idaho music notes mn spring r.pdf · 2019. 8. 2. · spring 2019 idaho music notes 3 adapts to...

Idaho Music NotesVolume 59, 3 of 3 Idaho Music Educators Association

Spring 2019IdahoMusicEducatorsAssociation

NationalAssociation

for MusicEducation

GREAT ARTICLES!!SUMMER OPPORTUNITIES for Students and Teachers

Our 2019 Award winnersDan North educator of the year

Melody portratz young educator of the year IMEA HALL OF FAME —

Ralph BennettJohn Schooler

SPRING 2019 Idaho Music Notes 2

BRIGHAM YOUNG UNIVERSITYSCHOOL OF MUSIC

TRUTHIN GREAT MUSICLearn more about auditions, programs, and scholarships at music.byu.edu or 801-422-2660.


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CONTENTSPresident’s Page: Unending Advocacy .................................................. 6President-Elect: All-State Summary ...................................................... 6Mentoring Update .......................................................................... 6IMEA News ............................................................................................... 7All-State & Conference Timelines; State Solo/Conference Future .... 72019 IMEA MUSIC EDUCATOR AWARDS ....................... 8,10,11Institutional Members ............................................................................. 9Collegiate News ...................................................................................... 12All-State Elementary & Middle School Choir .................................... 14Elementary Orff Honor Ensemble Proposal ....................................... 14Shirley Van Paepeghem: Why I started teaching in the first place .. 15SUMMER OPPORTUNITIES ................................................. 16,17American Falls Ukulele Ensemble ....................................................... 18John Combs: Music for All ........................................................... 20Including Literacy in Your Rehearsals ................................................. 22Advertiser News............................................................................22,24,29College/University News ....................................................................... 23Ebenezer Scrooge The Musical ..................................................... 24Lori Gray: Challenging and Rewarding Live of Music Teachers . 26BriAnna Crook: Don’t lick the xylophone mallets! ..................... 28Scherzo! Humor for the Music Educator .......................................... 30

www.idahomusiced.org www.nafme.orgThe mission of the Idaho Music Educators Association is to advance, promote, and advocate for standards-based Music

Education in all Idaho schools, to foster personal and professional growth of music educators, and to encourage and enhance musical opportunities for all students throughout the state.

∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞District Presidents

President District I - Isaac Robbins [email protected] President District II - Bob Wicks [email protected] President District III - Casey Lindorfer [email protected] President-Elect District III - John Zeiske [email protected] President District IV - Roger Turner [email protected] President District V - Greg Goodworth [email protected]; 208-709-3213 President District VI - Gary Pawelko [email protected] President Gem State - John Randall [email protected]

∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ SPONSORS INDEX

These are the people who keep our state dues low and enable us to put

out a quality magazine— please support them.

Blue Rider Music .......................................5

Boise State University..............................19

BYU-Provo .................................................2

Central Washington University .............27

College of Idaho .......................................21

College of Southern Idaho ......................8

Dunkley Music .........................................30

Ebenezer Scrooge: The Musical .............25

Idaho State University .............................13

Meadowlark Melodies ...............................8

NAfME ............................................. 8,11,24

Quaver Music .............................................3

Sun Valley Music Festival .......................18

Treasure Valley Community College ....15

University of Idaho ..................................31

University of Portland .............................12

Willamette University .............................29

Worlds Finest Chocolate ........................23

Yamaha .....................................Back Cover∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞

Editor’s DesktopHey, look! Ted actually working!!The Conference in Rexburg was a success and we’re finally close to the end of the school year. Lots of stuff in this issue: planning for our 2020 Conference, news about your friends, and articles to make you smarter. Propose a Clinic Session for our 2020 Conferenc in Nampa before you take off! See you in the Fall. Happy Summer!

—Ted Hadley, Editor

IDAHO MUSIC NOTESOfficial Publication of the Idaho Music Educators Association, Inc.

A State Unit of NAfME: The National Association for Music Education

Spring 2019 Volume 59, Number 3 of 3Idaho Music Notes is published three times yearly—November, February, & May

Subscription price is included in IMEA/NAfME dues. Non-member subscription rates—$12.00 per year. Complimentary subscriptions available for sponsors and, upon request, to Idaho principals & school administrators.

SPONSOR DEADLINES—OCTOBER 1, DECEMBER 1 & APRIL 1; RATES ON REQUEST.EDITOR & MANAGER—TED HADLEY, 824 Northview Drive, Twin Falls, Idaho 83301

208-733-1079 H / 208-600-3052 C / [email protected] / www.idahomusiced.org/©2019, IMEA

IMEA OfficersIMEA President - Kathy Stefani [email protected] President-Elect - Thomas Kloss [email protected] Past-President - Wayne Millett [email protected] Past-President - Ron Curtis [email protected] Secretary - Quentin DeWitt [email protected] Executive Director - Karen Randolph [email protected] Webmaster - Wayne Millett [email protected] Publications Chair - Ted Hadley [email protected] State Solo Chair - Eva Hale [email protected] Representative - Kevin Howard [email protected]

Content Area ChairsString Chair - Kevin Howard [email protected] Chair – Scott Anderson [email protected] Chair - Christy Taylor [email protected]/Gen Chair - Shirley Van Paepegham [email protected] Chair - Lori Gray [email protected] Chair - Jeff Davis [email protected] Chair – Joel Sandford [email protected] Ed/Research Chair – Spencer Martin [email protected] Chair – Jose Rodriguez [email protected] Schools Chair – Robbie Hanchey [email protected] Schools Chair – Kathleen Tetweiler [email protected] Chair - Aaron Marshall [email protected] Music Educators - Ralph Bennett [email protected]

Honor Group ChairsMixed Choir Chair - Joie Cariaga [email protected] Orchestra Chair - Brendan Burns [email protected] Chair - Casey Emerson [email protected] Choir Chair - Lindsay Lowe lindsay@westadaorgJazz Choir Chair - Corinna Steinbach [email protected] Band Chair - Quentin DeWitt [email protected]

