). d. Ghost notes are important. Sometimes you’ll see them marked, but more often not. One good rule of thumb: If you have a jump down and then a return to a note that is more near the first note, try a ghost note in the bottom!

If you’re not sure of how to teach a ghost note, here are some ideas: 1) make the ghost note smaller rhythmically (more like a 16th). 2) if they play brass, have them put the wrong valves down (or a half valve), or put the slide in the wrong position. This encourages the idea of not truly resonating the notated pitch. If they play sax, have them lightly touch their tongue to the reed, without stopping the note. This makes a “deader” sound without all

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

of the high frequencies. Sax players can try this on one note, alternating truly tone with ghosted tone. 3) Try an articulation like “Nnn” instead of Taw or Daw. (Daw-nn-Daw, doo-daw in the above example). This phrasing help is the biggest possible place to spend your time in becoming authentic. Invest in teaching these methods as style, just like you teach style in classical groups. Learning to do it instinctually for students is important and gives great growth to their musicianship! Here’s an example of a written part you might see, and then a marked-up version to show the above in practice:

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4. Learn improvisation along with your students. If jazz is

foreign to you, how do you think your students feel? This is a great opportunity to learn alongside them. Make the same mistakes they do. Feel the experience of being a firsttime improviser. Be willing to look silly or make a wrong note choice! Your students will love it, and you’ll get better along the way. You’ll also get to do it for many more years than they will, so you’ll likely get pretty good at it!

Hopefully these ideas will get you started with your wind players. We didn’t even talk about the rhythm section in this, which is another article entirely. If you try these out and find some success, come to the jazz sessions at the conference. There are a whole lot of people sharing a lot of successful strategies to open up this performing group for you. And don’t be afraid to ask others who you admire or respect for their strategies with jazz band! They’re almost always willing to share what has helped them to do what they do well. In the end, we’re all in this for the same reasons, to give a great musical experience to our students, so all of our classes should carry that depth and weight to them.

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LESSONS FROM DOLLY: RURALITY, COMMUNITY, AND EDUCATION Melissa Jmaeff OMEA Small Schools Chair

I will start by saying that I am not a Dolly-ologist. I am what I would consider a casual fan. I loved her in the movie 9 to 5. I love the song “9 to 5.” Outside of that working-class masterpiece (the film and, of course, the theme song written by Parton), I dug her confidence, her playfulness, her costumes, her generosity, and her wonderful sense of humor. I appreciated her lilting voice and songwriting. I loved how self-possessed she was, how determined she was, how driven she was. I loved her work ethic. I loved her friendliness. I loved her creativity. But maybe the thing that I loved about her the most was her rural pride. Dolly never shied away from her roots, nor did she disparage her humble beginnings. In every interview that I’ve seen on the topic, Dolly always spoke highly of the Great Smoky Mountains of Eastern Tennessee, the place of her birth and her childhood. Dolly’s upbringing and rural music education deeply influenced her art throughout her entire career, from her earliest songs to her final full-length release, Smoky Mountain DNA: Family, Faith and Fables (2024). Dolly has spoken about her family of musicians, folks who knew music from the old country and who would sing it from the porch in the new one. Her mother was a singer, and she told Dolly that music was how news was passed in the old days. Sharing folk songs was how people made sense of the world around them, how they came to understand their histories. The old melodies of Scotland and England wove their way into Dolly’s original music through the filter of the Smokies. This is perhaps most evident in her trio of bluegrass records released in the early 2000s. Dolly’s music is a fine example of how understanding one’s roots can inspire creativity and new stories to be learned and passed down.

your beginning band “Crater Lake Overture” (John O’Reilly). Teach your concert choir “Oregon, My Oregon.” Teach them the original and the updated lyrics. What do we know about slavery during the time of Western expansion? Relationships to native peoples of the West? What do we know about the natural world and the Western landscape and how it informs our worldview, our economics, our sense of self? Many talking points on Western rurality can be pulled from that song. Yes, Dolly has taught me many things. From an artist’s perspective, she has taught me the importance of celebrating one’s roots through music. From an educator’s perspective, I value her ability to reach so many different people on so many different levels, while maintaining a generosity of spirit and an unwavering commitment to her mission. From a community builder’s perspective, Dolly had an incomparable gift of bringing folks into the fold and making all of us feel seen and heard. She had the vision to provide resources to those in need– Dollywood employs thousands of people in rural Eastern Tennessee, and her reading program currently provides one book per month to 3 million children under the age of five. Dolly saw a gap and figured out how to build that bridge. There are many ways that we can describe Dolly Parton, her music, her work, and her legacy. Chief among them: Artist, philanthropist, country queen.

As Dolly so brilliantly showed us, place-based music is crucial in forming an understanding of the world around us. From the podium of the band room, though, it can be difficult to teach students about rurality and coming to know and appreciate one’s roots. The difficulty for me lies in a school year that is dictated by an unrelenting events calendar that is fueled by school and community expectations. I am not complaining; it is extremely important to my students and to me that we provide support to a community that supports us. However, due to these expectations, it becomes unlikely that we can change much about our rehearsal/performance schedule. That said, whose job is it to teach students about rurality, rural roots, and place-based music-making, if not mine? Do I dare leave it to the mercy of AI and the pop country that makes its way onto the Spotify playlists of the day? Dolly taught me that if you have your mind made up, you can do anything. It may take a lifetime, but you’ll get there. She also taught me that there is plenty of good that you can do along your way to achieving your goals. Do you want your students to know and understand that their rural roots are nothing to be ashamed of in a (sub)urban-normative world? Great! That’s your goal. In the meantime, play the football game, teach them how to read Bach, let them sing pop. There’s a whole lot of good that can come from being friendly, open-minded, big-hearted, and generous. But let us not forget that our rural roots matter too and that it’s ok to lean into them in academic spaces. Teach

Dolly Parton (Getty Images, 1976)

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MANAGING CLASSROOM BEHAVIOR STARTS WITH MANAGING OUR OWN BEHAVIOR Mari Schay OMEA SMTE and CNAfME Chair

I was never taught to manage my own behavior. As a colleague recently said, “I’m from the ‘suck it up’ era.” There are times when we just need to grin and bear it. But there are a lot more times when we need to process how we feel and how we act on those feelings so that we can come to the classroom as our best selves. When we practice self-regulation as adults, it is far likelier that our students will be able to regulate themselves.