NAfME OfficersJohn Combs, President, NW NAfME, Missoula, MTScott Barnes, Pres.-Elect, NW NAfME, Lynnwood, WACamille Blackburn, Past-President, NW Ammon, IDKathleen Sanz, NAfME President, Tallahassee, FloridaMackie V. Spradley, President-Elect, Austin, TXDenese Odegaard, Past-President, Fargo, ND


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President’s Page

Kathy StefaniUnending Advocacy

With every task the music teacher undertakes each year, there’s a seemingly endless list of logistics that require as much attention as what happens in rehearsal. While trying to lead students into an accurate performance with the composer’s intent in mind, there are chaperones to contact, permission slips to collect, fundraisers to coordinate and teacher evaluations to tend to.

And included in every part of it, you are responsible for making sure that others see and appreciate your student’s achievements, understand the effort required to produce a quality product, create excitement and appeal so that more students will want to enroll next year so that admin-istrators will respect your program and turn to you when positive public relations are needed. It’s called advocacy, and it’s the one thing that never gets a check mark in the “done” column of your duties.

Our website states, “Our goals include the advocacy of music with government, school boards & administrators, parents & society”. But music for whom? Over the last several years, NAfME and IMEA have focused in on “music for everyone”, with diversity and equity becoming our new buzz words. But the effort is not just a platitude.

Idaho has large schools with programs that offer a variety of musi-cal opportunities for their students including orchestras, marching and jazz bands, acapella and madrigal choirs. We also have numerous rural schools with limited musical choices for their students. We have strong elementary programs taught by Orff certified instructors with years of experience, who see their students two to three times per week. We also have small, isolated schools where paraprofessionals are called upon to teach music with minimal training, doing their best to provide music for their students that they see once a week at best.

Advocacy for this inequity begins within our own membership. We all know that change within a large organization happens slowly, but individually, we can reach out to instructors within our districts to lend a hand. IMEA will implement our mentoring program this coming fall, allowing retired members to be available to our newer members, spending time in the classroom together, working out problems specif-ic to each individual situation. Though the goal is to strengthen new teachers in our profession, the outcome will ultimately be stronger music instruction for Idaho’s students.

We are establishing relationships with Idaho administrators to share the importance of strong music programs in their buildings. We have the opportunity to help both new teachers navigate the first year and to assist administrators with tips that will support their hires, such as attending the IMEA state conference.

At the legislative level, we need to build relationships so that fund-ing the arts is mandatory, not a side thought. Loosening certification requirements appeals to some of our legislatures, causing even greater inequities in the training music instructors have prior to hiring. We need to speak up for quality music education now.

We just completed a conference that saw over 100 collegiate members in attendance. Those and other members are watching to see what IMEA will do for them. Our conference options need to be strong in content, up to date and pertinent to current issues. We need to be communicating in the most effective and cost efficient ways. But most importantly, it takes everyone to make an effort to do their part, starting right where they are, heavy workloads and time restrictions a given, to do what we can to promote quality music education for every student.

Unending advocacy…….worth all the work.

2019 All State SummaryBy Thomas Kloss, IMEA President-ElectOur 2019 All-State Festival in Rexburg was a rousing success! The

Gala Concerts began on Friday with the Jazz Choir and Jazz Band, under the direction of Matt Falker and Vern Sielert. They played to a packed house in Kirkham Auditorium on the BYU-Idaho campus. Most impres-sive, though, was that they alternated songs throughout the concert and ended with a combined number that featured many of the students in both ensembles. Many of the students in the audience commented that they would be auditioning for these groups next year.

On Saturday, the Gala Concerts continued with the choral ensem-bles. The Treble Choir kicked things off under the direction of Dinah Helgeson. Students were asked to send in pictures of their dogs, which were displayed during the singing of “If I Were a Dog,” which was one of the highlights of the day. The Mixed Choir followed, under the direction of Edith Copley. The choir got the chance to meet, via Skype, and sing “Alleluia” for composer Jake Runestad during one of their rehearsals.

At the instrumental Gala Concert, the String Orchestra played under the direction of Richard Meyer, which featured many of his own excellent compositions. The exciting “Dargason” from St. Paul’s Suite (one of my personal favorites) ended the first half. The Band, under the direction of Jack Delaney, then ended the Gala Concerts with a burst of energy. Jack also wanted to honor an Idaho director at the end of the concert, so Madison’s retiring director, Dan North, was honored with conducing his favorite march, Sousa’s Bullets and Bayonets.

Huge thanks to Ron Curtis, the IMEA All-State Manager for his hard work in organizing all of the details. Also to Madison High School Performing Arts Teachers David Hinck, Dan North, and Doug Hansen, and Principal, Mike Bennet, for allowing us to use their excellent facilities and being wonderful hosts. Many thanks to Bryce Mecham and the BYU-Idaho Department of Music for coordinating rehearsal spaces and the concert for the Jazz groups. Thanks to all chairs and their assistants who worked tirelessly over the festival. Clinicians for the 2020 festival in Nampa will be announced soon!

Mentoring Update: “Open for Business... Help Wanted”

All mentoring information has been posted on the IMEA website and ready for use. The goal of the program is to help increase teacher retention in Idaho music programs by supporting new teachers in the classroom.

IMEA is looking for retired music educators who are interested in helping first year instructors succeed in their new assignments. Several members have joined the cause but we need more help. Mentors will be reimbursed for their expenses as outlined in the mentoring program, asked to visit new teachers at their work site and assist where needed.

Mentors and mentees will be assigned by IMEA with phone contact initiating the process. The mentee will decide if or when meeting would be helpful. Most programs advise two visits in September with follow up phone conferences afterwards, and a visit or two in the spring semester to help advise during festival season for secondary instructors. Elemen-tary mentors are needed as well, to assist with lesson planning, program preparation or other areas as needed.

All assistance is with the new teacher’s approval and agreement, and strictly between the mentor and mentee. School administration is not part of the program and will not be included in any mentoring discus-sions. If you are interested in signing up or would like to suggest a teacher for mentorship, contact IMEA at ...

[email protected].


2019 Idaho Legislature Passes Music in Our Schools Month resolution

IMEA Advocacy Chair Jeff Davis reports: “Had a successful morning at the hearing for the MIOSM resolution. Other than the sponsor, Rep. John McCrostie, three IMEA members spoke in favor of the resolution: Erin Paradis (Vallivue) ,myself, Greg Felton (West Ada).

“A representative of Idaho Headstart also spoke, telling the committee about her experiences growing up in a broken home in Puerto Rico and the way music saved her from depression and despair. She said, ‘Music was my medicine.’”

Another pleasant addition to the speakers in favor of the resolution was Superintendent Sherri Ybarra. She was at the hearing for another item, but asked to speak. She went on record with her administration’s dedication to keeping music a central part of the curriculum for all Idaho students. That was encouraging.

Several committee members also spoke well of the resolution and the role of music in their lives. The resolution passed unanimously from committee with a “do-pass” recommendation to the full house.

After the legislative session was over, Representative McCrostie, who teaches music students in Boise, presented Jeff with a commemorative copy of the MIOSM resolution. Jeff will present John with a certificate of appreciation from IMEA at one of John’s year-end concerts.

2019 Conference Open Forum Summaries

ALL GROUPS discussed items they would like addressed at the proposed IMEA Hill Day: electives, particularly STEM elec-tives, competing with music offerings; advanced placement and on-line courses limiting student access to performing ensembles; non-certified instructors teaching in classrooms on the increase.

BAND: Discussion was held about the future of “The Thing”. Several members expressed that the presentation is best held somewhere other than the IMEA Banquet. Ted Carrico shared the history and purpose of the “The Thing”, however the consen-sus of the room was that the presentation be done elsewhere. No location/time was determined.

CHOIR: Vocal directors are concerned about the audition workload during All-NW years. ACDA offered to work with IMEA to address the audition requirements, including discussion about the range for sopranos. Discussion was held about the low numbers of Idaho students in the ALL-NW Honor Choirs and the great expense involved. A Tri-State Intermountain Conference (Idaho/Montana/Wyoming) option was discussed, no consensus, strictly discussion.

STRINGS: The orchestra instructors expressed feeling more vulnerable to budget cuts than other ensemble groups. College courses offered during school time is a hardship. Additionally, many districts are limiting or prohibiting transportation of instru-ments which has created tremendous drop in numbers.

ELEMENTARY: Leaders considered ideas for meeting the needs of elementary members and how to increase elementary membership. Suggestions were made for future clinicians.

HIGHER ED: Both Higher Ed and Secondary directors partic-ipated. The session focused primarily on working with students with anxiety and depression and counseling/advisory methods that have been implemented. Comment was briefly made about reducing credit load for music majors and comparing ideas.

All-State 2020 TimelineMay 1, 2019 All-State Audition Information postedAugust 12, 2019 Online Audition Registration OpenOctober 4, 2019 Audition DeadlineOctober 25, 2019 Notification of accepted studentsNovember 22, 2019 Registration and Payments DueDecember 6, 2019 Music MailedJanuary 29, 2020 Check-in/Sectionals/Part ChecksJanuary 30-February 1, 2020 All-State Rehearsals & Performances

2020 Conference TimelineApril 1, 2019 Session Proposals OpenMay 1, 2019 Group Performance Applications OpenSeptember 16, 2019 Session Proposals CloseSeptember 30, 2019 Session Proposals Screening CompletedOctober 14, 2019 Group Performance Applications Close Accepted Session Proposals NotifiedNovember 1, 2019 Group Performance Applications ScreenedNovember 5, 2019 Accepted Performance Groups Notified

All-State/Conference to the Future!• 2020 = Jan 30, 31, Feb 1 NNU• 2021 = Feb 4, 5, 6 NIC / All-NW Spokane, Feb 11-14• 2022 = Feb 3, 4, 5 NNU• 2023 = Feb 2, 3, 4 ISU / All-NW Bellevue, Feb 16-19 • 2024 = Feb 1, 2, 3 NNU• 2025 = Jan 30, 31, Feb 1 NIC / All-NW Portland,Feb 13-16• 2026 = Feb 5, 6, 7 NNU• 2027 = Feb 4, 5, 6 ISU / All-NW Year• 2028 = Feb 3, 4, 5 NNU • 2029 = Feb 1, 2, 3 NIC / All-NW Year• 2030 = Jan 31, Feb 1, 2 NNU

STATE SOLO TO THE FUTURE!2020- Post Falls 2021 - Mt. View 2022 - ISU 2023 - Mt. View 2024 - Post Falls 2025 - Mt. View

IDAHO MUSIC EDUCATORS ASSOCIATION2020 INSERVICE CONFERENCE

Jan 30 – Feb 1, 2020NORTHWEST NAZARENE UNIVERSITY, NAMPA


2019 IMEA Music Educator of the Year

Dan NorthAt the IMEA 2019 Inservice Confer-

ence Banquet at Brigham Young Uni-versity-Idaho, Steve Klingler, Madison Junior High music educator, presented the IMEA Music Educator of the Year for 2019 to Dan North.

A native of Pocatello and a graduate from Idaho State University in 1987, Dan North is currently in his 32nd year as Director of Bands at Madison High School is Rexburg, Idaho. He attended Vandercook College of Music in Chicago to add to his resume and graduated there in 1994 with his Masters in Music.