1. Do the students know what is expected?

While our work needs to be done privately (or in therapy), the results of our self-reflection need to be evident in all we do with, for, and around our students. If you are seeing consistent issues across different types of kids,remember that you are the common denominator in your classroom. A teacher who is invested in their students’ growth will pause to reflect on what is happening and how they might be contributing to a problem.

If you can’t identify what the issue is, ask the kids. Explain what you are noticing, give the kids time to brainstorm solutions, and discuss how you want to move forward collectively. Not only will you have better buy-in when the students are involved in problem-solving, but you will learn something about your teaching. (Remind your students that you are human and have feelings, so the Golden Rule applies to you, too!)

Tone of Voice Matters Just like a student’s behavior is a form of communication, so is the teacher’s. Our students don’t just listen to what we say, but how we say it – especially when we work with teenagers. Avoid sarcasm with younger students or those with developmental delays. They may take you very literally, resulting in hurt feelings, misunderstandings, or misinformation. While teens often use sarcasm themselves, they are often much better at dishing it out than taking it. Model kindness and clarity at all ages.

Model Making Mistakes with Grace Modern students are very familiar with the concept of growth mindset. But sometimes we adults forget to model it ourselves, especially when we make midtakes, mistales, or mistakes. (That was a genuine typo, but I decided to roll with it.) Many of us were taught that mistakes are a sign of weakness or stupidity, so even though we encourage our students to make plenty of mistakes, we often get flustered or try to cover up our own.

Clear Is Kind We all have the occasional Beuller…Beuller … Beuller moment. We think the kids are right with us, but it turns out they aren’t even there, at least metaphorically. Often, we just talk too darn much. Our students are floating in a sea of words and they either tune out and just keep floating, or they can’t figure out which words matter and they drown. To keep your speaking effective and efficient:

• Use concise language. • Use fewer words and fewer big words. • Pause before and after instructions to allow processing time. • Break multistep instructions into multiple shorter steps. Challenge yourself to a no- or low-talking teaching day. Give the kids a heads up that you are working on using effective language and are going to take the extreme. If you don’t think you can go word-free, try to limit yourself. It’s so hard, but also so eye-opening. Maintain Consistent Expectations…Unless They Aren’t Working Ideally our expectations will be delivered orally, confirmed visually, and reinforced consistently. In other words, say what you want them to do, write what you want them to do (or use icons), and do it the same way every time. Building routines not only keeps the class or rehearsal moving along, but it helps with self-regulation. A student who comes into your class riled up is more likely to regulate themselves if they know what to expect. Most students will follow most expectations most of the time. If you are seeing consistent issues with students meeting your expectations, ask yourself three questions:

2. Am I consistent with what is expected? 3. Do I expect too much or too little of this age group? When you identify an issue, address it directly with your students. Explain the new routine and the reason for the change so that you don’t cause further confusion.

Not only will your flubs provide a great opportunity to model an attitude of curiosity and humility; you will build trust and respect by admitting to them. I had a principal who used the phrase:

• Own it. • Fix it. • Apologize. • Move on. It works as well for adults (and adult relationships) as it does for children. Check Your Biases We all have biases. As a drummer, I have all kinds of thoughts about flute players. (See. Sarcasm doesn’t always land.) Whether your biases are about race, gender, culture, or flautists, you absolutely can not act on them in your classes or rehearsals. Sadly, there are teachers who are unaware that they are acting on these biases. I had a colleague who had most of her Black students sitting at individual desks while her other students sat at group tables. Even after this was pointed out to her, she insisted it was based on their behavior, not their race. Hmm. Even with the best of intentions, you may get accused of acting with bias toward a group of students, a section of the choir, or a class you would rather not teach. Our initial reaction is almost always defensiveness. After all, we are very nice people! We choose to work with kids. But when that accusation comes, get curious. There is almost always some truth to it and if you are willing to listen, you can move forward with your learning. Value the Process, Not Just the Product When the concert is next week and the ensemble clearly is not ready, many of us drill down. We have all done it. As musicians, we have a sound we are trying to achieve and it feels like a failure if we don’t get there.

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Instead of doubling down, yelling at your kids, or blaming them for not practicing enough, remember that every moment is a teachable one. After the concert is over, what will they remember – especially if it goes as badly as you fear (which it most likely will not)? Will they leave the concert feeling the joy of collective success, or will they leave feeling they are not good enough, or worse yet, not musicians? It is essential to review a performance with the goal of improvement, but don’t forget to celebrate what went well. Make sure your students understand that a concert is a moment in time and that it is the result of multiple people making multiple decisions. To improve the product, each person needs to make different decisions in the process. Discuss how you will all commit to improvement and how you will hold each other accountable.

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HOW DO WE GET KIDS INTERESTED IN MUSIC? An Answer to Rural Educators

Iris Erickson OMEA CNAfME Student Representative

This summer I had the honor of attending Hill day as a college co-representative for Portland State University. On this trip I met a representative of a more rural part of Oregon, who was under the impression that children don’t care about music and only want to be on their phones. Although in a way I understood the sentiment, he seemed to be under the impression that music is not an accessible type of program for all children, and that many children would more likely prefer being on their devices to being in the music classroom. This prompted me to think—how do we get our inexperienced kids more interested in music? The answer is the same as what I stated in our meeting: I told him that you cannot expect children that do not have access to musical resources to become interested in something that they simply cannot perceive. I told him that one cannot expect children to walk through a door that has not yet been built. As stated before, this representative oversees the most rural parts of Oregon, and as someone who comes from the rural part of Oregon myself, I would like to point something out that may not be very clear to folks that live within a more urban or city setting. Music is seen as a closed practice to those in rural areas; it is seen as something that is not accessible and that is for "rich people only." I would like to change this narrative, and I think the best place to start is by constructing an environment where we can get kids and adults alike more interested in music. After all, parents are the place to start if you want to see their kids learning music in the classroom. Deconstructing the Narrative:

Music is much more accessible than some folks think it might be. When one thinks of music, someone not as familiar with the art might think of an entire symphony or a huge 300 person choir, and they may get overwhelmed with that idea, leading to lackluster engagement or interest. It is important to hold the narrative that music is accessible to everyone—in many cases, you don't even need an actual instrument to perform a piece. Deconstructing the narrative that music is inaccessible is very important and it is a huge first step for getting more rural communities to be accepting of and giving towards musical programs. Yes, music is choirs and symphonies and orchestras, but it can also be egg shakers and djembes that children can use with their hands. Deconstructing the narrative that music is a closed practice is something that is very important moving forward. It will help flatten the mindset that music is not for everyone, only for the people that have the money to do so. Many rural and even suburban schools struggle with funding their music and theater programs in the face of sports programs deemed “more valuable” within schools—the first step in changing this is by showing how important music truly is to our children, and in turn, to the community. It’s Never Too Late:

Many people think that there is an age limit to learning an instrument; obviously this is not the truth. We should reach out to adults and children alike to provide music education and activity opportunities. If the parents see this action

and feel that it is a valuable thing for themselves, then they will be more encouraged to provide it for their children. Personally, as someone who did not join a music program until I was a freshman in high school, I will say that music is important at any age, and I am proof of that! I have talked to many people my age that said they felt defeated when they find out that their peers have parents, family members, or even generations of people who are musicians in their family. They feel as if they are behind as if they will never be able to catch up, so what is even the point in trying? The point is joy. The point is connection. The point is that it's never too late to learn an instrument, to pick up a hobby, or to own a new medium. Allowing the conversation to grow from K-12 students to all families will drastically change their enjoyment and action within music programs around the state. This is an important step in getting children more interested and engaged with our musical programs. With engagement comes funding, and with funding comes growth, but we cannot grow until we have seeds to plant. In this case, seeds come in every size and shape; parent, child, even fellow faculty could help expand your program, and it is important to open up the doors to all. If a student sees that their parent has become more interested in music and cares about the program at their school, they also may want to pick up an instrument. It is up to us as educators to provide an open, honest, and inclusive environment for all, not just the children. People that come from a non-music background seem to think that there is no hope for them ever to be a musician. This is not the truth— it is up to us to extend a hand and invite them inside of our world, instead of having them be outside wondering what it could be and living in doubt of our expertise. Share The Facts: Music Education and Cognitive Brain Health

When it comes to discourse on the topic of music education, a common argument is that music is a "fun class" that will not help students get any closer to raising test scores or getting better grades. In many cases, it is seen as a waste of time instead of an extra curricular that helps with brain development. In times like these it is important to share the facts and statistics that go hand-in-hand with being a musician. As we all know, music plays an important role in cognitive development and brain health because engaging with music requires the brain to coordinate multiple cognitive, sensory, and motor processes simultaneously. Unlike simply listening to music, active musicmaking requires individuals to interpret auditory information, maintain attention, remember patterns, coordinate physical movements, and make continuous adjustments based on what they hear. Learning to play an instrument, for example, requires the integration of auditory, visual, motor, and memory systems, making musical training a particularly complex form of cognitive activity. Research on musical training has demonstrated that these experiences are associated with neuroplasticity, or the brain's ability to adapt its structure and function in response to experience. Herholz and Zatorre (2012) describe musical training as an effective model for studying experience-dependent brain plasticity, noting that

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

learning an instrument can produce behavioral, structural, and functional changes in the brain. Similar review of music and cognition suggests that musical training can influence the development of auditory processing and other cognitive abilities through repeated engagement with complex musical tasks. These findings demonstrate that music education is not simply an artistic or recreational activity; it can provide sustained cognitive stimulation that engages several systems of the developing brain. One area of particular interest is the relationship between music education and executive functioning. Executive functions include cognitive processes such as attention, inhibitory control, working memory, and cognitive flexibility, all of which are important for successful learning in school. Students must use these skills when they concentrate on a lesson, remember instructions, organize information, ignore distractions, and shift between different academic tasks. Music education provides repeated opportunities to practice many of these same skills. Music education may also support the development of auditory and language-related skills

that are relevant to classroom learning. This is particularly relevant during childhood and adolescence, when students are developing increasingly sophisticated reading, language, and communication skills. Music education therefore has the potential to complement traditional academic instruction by providing students with an additional context in which they practice listening, memory, sequencing, pattern recognition, and sustained attention. At the end of the day, music is one of the most viable forms of both connection and communication. It is hard being a part of a community that does not see the same value of it that you do. It is up to us educators to not only prove its worth, but to also extend its reach to the furthest corners of Oregon. I know this is not your first time hearing this, and surely it will not be your last, but if this article leaves you with anything, let it be this: It is such a privilege for us to do what we do, and I know each and every one of us feel purpose in our field. Ignite the passion that you feel and spread it to everyone, and build those opportunities for children who are out there waiting for us, hungry for education and community.