Dan’s resumé includes serving as President of Gem State and President of the Idaho Music Educators Association. In 2004 he was an Executive Director of the Idaho All-Star Band and took over 350 students including 50 plus of his own to the Tournament of Roses Parade which he will tell you was one of the highlights of his career, where he also rubbed elbows and shook hands with the legendary John Williams, who was grand marshall of the Parade. He will tell you that John Williams has not washed that hand to this day.

His involvement with the High School Bands, Junior High Bands, Middle School Bands and Summer Band, has put him teaching an approximate number of 6600+ students, not counting the Speech classes he has taught. The bandroom has always been a welcoming spot for students with the aroma of Canadian bacon, olive and mushroom pizza with just a splash of Mountain Dew in the air. Lessons he has been taught: always make sure you don’t lose your mother on a band trip or leave her at a rest stop AND always make sure you have a friend or an administrator with you for that special occasion the band takes off to the competition and leaves you checking out at the hotel are life lessons well taught!

Dan has made sure in his vast career, whether he realizes it or not, every student matters, parents matter. He has taught student and adults alike the power and example of what a real educator is and what a real friend and brother is. That’s why many stay in touch with him and always will. Madison High Band is the Band that Dan built and will forever be respected because of that.

Dan and his wife Leslie are the parents of five children, and they welcomed their seventh grandchild last summer.

Thank you, Leslie North, for sharing him with all of us these many years. Dan, thank you is not enough from all of us for all you have given.

Dan L. North, 2019 IMEA Music Educator of the year— Congratulations!

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Sun Valley Summer SymphonyKim Gasenica, Educational Programs Director

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Website: www.svsummersymphony.org or www.svsseducationprograms.org

Treasure Valley Community College Performing Arts Department

Stephanie Laubacher, Administrative Assistant650 College Blvd., Ontario, OR 97914

Phone: 541-881-5950/Fax 541-881-5518Email: [email protected] Web: www.tvcc.cc/performingarts

Lionel Hampton School Of Musicat the University Of Idaho

Spencer Martin, Associate Director875 Perimeter Drive MS 4015, Moscow, ID 83844-4015

Phone: 208-885-6231/Fax: 208-885-7254Email: [email protected]

Web: www.uidaho.edu/class/music

University of PortlandDavid DeLyser, Associate Professor of Music

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Website: www.up.edu/music

Blue Rider Music & Instrument RepairChris Britt, Manager Robin Boles, Technician

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Boise State University Music DepartmentLinda Kline, Chair

1910 University Drive, Boise, ID 83725-1560Phone: 208-426-1772; Fax: 208-426-1771

Email: [email protected]: music.boisestate.edu

Brigham Young University-Idaho Department of Music

Bryce Mecham, Department ChairRexburg, ID 83460-1210

Phone: 208-496-4950; Fax: 208-496-4953Email: [email protected]; [email protected]

Web: www.byui.edu/music

Become an IMEA Institutional Member

Brigham Young University-ProvoSchool of Music

Kathy Colton, C-550 HFAC, Provo, UT 84602Email: [email protected]

Website: music.byu.eduPhone: 801-422-2375 FAX: 801-422-0533

Chesbro Music CompanyChris Kasper, Manager, 327 Broadway, Idaho Falls, Idaho 83402Office: 208-932-1231 Cell: 208-350-3332 Fax: 208-522-8712

Email: [email protected] Bates, Manager, 257 N Second E, Rexburg, Idaho 83440

Phone: 208-359-1900 Fax: 208-359-1901Email: [email protected]

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The College of Idaho Music DepartmentDr. Paul Moulton, Chair

2112 Cleveland Blvd, Caldwell, ID 83605Phone: 208-459-5275 Fax: 208-459-5885

Email: [email protected] or [email protected]: www.collegeofidaho.edu/academics/music

Idaho State University Music DepartmentThom Hasenpflug, Chair of Music

Department of Music Stop 8099, Pocatello, ID 83209-8099Phone/Fax: 208-282-3636

Email: [email protected] Web: www.isu.edu/music

John William Jackson Fund(in The Idaho Community Foundation)P.O. Box 4711, Boise, Idaho 83711-4711

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Northwest Nazarene UniversityMusic Department

Dr. Philip Miller, Chairman, Nampa, Idaho 83686 Phone: 208-467-8413 Email: [email protected]

Web: www.nnu.edu/music

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2018-2019 IMEA Institutional MembersPlease support our Institutional Members—

Their membership shows their support for us!Become an IMEA Institutional Member — Email [email protected]


2019 IMEA Young Music Educator of the Year

Melody PortratzMelody Potratz was presented the IMEA Young Music Educator of the

Year Award on Friday, March 15, from Isaac Robbins, District I president:“This afternoon, it was my pleasure as president of District 1 Idaho

Music Educators Association to present Melody Potratz, Vocal Music Educator at River City Middle School in Post Falls, with the Young Music Educator of the Year Award. Melody has worked extremely hard in her first years as an educator to create a warm, nurturing, caring and inviting learning environment in her classroom. She has developed and grown the choir program from one choir just a few years ago to three choirs and teaches over 220 students in her program. She strives to push her music students to be the best they can be and challenge them with fun, yet challenging music. We congratulate her in all her hard work and achievements!”

A Portrait of Melody Portratz by Melissa KleinertMelody Potratz has been serious about music since the age of 6. I

remember a time when my arrival at her house interrupted her piano practice. She came out of the piano room, gave me a serious look and without smiling, went to her room until I left. I had obviously interrupted her time with something she loved. She was so cute and must have even-tually forgiven me because her love for music never wavered.

When Melody signed up for my Choir class, I was delighted to teach such a gifted student. Melody had a lot of support from her mother, Ellen Potratz, who was my accompanist for many years at Moscow Junior High School.