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Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

OREGON MUSIC HALL OF FAME AWARDS SCHOLARSHIPS J. Michael Kearsey Board Member, Oregon Music Hall of Fame

Since its inception in 2004, Oregon Music Hall of Fame has had two objectives: first, to honor Oregon musicians and music professionals who have worked in the state over 20 years; and second, to establish a scholarship fund for Oregon’s high school seniors who will pursue music at a college level. In 2007, our first $500 scholarship was awarded to Adrienne Hoarfrost from Wilson High School. Since then the Hall has seen applications from seniors at 44 different Oregon High Schools from Hermiston to Grants Pass to Beaverton to Burns and back and awarded over $185,000 for 92 College Scholarships.

INSTRUMENTAL MUSIC and CHOIR

SESSION 1

There are now a total of seven scholarships to be given to worthy students including one for those who hope to be music teachers and one for women, Women in Music-Gloria Johnson, who seek a career in the broadcasting/music industry. In addition, this year the Hall will coordinate scholarships from the Billy Hagen Foundation and one from the family of Mark La Rue Todd, both longtime Portland musicians who have recently passed away. Each of the seven students will be rewarded with a $3500 check. Over the years the winners have gone to a wide variety of universities and colleges including PSU, OSU, U of O, Stanford, St. Olaf, Columbia, Berklee School of Music and Julliard. Many have gone on to successful professional careers and teaching positions as well as music business endeavors. Our 2016 winner, Elizabeth Soper, is the choir teacher at South Medford High School. Many are working in orchestras across America. Others have continued to rise in national visibility such as 2009 winner Kate Davis from West Linn High School who has a solo career as a vocalist, multiinstrumentalist, and songwriter. She was recently seen with Jon Batiste’s band, sitting in on bass on the Steven Colbert show. Her sister, Emma Davis, was a 2011 scholarship winner and performed at the Grammy Awards with Portland’s own Esperanza Spalding. Over the years, applicants have excelled in a variety of genres: bluegrass, classical, jazz, rock and beyond.

June 27 - July 9, 2027

A TWO-WEEK MUSIC & ARTS SUMMER CAMP. MAKE A LIFETIME OF MEMORIES AT WILLAMETTE UNIVERISTY IN SALEM, OREGON

Bass, Bassoon, Cello, Clarinet, Flute, French Horn, Oboe, Percussion, Saxophone, Trombone, Trumpet, Tuba, Violin, Viola, Piano, Guitar, & Choir Work with the finest faculty in the Pacific Northwest. Focus on your individual instrument and voice part alongside friends. Learn new skills and expand your performance repertoire.

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ALL INCLUSIVE TUITION PAYMENT PLANS AND NEED-BASED FINANCIAL AID AVAILABLE

Applications are reviewed in February and winners are notified in March. They are announced in July to the public at an event honoring them where each recipient performs along with the announcement of each year’s Hall of Fame inductees. All the winners will be honored at the OMHOF Induction & Concert at Portland’s Aladdin Theater on Saturday, October 10, 2026. Each applicant should be a student studying vocal or instrumental music graduating in the spring of 2027 from an Oregon high school and continuing their collegiate/university academics as a major or minor in music at any college or university in the country. Oregon Music Hall of Fame strives to inspire the continuing of higher musical education by offering assistance with college expenses so that music students may aspire to the level of those that have musically made it in Oregon and around the world. Any questions may be emailed to info@omhof.org or please visit our website at www.omhof.org where an online version of the application is available. All items must be mailed together in order to qualify to: Oregon Music Hall of Fame PO Box 82173 Portland, Oregon 97282

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

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

  development and mentoring.



  

     

DIFFERENTIATING CURRICULUM FOR ADVANCED MUSIC LEARNERS Robert G. Hendrickson Doctoral Candidate, William & Mary, Virginia

For a long time, research has demonstrated that time spent in musical rehearsals is valuable from a non-academic perspective but often lacks instructional value in meeting established standards for music education. Freer (1992) reviewed the existing literature up to that point, which had established an instructional model for rehearsing a group of student musicians, and lamented the absence of higher-level experiences fostered by directors. Stephens & Karnes (2021) stated that gifted children often lack genuine challenges in school, which can leave them unprepared for the obstacles of adult life and their careers. Vygotsky (1978) described the level of challenge needed for each student as the zone of proximal development. Curriculum should be designed to equip all students with the tools to grow, adapt, and continue learning, even when the world falls short of their expectations. Units can be developed with this vision of impact in mind. Differentiating experiences for gifted learners allows all students to receive instruction tailored to their level, enabling teachers to address the diverse needs of each student subgroup (Stephens & Karnes, 2021). Providing a separate unit for gifted music students will help our music programs offer developing musicians focused rehearsal time, organized in a way that encourages learning without risking boredom for the more advanced students. Conceptions of Giftedness

The operational definition of giftedness that often underpins music education is the ability to excel at a high level in any meaningful human activity (Sternberg, 1984; Gagné, 2009). This understanding allows a person to be gifted in some areas but not others and enables them to experience failure without indicting their giftedness. This definition suggests that a gifted music curriculum will focus on students who show high potential in musical pursuits. Gagné (2009) described talent development as a process in which raw potential is refined through a series of controllable steps, as is seen in music education. However, strictly applying this definition may unintentionally favor students with prior experience in Western or Eurocentric musical traditions. Shehan-Campbell (2020) pointed out that this could hinder diversity and equity by excluding some multicultural students. This highlights the need to establish diverse prerequisites for the curriculum adopted. While the broad, multidisciplinary talent-development framework recognizes musical intelligence as a distinct form of giftedness, other research has further divided musical ability into three distinct domains: improvisation/ composition, aesthetic listening, and expressive performance (Haroutunian, 2002). In the classroom, students can explore roles as ‘composers,’ ‘listeners,’ and ‘performers’; differentiated experiences in lesson plans can use the icons in Figure 1. When assessed using a self-created pretest or a parent questionnaire (Haroutounian, 2002), teachers should highlight that students have access to all experiences in the classroom. While guided by their assessment results, they will not be limited by them. Teachers will affirm that students can switch roles as needed. For example, a student identified as a listener may still choose to perform on an instrument at any time.

Figure 1 Icons for Differentiated Experiences

Learning Theory

Constructivism encourages the development of lasting knowledge by building on existing understanding. Students acquire knowledge through concept formation rather than just memorization (Bruner, 1977). Stephens & Karnes (2021) emphasized that curiosity is essential for gifted learners. Constructivism supports learners who are curious, independent, and eager to grow. Music educators must recognize that each activity builds on students' existing musical experiences. They will respect that students develop ideas and expand their prior exposure to various musical genres. Additionally, lessons should be organized to gradually improve student knowledge and skills, aligning with their diverse backgrounds and aiming for mastery as outlined in the standards for music education (NAfME, 2014; Oregon Department of Education, 2015) and gifted education (NAGC, 2019). Curriculum Theory

A growth mindset involves embracing challenges with high self-efficacy (Dweck, 2006). Balancing the two promotes genuine learning. Spiral learning, a constructivist curricular theory developed by Bruner (1977), revisits and builds upon previous learning. Bruner proposed that effective teaching engages students at their current level and guides them further. Teachers and students explore unknowns together in a dynamic process (Latz & Adams, 2011). Allen & Hunsaker (2016) emphasized that creativity breeds more creativity. Bruner’s spiral emphasizes intrinsic desire and expands as students develop skills, solve problems, and revisit concepts with greater depth. Skills become new predispositions for the next cycle. This constructivist/scaffolding approach helps students become musicians who find meaning in their actions. It stays culturally relevant and encourages social justice through artistic expression (Shehan-Campbell, 2020). The synthesis of these theories and the learning process they dictate are illustrated in Figure 2. Haroutounian (2002) also found that gifted music students spiral through learning. In contrast to the traditional Piagetian view that students are only capable of certain activities at certain times, Haroutounian suggested careful “attention to environmental influences and instructional strategies responding to the needs of these exceptional students” (Haroutounian, 2002, p. 224).

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Curriculum Model

Beasley et al. (2017) argued that the curriculum for gifted students must involve students in thinking like practitioners. With this in mind, the Integrated Curriculum Model (ICM) provides three dimensions that directly connect the chosen theories and research with the way the unit is best taught (VanTassel-Baska, 2010): 1. Advanced content knowledge meets the needs for a higher

Zone of Proximal Development (Vygotsky, 1978) for gifted students, with particular focus on differentiated experiences across the three domains of musical giftedness.

2. Higher-order thinking meets the needs of gifted music

students to work at advanced levels in Bloom’s Taxonomy (Dong, 2014) and engage in activities beyond their age peers (Haroutounian, 2002).

3. Creating experiences around a discipline allows gifted

children to think and act like practicing professionals (Beasley et al., 2017), which highlights the importance of having current experts in the field present and involved in the overall assessment of student success.

Standards

This expanded curriculum should be grounded in both NAGC and national music standards to legitimize its use with students and expand the program's reach. Additionally, these standards provide a framework for delivery, ensuring that the program is implemented with fidelity and that outcomes align with those intended by policymakers. Tables 1-3 show the addressed standards from each entity.

Table 1

Addressed National Association of Gifted Children (NAGC) Standards Standard

Areas Addressed

Standard 3: Educators apply evidence-based models of curriculum and instruction related to students with gifts and talents and respond to their needs by planning, selecting, adapting, and creating curriculum that is responsive to diversity. Educators use a repertoire of instructional strategies to ensure specific student outcomes and measurable growth.

NAGC 3.2.2 Educators design learning experiences for each stage of talent development to cultivate social and emotional and psychosocial skills that support high achievement and talent development.

Standard 4: Learning environments foster a love for learning, personal and social responsibility, multicultural competence, and interpersonal and technical communication skills for leadership to ensure specific student outcomes.

NAGC 4.4.2 Educators model appropriate language and strategies to effectively address issues such as stereotyping, bias, and discriminatory language and behaviors.

NAGC 3.3.1 Educators develop and use curriculum that is responsive and relevant to diversity that connects to students’ real-life experiences and communities and includes multiple voices and perspectives. NAGC 3.4.2 Educators provide opportunities for students with gifts and talents to explore, develop, or research in existing domain(s) of talent and/or in new areas of interest.

Figure 2 Conceptual Model: Synthesis of Spiral Learning and Related Research

Table 2

Potential National Association for Music Education (NAfME) Composition/Theory Standards Standard

Areas Addressed

Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria.

NAfME Cr3.1.C.IIIa Research, identify, explain, and apply personally-developed criteria to assess and refine the technical and expressive aspects of evolving drafts leading to final versions.

Analyze the structure and context of varied musical works and their implications for performance.

NAfME Pr4.2.C.IIIa Analyze how the elements of music (including form), and compositional techniques of selected works relate to the style, function, and context, and explain and support the analysis and its implications for rehearsal and performance.

Develop personal interpretations that consider creators’ intent.

NAfME Pr4.3.C.IIIa Develop interpretations of works based on an understanding of the use of elements of music (including form), compositional techniques, style, function, and context, explaining and justifying how the interpretive choices reflect the creators’ intent.

Perform expressively, with appropriate interpretation and technical accuracy, and in a manner appropriate to the audience and context.

NAfME MU:Pr6.1.C.IIIa 1. Share live or recorded performances of works (both personal and others’), and explain and/or demonstrate understanding of how the expressive intent of the music is conveyed.

NAfME Cr3.2.C.IIIa Share music through the use of notation, solo or group performance, or technology, and demonstrate and explain how the elements of music, compositional techniques and processes have been employed to realize expressive intent.

2. Share music through the use of notation, solo or group performance, or technology, and demonstrate and describe how the elements of music and compositional techniques have been employed to realize expressive intent.