At age 12, she was a serious choral student and continued making music with Moscow Choirs until her senior year of high school. She was a little shy in class, but when the choir needed help with an accompa-niment or solo, Melody was always ready to help the group. She never flaunted her gifts, but was always ready to share them for the sake of her fellow musicians.

Melody demonstrated her high level of skill at the Lionel Hampton School of Music as a vocal music major and graduated Summa Cum Laude in Music Education. Her first teach-ing position was at Post Falls Middle School and when I heard her top choir perform that first year of teaching, I was astounded. Her students and she had created art. I’ve never seen a new choral director adapt so quickly to her profession.

Melody offered this response to all the well-deserved hoopla: “I am humbled and honored just to have been considered. Thank you, Isaac Robbins, Dr. Michael Murphy, Rebekkah Peone, Melissa Kleinert, and El-len Potratz— I am grateful to you who have invested heavily in my future and given me endless opportunities to grow as a musician and teacher. I have the best job!”

Congratulations to Melody Potratz, recipient of the 2019 Young Idaho Music Educator Association award!

The Idaho Music Educators Association Hall of Fame was begun in March of 2004 to honor retired music educators who have been members of the Idaho Music Educators Association for their contributions and their dedicated service to music education and youth in the State of Idaho.

IMEA Hall of Fame 2019 Inductee

Ralph BennettAt the IMEA 2019 Inservice Conference Banquet at Brigham Young

University-Idaho, Ralph Bennett was inducted into the IMEA Hall of Fame. Ralph began his career as a music educator in 1973 when the band/choir instructor unexpectedly left five weeks into the school year. Mr. Bennett had just begun his final year of college when he received the call, interviewed and was hired on a conditional contract. He had to complete his schooling and become certified before the next school year while teaching a full time load for the Oneida School District. He completed 36 quarter hours of university work and taught his first year, beginning his wonderful career.

He has taught all music programs and courses for grade levels from five through twelve for the Oneida school district since that time. His duties have included choirs, bands, guitar classes, general music classes and dual enrollment music appreciation as an adjunct staff for Idaho State University.

Ralph graduated from Bear River High School in 1966 and Utah State University in 1974 with a Bachelor of Music Degree. He received his Master of Education with a Secondary Vocal Music Emphasis in 1989 from Utah State University. He was given the USU Chorale Special Award of Merrit and was also on the Deans List the Summer quarters of 1986 and 1987. Mr. Bennett has been an adjudicator for several music festivals including the Southwest Wyoming Solo/Ensemble Festival. He has also been the instructor and director of the Oneida School District Driver’s Education program since 1999.

He has been a long time member of the Idaho Music Educators Association where he has served as Secretary for District Five for four years and President of District Five for 13 years. Mr. Bennett was elected the IMEA president which is a six year commitment, two years each as President Elect, President and Past Pres-

ident. He was the chairman of the IMEA State Solo contest for sixteen consecutive years.

Except for one year leave of absence to ob-tain his Masters Degree, he has conducted The Malad Valley Community Chorus since its be-ginning in 1973. Mr. Bennett worked as Director of Productions for Classic Concerts Internation-al, an organization that collected and combined choirs from across the United States to travel and perform with some of the world’s finest or-chestras. While with Classic Concerts, the tours have taken him to Central Europe twice, Spain, Brazil, three times to Russia and with members of the Community Chorus to Carnegie Hall

in the United States. His duties while with Classic Concerts included managing the choirs on tour, performing with the choirs, assisting the conductor with all aspects of the tour and on one tour to Russia he had to fill in for the tenor soloist that lost his voice. He was privileged to sing in Tchaikovsky Hall in Moscow and Shostakovich Hall in St. Petersburg.

Outside of his school duties, Mr. Bennett has been very involved in service to his church and with the Boy Scouts of America. He has worked as a scoutmaster for 12 years, varsity coach for a year and explorer advisor for three years. He was asked to create and run a Varsity Bear Claw course for the Tendoy Council.

Mr. Bennett has received many honors and awards including the Malad Dis-trict Certificate of Merit, the Tendoy Council Silver Beaver, Modern Woodman Community Service Award and along with his wife Lamona, the Malad District Community Hero. He was chosen the Music Educator of the Year by the 5th District Music teachers and was honored to receive the Wes Lowe award from the Idaho High School Activities Association.

Ralph has been very happily married to Lamona Bateman for almost 44 years. They have twelve wonderful children and thirty four grandchildren. He has loved his time in Malad, which is saying something for a Tremonton boy. This will be his final year of teaching for the Oneida school district but he plans to continue teaching private lessons and working with the wonderful youth and adults in this great community.

Congratulations to Ralph Bennett, 2019 inductee to the IMEA Hall of Fame.

Melody congratulated by her fans


IMEA Hall of Fame 2019 Inductee

John SchoolerAt the Skyline High Combined Band Concert in the Skyline Gym

in February, 2019, music educator John Schooler was inducted into the IMEA Hall of Fame. Bob Dunmire and Ralph Bennett led the induction ceremony. It was a good concert, too!

John Schooler received his Bachelor of Music Education degree at the University of Idaho in 1976 and his Master of Music Education in 1977, also at U of I.

His teaching career has included teaching Band, Guitar, Summer Band, and being District Music Supervisor, all in the Idaho Falls School District. He taught at Eagle Rock Junior High for 22 years, Idaho Falls Summer Band for 17 years, Taylorview Junior High for seven years; and served as District Music Coordinator for five years.

John was a Collegiate MENC student member 1972-1977 at the Uni-versity of Idaho and a regular MENC member throughout his teaching career.

Leading various ensembles, John has been recognized for the Best of School District 91 Community Concerts in 1982, 1984, 1985, 1987, 1988, 1989, and 1991. His Flute Choir participated in “Music in Our Schools” performances at the Idaho Capital Building in 1987 and 1992; his Clari-net Choir preformed there in1989.