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Table 3

Potential Oregon State High School Composition/Theory Standards Standard

Areas Addressed

Anchor Standard 3: Creating-Refine and complete artistic work.

MU.CT.3.CR3.HS2 MU.CT.3.CR3.HS2

Anchor Standard 4: Performing-Select, analyze, and interpret artistic work for presentation.

Identify, describe, and apply selected teacher-provided or personallydeveloped criteria to assess and refine the technical and expressive aspects of evolving drafts leading to final versions. 2. Analyze how the elements of music (including form) of selected works relate to the style, function, and context, and explain the implications for rehearsal and performance. 3. Develop interpretations of works based on an understanding of the use of elements of music, style, mood, function, and context, explaining and supporting how the interpretive choices reflect the creators’ intent.

Anchor Standard 7: Responding-Perceive and analyze artistic work.

MU.CT.7.RE1.HS2 Analyze aurally the elements of music (including form), compositional techniques and procedures, relating them to style, mood, and context; and explain how the analysis provides models for personal growth as composer, performer, and/or listener.

Freer, P. K. (1992). Educational research: Practical implications for the rehearsal. Choral Journal, 33(5), 29-34. Gagné, F. (2009). Building gifts into talents: Detailed overview of the DMGT 2.0. In B. MacFarlane & T. Stambaugh (Eds.), Leading change in gifted education: The festschrift of Dr. Joyce VanTasselBaska. Prufrock Press. Haroutounian, J. (2002). Kindling the spark: Recognizing and developing musical talent. Oxford University Press. Latz, A. O., & Adams, C. M. (2011). Critical differentiation and the twice oppressed: Social class and giftedness. Journal for the Education of the Gifted, 34(5), 773–789. NAfME. (2014). 2014 music standards (composition/theory). National Association for Music Education. Accessed July 21 2025 at https://www.nagc.org/national-standards-in-gifted-and-talentededucation. NAGC. (2019). National standards in gifted and talented education. National Association for Gifted Children. Accessed July 21, 2025 at https://www.nagc.org/national-standards-in-gifted-andtalented-education. Oregon Department of Education (2015). Music standards: High school: Composition and theory strand. Oregon Department of Education. Accessed July 21, 2025 at https://www.oregon.gov/ ode/educator-resources/standards/arts/Documents/musicstandards-hs-composition--therory.pdf. Shehan-Campbell, P. (2020). At the nexus of ethnomusicology and music education: Pathways to diversity, equity, and inclusion. Arts Education Policy Review, 121(3), 106–110. Stephens, K. R., & Karnes, F. A. (Eds.). (2021). Introduction to curriculum design in gifted education. Taylor & Francis. Sternberg, R. (1984). Toward a triarchic theory of human intelligence. Behavioral and Brain Sciences, 7(2), 269–287. Vygotsky, L. S. (1978). Mind in society: The development of higher psychological processes. Harvard University Press. VanTassel-Baska, J. (2010). The integrated curriculum model (ICM). Learning and Individual Differences, 20, 345-357.

Conclusion

Teaching instrumental music to middle school students can be as simple as regularly reviewing method books and studying band or orchestra repertoire twice a year to prepare for contests and concerts. The groups’ contest rating provides an easy measure of student progress, but it does not fully represent the diverse efforts and skills of individual students. By offering differentiated instruction to gifted musicians alongside this annual cycle, a music program can foster the optimal development of its most talented students while providing the remaining students with meaningful small-group opportunities to grow within their study methods and music literature. References Allen, W. T., & Hunsaker, S. L. (2016). Teacher conceptions, curriculum ideologies, and adaptations to linear change in River School District: Implications for gifted and talented. Journal for the Education of the Gifted, 39(3), 195–220. Beasley, J. G., Briggs, C., & Pennington, L. (2017). Bridging the gap 10 years later: A tool and technique to analyze and evaluate advanced academic curricular units. Gifted Child Today, 40(1), 48-58. Bruner, J. S. (1977). The process of education (2nd ed.). Harvard University Press. Dong, F. M. (2014). Teaching learning strategies: Connections to Bloom's taxonomy. Journal of Food Science Education, 13(4), 59-61. Dweck, C. S. (2006). Mindset: The new psychology of success. Random House.

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EXCELLENCE SAYS YOU MATTER What Ensemble Leadership Really Communicates

Bill Humbert Director of Bands, Glendale Community College, Arizona

A section leader arrives at rehearsal fifteen minutes early. No one asked her to. No one will notice, the music stands still need to be set, the music still needs to be organized, and she'll be finished well before anyone else walks through the door. And yet when the rest of the ensemble does walk in, something in the room has already shifted, even if nobody could quite say why. Someone cared enough to get this right before anyone else was watching. That quiet moment is the whole argument at the center of a new leadership framework worth bringing into our rehearsal halls: excellence isn't primarily about being impressive. It's a form of communication. Every time a student chooses to prepare fully, show up on time, or give real effort instead of the minimum, they are sending a message to everyone around them, whether they intend to or not. The message is simple, and it is powerful: you matter. For those of us who spend our professional lives in front of concert bands, orchestras, and choirs, this idea lands differently than it might in a corporate boardroom. Our rehearsal rooms are exactly the kind of place where young people are learning, often for the first time, what it means to be responsible for something bigger than their own individual performance. In those spaces, standards aren't abstract policy. They're lived out in whether a stand partner shows up with a marked part, whether a struggling section mate gets encouraged or quietly written off, and whether the section leader running a sectional actually listened to what happened the week before. What follows are five ideas; creating value, choosing your attitude, building culture through repetition, modeling what you expect, and treating excellence itself as a daily choice, that show up again and again in ensembles that sound different from the inside, long before an audience ever hears the difference from the outside. Standards Are a Message, Whether You Mean to Send One or Not