Along the way, john has garnered personal awards in his community. He was named Idaho Falls Post Register “Teacher of the Year” in 2006, and the Idaho Falls Walmart/Sam’s Club “Teacher of the Year” in 2007. He was selected as a Featured Artist for his photography at the 1987 Jackson Hole Arts Festival.

His group awards and honors include leading the Eagle Rock Junior

High Concert Band at the 1982, 1986, and 1990 IMEA Inservice Confer-ences. In 1991 his Eagle Rock Junior High Concert Band performed at the Seattle, Northwest Division MENC Conference.

In 1996 John took his Eagle Rock Junior High Concert Band to perform at the Moscow, IMEA Inservice Conference and in 2006 he performed with his Taylorview Junior High Symphonic Band at the Conference. The same group performed at the 2008 IMEA Conference in Pocatello.

John Schooler’s hobbies include photography and darkroom work, traveling in his motorhome, and, when weather permits, riding his bicycle. John is a mentor and performs in the pit orchestra of the annual Idaho Fall Youth Arts Musical. He also performs in the orchestra of the Idaho Falls Opera Company.

Congratulations to John Schooler, 2019 inductee to the IMEA Hall of Fame.

Ralph Bennett, John Schooler, and Bob Dunmire at John’s Induction Ceremony.

nafme.org/ANHE

Audition Deadline: May 3, 2019, 11:59PM ETNovember 7-10, 2019

The 2019 All-National Honor Ensembles Gaylord Palms Resort & Convention Center

Orlando, Florida

YOUR STUDENTS COULD BE PART OF AN ENSEMBLE EXPERIENCE OF A LIFETIME!


COLLEGIATE NEWS2019 PROFESSIONAL ACHIEVEMENT

AWARD COLLEGIATE RECIPIENTSIdaho’s BriAnna Crook among Five Winners

The purpose of the Professional Achievement Award is to recognize individual NAfME Collegiate members for their com-mitment and dedication to NAfME and music education. This recognition is given to Collegiate members who have served their chapters in an exemplary manner.

• BriAnna Crook, Boise State University, Boise, IdahoBriAnna was the first individual to hold

the position of State Student President of the Idaho Music Educators Association (IMEA), which is a position on the IMEA board. During her first summer as state student president, Crook attended the 2017 NAfME Collegiate Advocacy Summit in Washington, DC, from which she returned with a drive to advocate for more funding and support for education in the state of Idaho. As a current student teacher, her advisor and mentor teacher praise her

organization, excitement for teaching, love of music, teaching children, and lifelong learning.

The other recipents are Ben Maynard, Ball State University, Muncie, Indiana; Joshua Bottoms, University of Nevada, Reno, Nevada; Martha Wachulec, Montclair State University, Montclair, New Jersey; and Eva Aneshansley, University of Colorado Boul-der, Boulder, Colorado.

BriAnna Crook is a music education student at Boise State University. She is currently doing her student teaching in Sugar City, Idaho and will be graduating with her Bachelor’s degree in Music Education in May of this year. Contact her at [email protected]; she already has a job!

Collegiate Feature: Marissa Crofts,

College of Southern Idaho Current School? — College of Southern IdahoWhat year of study? — Sophomore Major? — MusicGraduated from what High School? — Home School School next year? — Idaho State UniversityHow did you volunteer for IMEA? — I am the Secretary for the College of Southern Idaho NAfME Chapter and president-elect for Idaho NAfME Collegiate Chapters. How else have you volunteered as a student? — I am our club’s representative for CSI’s Interclub Council, and I have helped with fundraisers to help our club go to IMEA All-State Conferences. What is your dream job? — I’m not sure exactly what or who I want to teach yet, but my dream is to be a teacher who will make a positive difference in the lives of my students. I want them to see me as a friend and confidante, not just the person who teaches them how to play an instrument. If you could be doing anything you wanted right now, what would it be? — Reading a good book or watching Pride and Prejudice (BBC ver-sion) with my mom and sister.

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2020 All-State Elementary & Middle School Honor Choirs

This spring is the perfect time to begin planning for the 2020 All-State Elementary & Middle School Honor Choirs! ACDA (American Choral Directors Association) is pleased to partner with IMEA to offer these opportunities to younger musicians in our state.

The Idaho All-State Elementary Honor Choir is a one-day event. Elemen-tary students are chosen through teacher recommendation. The recommending teacher must be a member of either IMEA or ACDA, and Elementary Honor Choir applicants must be enrolled in 4th, 5th, or elementary 6th grade. Students in 6th grade Middle School are expected to audition for Middle School Honor Choir.

The Idaho All-State Middle School Choir rehearses and performs over a two-day period. Students at this level will submit an audition recording. Range, accuracy, and intonation exercises will form the basis of the audition recording. Again, the teacher submitting students must be a member of either IMEA or ACDA. Middle School Honor Choir applicants must be enrolled in middle school (typically 6th, 7th, or 8th grade). 9th graders in junior high school are expected to audition for the High School All-State Choir.

Please note that singers may only apply for one voice part in one choir. If singers are found to have applied more than once, they will be disqualified. Although students from anywhere in Idaho may apply, schools/directors should take into consideration the necessary resources for traveling to and from the event, must have an appropriate number of chaperones and be prepared to arrange for any necessary housing if travel necessitates it.

Judith Herrington will serve as the 2020 Elementary Honor Choir Clinician. Ms. Herrington is the Founder and Artistic Director of Tacoma Youth Chorus and brings more than 35 years of teaching and conducting experience to her work at Charles Wright Academy in Tacoma. Judith is a recipient of the Inspirational Faculty Award and Murray Foundation Chair for Teaching Excellence. A gradu-ate of the University of Oregon, Ms. Herrington earned her Master of Education degree from Lewis and Clark College in Portland, Oregon. Having served in sev-eral leadership positions for the WA-ACDA Board, she is the 2011 recipient of its Leadership and Service Award. She was inducted into the WMEA Hall of Fame in 2016. She is an inaugural member of the School of Arts and Communication Advisory Board at Pacific Lutheran University. Ms. Herrington is highly regarded regionally, nationally and internationally as a guest conductor, workshop and choral clinician. A noted composer and arranger, she has published through Pavane Publishing, Hal Leonard Publishing, and Colla Voce Publishing. She also edits two choral series for Pavane Publishing.