Picture two stand partners in the same sectional. One shows up with a pencil, a marked part, and specific questions about the passage that gave the section trouble the week before. Nobody told her to do this, she simply does it, the same way, every week. Her partner, sitting beside her without a pencil and without having opened the music since the last rehearsal, notices. He doesn't say anything about it out loud. But something in him recalibrates, just slightly, toward what's apparently expected in that room. That's the mechanism at work in every ensemble, all the time, whether we're paying attention to it or not: standards are never purely personal. They're communicated constantly through action, regardless of intention. A drum major who double-checks the field chart before every rehearsal isn't proving anything about her own competence. She's telling members of the ensemble, without a word, that their rehearsal time is worth protecting. The uncomfortable flip side is just as true. A section leader who shows up late, unprepared, or visibly checked out is also sending a message, usually the message that this doesn't matter much, and by extension, that the people waiting on him don't matter much either. Most students would never say

that out loud, and most wouldn't even consciously intend it. But their actions say it anyway, and the room tends to believe actions over announced intentions. This is precisely why excellence can't be reserved for competition days, festival performances, concerts, or the moments an adjudicator happens to be listening. A student who's fully locked in on the biggest concert of the season and completely checked out on an ordinary Tuesday rehearsal isn't communicating excellence. They're communicating a schedule for when people are allowed to matter. Consistency, far more than intensity, is what makes the message actually land, and it's worth remembering that this standard doesn't demand perfection. Mistakes happen in every rehearsal. What excellence actually asks for is smaller and more sustainable than flawlessness: showing up, giving honest effort, and treating the people in the room as worth that effort, especially on the days nobody's watching closely. Creating Value Instead of Simply Extracting It

Two students join the same ensemble on the same day in September. Six months later, one of them has become someone the section leans on, the player who helps a newer member catch up after an absence, who flags a scheduling conflict before it becomes a crisis, who brings extra reeds to the long Thursday rehearsal without being asked. The other has attended every rehearsal, played every note that was required, and left exactly as they arrived. Neither one has done anything wrong. But only one of them has created value. Every musician in an ensemble has the capacity to create value, regardless of chair placement, seniority, or raw talent. The difference isn't ability, it's the question a student is quietly asking, often without realizing it. A player focused purely on personal benefit tends to ask: What do I get out of this ensemble? A player creating value asks something different: What am I contributing to it? The same student can ask either question on different days. The gap in outcome, over a semester, is enormous. In a rehearsal setting, this kind of contribution rarely looks dramatic. It looks like helping a stand partner work through a hard passage during a five-minute break. It looks like arriving prepared so rehearsal time isn't spent reviewing material that should already be learned. It looks like encouraging a struggling section mate instead of silently judging them, or solving a small problem; a missing part, a tuning issue, a scheduling conflict, instead of simply pointing it out and waiting for a director to fix it. None of it requires a title. A freshman soprano or a sophomore violist can create exactly as much value in a section as a senior section leader, simply by noticing what the group needs and providing it before being asked. Attitude Is a Leadership Decision, Made Fresh Every Day

One student walks into rehearsal already complaining about the schedule, the piece, the temperature in the room, and within ten minutes, three other students are complaining about the exact same things, as though the mood were contagious. Functionally, it is. The next day, a different student walks into that same room with genuine energy and

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a willingness to help, and the atmosphere shifts again, just as fast, in the opposite direction.

Tuesday at a time, far more than it's built on the days everyone already happens to be paying attention.

Attitude spreads through an ensemble faster than almost anything else, and leaders, whether or not they hold an official title like section leader or drum major, set the tone disproportionately. That means attitude isn't a private matter that only affects the person having it. It's a leadership decision, made new every single day, whether it's treated as one or not.

Excellence, understood this way, is available to every single person in a rehearsal room, regardless of chair, title, or years of experience. It doesn't require being the most naturally gifted player or the loudest voice in the section. It requires only a willingness to choose, again and again, that the people around you are worth the extra effort. Made consistently enough, that choice is what turns an ordinary group of musicians into an ensemble other students genuinely want to be part of, one that says, in the way it shows up week after week, that everyone in the room matters, and that what they're building together is worth the effort it takes to build well.

A genuinely positive attitude isn't the same as pretending a rehearsal went well when it didn't; pretending erodes trust rather than building it. A strong attitude means choosing to focus on what can actually be done next, rather than settling into what's simply wrong right now. That difference shows up in the specific language students reach for without even noticing it. Instead of this piece isn't going to be ready, a student with a strong attitude asks what do we need to do to get it ready? Instead of nobody in this section cares, they ask what can I do to help build more commitment? These aren't softer versions of the same complaint, they're a completely different orientation, one that assumes some influence over the outcome instead of assuming the outcome is fixed and somebody else's problem to solve. Culture Is Built Through Repetition, Not Posters on a Wall

A new member joins an ensemble known for its discipline and commitment to excellence, and notices something almost immediately: nobody has to be told to arrive early, tune quietly, or mark their part during rehearsal. It simply happens, consistently, without an announcement. Six months later, that same new member is doing all of it too, without ever having been formally taught the rule. That is culture, not a policy enforced from the outside, but a behavior absorbed from constant exposure.

If these ideas resonate with what you're already trying to build in your own rehearsal hall, you don't have to figure out the next step alone. We'd love to support you and your students as you work to elevate your program's culture and leadership from the inside out. Visit www.goleadtheway.com to download our free e-book, available right on the homepage and on the Resources page. It's packed with more practical, rehearsal-ready ideas like the ones you just read, and it's our way of helping you take the next step toward elevating your program. We're here to help you succeed. Stop by, grab the e-book, and let's keep building excellence together.

Culture is created through repeated behavior, not through a mission statement in the handbook or a poster in the rehearsal hall, however well-intentioned either might be. If preparation is genuinely valued in a section, students prepare, not because a syllabus says so, but because preparation is simply what everyone around them does. If accountability is valued, students take responsibility for mistakes, because that's what gets modeled, week after week, by the people they're watching most closely. This puts particular weight on directors and student leaders alike, because an ensemble doesn't build its sense of what's normal from what a leader says is important. It builds that sense from what a leader consistently does. Students may hear what's said at the front of the room during a pep talk. But they will believe, and eventually imitate, what gets modeled when no one is specifically watching for it. Excellence Is a Choice, Made One Ordinary Tuesday at a Time

A student walks into rehearsal fully prepared, having spent twenty extra minutes the night before working through a passage that wasn't formally assigned. Nobody will grade that extra effort. But that small, unnoticed choice is, in its own quiet way, a message sent to everyone else in the room: your time matters enough that I came ready to use it well. This mindset of preparation does not happen because of a single excellent day, however impressive that day might look from the audience. It happens through an accumulation of ordinary rehearsals where the same choice gets made again, to prepare instead of coast, to encourage instead of criticize, to take responsibility instead of deflecting it. An ensemble's culture, like a musician's technique, is built one unremarkable

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OMEA DISTRICT NEWS & CELEBRATIONS OMEA District 2: Northeastern Metro, Melissa Albert - Chair

On behalf of the entire District 2 OMEA East County, I want to extend a warm and heartfelt welcome to all our new teachers and educators joining us this school year! Whether you are stepping into the classroom for the very first time, bringing years of experience from another district, or find yourself in a new role, OMEA is here to support you and help you thrive in this profession. We are thrilled to have so many fantastic educators in East County and be able to put on events throughout the year to support our Students and Teachers. One new event to D2 this year is our High School Jazz Honor Band being organized by Jessie Smith. We are looking forward to a full calendar and exciting events out in East County hosted and organized by brilliant educators- Stay tuned for more from D2. OMEA District 3: Northwestern Oregon, Terence Madlangbayan - Chair

The school year is in full swing! Veteran directors have been reaching out and welcoming those directors who are new to the region. We are preparing for our annual D3 Honor Band and Honor Choir events which are always a good opportunity for both our students and directors to learn from each other and from expert clinicians. And Hannah Warner, the Choir Director at Scappoose HS, has brought back the Scappoose Fall Choral Invitational, giving our choral students in the region yet another opportunity to perform both for one another and with each other!

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OMEA District 4: North Willamette Valley, Kim Skondin - Chair

District 4 had a wonderful 2025-2026 school year! Our solo and ensemble was the biggest it has been since pre-covid at over 350 entries. We also were able to host an extremely successful middle school and high school choral festival, serving hundreds of students from across the district. The most exciting part of these festivals is always hearing the incredible work being done by all our educators. The communities built through superior performances are absolutely awe inspiring. Finally, I'd like to give a shout out to Deborah Barber, Colo Haole-Valenzuela, and James Nowickas. Thank you so much for all your service to the D4 board and the amazing work over the years. We will miss you on our board! OMEA District 7: Southwestern Oregon, Amber Yester - Chair

Marshfield High School Band is headed to Oahu to perform in the Pearl Harbor Memorial Parade for the first time in school history! We wish them well and hope they have an amazing trip. Go Pirates! OMEA District 8: Southern Oregon, Kaleigh Noble - Chair

Across OMEA District 8, music educators are finding meaningful ways to grow programs, expand opportunities, and ensure students have access to quality music education. Several districts have increased instructional time, added full-time music positions, maintained staffing despite budget challenges, and welcomed growing numbers of students into band, choir, and orchestra programs. In addition, we are seeing the development of new programs such as fifth-grade marimba bands, elementary glee clubs,

Jessika Smith, Director of Bands, Parkrose Middle School

Hannah Warner, Choir Director, Scappoose High School

Deborah Barber, Music Specialist, Salem-Keizer School District

Marshfield High School Band directed by John Kruse

Cole Haole-Valenzuela, Choir Director, West Salem High School

James Nowickas, Director of Bands, Crossler Middle School

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

Stacey Atwell-Keister, Choir Director, Fremont Middle School

Andrew Thompson, Music Technology Teacher, Aloha High School

Jefferson Middle School Band directed by Alicia Rummell

high school marching band programs, and more. District 8 students are attending festivals, collaborating with professional musicians, and bringing their music to their communities through performances and special events. Additionally, Stacey Atwell-Keister will be taking a group to sing in an honor choir at Carnegia Hall! We are proud to celebrate District 8! OMEA District 11: Mid-Willamette Valley, David Blake- Chair

OMEA District XI has several exciting announcements to share! This fall District XI is trial running an "Advocacy Chair" position. Throughout this school year we will be creating language around what responsibilities and leadership this role will have. We will be voting on that position this spring. What I am most excited to share is that this spring we will be hosting an Elementary Honor Choir! This event will be completely free for students within District XI. Our goal is to create an event at the youngest level, with the least barrier to entry. While some details are still in the works, we plan on finding sponsors to provide support for a venue and directors. This will raise the bar across our whole OMEA district, creating inspirational and fun experiences for a segment of music education that often feels overlooked. Elementary Music Teachers - OMEA SUPPORTS YOU! OMEA District 15: Western Metro, Ben Adams- Chair

District 15 had a board meeting on September 28th to discuss current affairs within our area. Michael Smith shared some great examples of his Bethany Elementary School Music inventory to help other directors plan for their own classrooms. Andrew Thompson will be teaching a music tech workshop at Woodburn High School on Saturday, November 14th from 9am - 2pm. We encourage all interested educators to attend. Plus, it's FREE! Our next OMEA District 15 General Membership Meeting will be October 19th at 4:30pm via zoom!

Oregon Music Educator • Volume LXXX #1 • Fall 2026 • OMEA • 560 NE F Street Suite A PMB 732; Grants Pass, OR 97526 • 541.291.1149 • oregonmea.org

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