Dan Davison will be the 2020 All-State Middle School Choir Director. Mr. Davison is an educator, composer, adjudicator, clinician, and singer from the Pacific Northwest. He has been choir director at Ballou Junior High School in Puyallup, Washington since 1979. Dan’s compositions vary widely, from those suitable for junior high voices, to those written for professional ensembles, and are primarily available from Walton Music and BriLee Music. Dan regularly speaks on choral music topics. In particular, his workshops on The Male Chang-ing Voice have been presented in Washington, Oregon, Idaho, Texas, Alaska, and at the 2011 National ACDA Convention in Chicago. Mr. Davison has received numerous awards for his role in music education, including the 1996 State Of Washington Christa McAuliffe Educator Of The Year, the 2010 Educator Citizen Of The Year for Communities In Schools In Puyallup, Washington, and the 2010 Outstanding Choral Director Award from WA-ACDA.

Which young people in your program will you encourage with this opportu-nity in 2020?

Proposal for Elementary Orff Honor Ensemble, IMEA Conference 2020

Rationale: Given that IMEA is dedicated to expanding its outreach to the state of Idaho’s elementary music educators; and given that IMEA is looking to increase the participation of Idaho’s elementary music educators in IMEA membership and activities; and given that IMEA can, and should,

partner with the Idaho Orff Chapter of the American Orff Schulwerk Asso-ciation, this proposal for an Elementary Orff Honor Ensemble, beginning at the IMEA 2020 Professional Development Conference at Nampa Nazarene University, is presented with excitement to the Board members of IMEA.

Description: The Elementary Orff Honor Ensemble will be comprised of 60-75 elementary music students, recommended by their music educators. These students will be singing, speaking, moving, and playing instruments over the course of two days, led by a nationally known Orff Schulwerk clinician. A performance on Saturday morning, either during or after the IMEA business meeting, will conclude this fabulous new experience for our youngest All-State students.

Additional Principles: As with the Elementary and Middle School Honor Choirs, this Honor En-

semble will be a regional event. Student recommendations and registrations will reflect the due dates of the other IMEA All-State student ensembles.

Student fees will reflect the cost of the clinician, lunches for two days, any additional costs for rehearsal space, props, and costume flourishes. Some printing costs may also apply. In the exploratory email to all elementary IMEA members we have estimated the cost to be the same as the middle/high school student cost, $155. It could be less.

Idaho Orff will partner with IMEA and will be responsible for financial transactions, registrations (Opus Events), selection of song material and movement activities, advertising, rehearsal venue, daily schedules, and addi-tional management details.

Instruments needed for the performance will be borrowed from the par-ticipating area elementary Orff teachers, and will be set up by these educators and other specified volunteers. We are contacting Peripole, Inc. to inquire about corporate sponsorship of the instrumentarium.

Clinician contracts will be available to the IMEA by June 2019, ready for the October 2019 IMEA Board meeting. Lisa Hewitt (Florida), AOSA National President, and Sandy Lantz (Colorado), retired elementary music educator and former AOSA Region I National Board Trustee, are both under consideration as premiere clinician. The clinician fee will be in line with the other IMEA groups, or $600 per day plus expenses.

All information for the conference program will be available to the IMEA Board and the IMEA Editor by November 1, three months prior to the conference: Clinicians and Chairs pictures and biographies; Repertoire and performance theme: Schedule for rehearsals

Music educators who wish to have their students participate in the Elementary Orff Honor Ensemble must be a national member of NafME (IMEA) or AOSA.

Should the 2020 Elementary Orff Honor Ensemble fulfill its promise as expected, Idaho Orff President (Taggart Lewis), the IMEA Elementary Chair (Shirley VP), and IMEA Elementary Orff Honor Ensemble Chair (Lori CK), will work toward a five-year planning cycle, having Chairs and Clinicians contracted two to three years in advance.

Additional Items:> Vocal selections and folk songs will be learned by all the children before

arriving to the event. > Instrument parts will be distributed and shared among participating

students and teachers and will be learned in those individual schools prior to the event. Lori will create lesson plans, including song material and instrumental arrangements, for the participating teachers so that students not directly participating in the ensemble will have the benefits of the music as well.

> Movement sections and improvisations, according to the Orff Schulw-erk guiding principles, will be created during rehearsals. Simple costuming (shirts/pants/skirts/hats, etc.) will be uniform among all participants. Large props will be determined and created by committee before the event.

> The Orff instrumentarium includes: Barred melody instruments (xylo-phones, metallophones, glockenspiels); Contra-bass bars; Recorders; simple percussion; Drums

> With the addition of this ensemble, perhaps a vendor would agree to display instruments and materials desired by elementary music educators at the Conference, perhaps even help financially with a sponsorship of the performance. Respectfully and Excitedly Submitted, Dr. Lori Conlon Khan


Why I started teaching music in the first place…

By Shirley Van PaepeghemMy mentors taught me that our best support as music educa-

tors comes from NAfME, ACDA, Orff, and Kodály associations. However, I have noticed that once I was out in the teaching force, many teachers do not continue to actively participate in these organizations.

We justify our choices with: “I just don’t have any more time or energy to give,” or “It’s expensive to attend conferences and I don’t have that kind of surplus in my budget,” or, “They don’t offer me that much and I need more bang for my buck,” or, “I have to choose just one organization so whichever offers me the most is what it will be.” (My husband and I are both music educators, so we pay membership and registration fees twice.)

I am reminded of the words of JFK: “Ask not what my country can do for me, but what I can do for my country.” Don’t we teach our students that our return will reflect what effort we put forth?

Over my 36 years of teaching, I have had years when I had to let my membership to professional organizations lapse because I simply could not afford it or needed my family to come first. We all know the constant challenge of balancing family, friends and work. However, I watch my mentors and colleagues (who are also my friends) devote endless hours of time and energy to provide a quality professional association designed to inspire through clinics, concerts, conferences, and communities. They continu-ally share lessons and perspective that has changed how I see the importance of my life’s work. These dedicated educators are who I strive to be like. They also seem to leave the table with much more than they brought.

I just attended the 2019 Idaho State IMEA Conference (Thank you, Kathy Stefani and her wonderful team!!!). My first inspira-tion was near the registration table where I found a group of re-tired elementary music educators who were displaying homemade teaching manipulatives, complete with lesson plans they gave away to the music education students attending the conference. These lifelong educators spent hours talking to dozens of colle-giates about how to use these homemade tools through inspired and proven lessons. They willingly used their own resources, driving five hours to be there to make a difference in the future of the next generation. Remember they are retired! They could be doing anything!

I was reminded at this year’s conference of the impact of guest speakers. From the opening ceremony to the banquet to the clos-ing ceremony, it was worth every penny.

My eyes welled up with tears during multiple concerts where I saw the faces of students just like my own. While I did not personally teach these students, I am reminded of the possibilities of what my elementary music teaching foundation can provide as these students continually grow. I visited with multiple colleagues in elevators, restrooms, at meals, concerts and clinics. I heard their concerns and successes. I shared my gratitude and experi-ences as well.

As my husband and I drove away from this year’s conference, our cups were full beyond measure. We found purpose in ways that we never expected. We made friends we didn’t know we needed. We can’t wait to return to the classroom and see the faces of the students placed in our care.

So, what is my point? • Review your track record. How long has it been since

you attended a conference or offered to help? • Like it or not, children repeat what they’ve been shown.

The next generation is watching. • Everyone brings something to the table that someone

else needs. You never know who might be inspired by your pres-ence.

• Get to know the people in your state. • No music educator is on an island. • You receive more than you give. • Don’t be “that teacher” who complains, yet never offers

to help. • Brothers and sisters, we all need each other.How can I find financial support to attend

professional conferences? 1. Each district in Idaho IMEA offers one free pass to at-

tend the state conference. Talk to your district president. It could be you next time.

2. Ask your administration for support. Here are just a few examples of advocacy letters you can re-write for your ad-ministration: https://acda.org/Editor/assets/Sample%20Letter%20for%202013%20Conference.pdf; https://aosa.org/annual-confer-ence/advocacy/

3. Professional development grants exist through Idaho Commission on the Arts. https://arts.idaho.gov/grants/

4. Contribute regularly to your own PD account.

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SUMMER 2019 OPPORTUNITIESFor STUDENTS

BOISE STATE UNIVERSITY MUSIC CAMPSLow Brass Camp June 3–7

Open to trombone, euphonium, and tuba studentsentering grades 6-12, and graduating seniors.

Summer Chamber Music Camp June 10–14For young musicians (band, orchestra, piano, or

voice) who will be in grades 7-12 for the 2019-20 school year.Email [email protected]. Passion Flute X June 20 – 24

Open to flutists of all ages who are ready to be inspired & challenged! http://music.boisestate.edu (click on Camps),

Call the Department of Music at (208) 426-1772

COLLEGE OF SOUTHERN IDAHO MUSICFEST!

Twin Falls, June 10–14Ages: 12 & up; 9am – 5pm

Call: Camille Barigar at (208) 732-6288E-mail: [email protected]

Registration form at www.csi.edu/musicfest

LIONEL HAMPTON MUSIC CAMP @ UNIVERSITY OF IDAHO

Moscow, June 16-22www.uidaho.edu/LHMC 208-885-6231

The University of Idaho invites you to join us for our annual summer music camp! The LHMC is a week-long program

for High School students (entering 8th Grade and older) www.uidaho.edu/LHMC 208-885-6231

IDAHO STATE UNIVERSITY SUMMER INSTITUTE FOR PIANO & STRINGS

Pocatello, June 24–29Senior Piano & Strings: Grades 8-12Junior Piano & Strings: Grades 3-7

A week-long intensive music camp featuring orchestra, camp choir, and various piano and string ensembles.

More information at isu.edu/sips.

IDAHO STATE UNIVERSITYSUMMER MARCHING BAND CAMP

Pocatello, June 25–27Join us for three solid days of working with ISU Music Faculty

and special Yamaha & Conn-Selmer sponsored educators. Camp tracks include: Drum Major, Section Leader, Drumline,

Colorguard, and Winds. More information at:isu.edu/marchingband

Contact Tom Kloss (208) 282-4626 [email protected]

TREASURE VALLEY VOCAL JAZZ CAMPJuly 29 – August 1, Northwest Nazarene University

8th-12th grade students and Music EducatorsContact: Seth McMullen: [email protected]

Quinn Van Paepeghem: [email protected]

SUN VALLEY MUSIC FESTIVAL: The Encounter July 29 – August 10

Advanced Chamber Music Programfor college undergraduates and exceptional high school students

in strings, voice and piano.Application Deadline Extended until classes are filled

http://svsummersymphony.org/education/the-encounter/

The Experience August 5 –9For grades 2-12. Classical instruction in strings, woodwinds,

brass, percussion, piano & voice Application Deadline Extended until classes are filledsvmusicfestival.org [email protected]

208.578.5464

For TEACHERSIDAHO BANDMASTERS ASSOCIATION

SUMMER CONVENTIONJune 12–15, College of Southern Idaho, Twin FallsExciting Guest Clinicians— Darcy Williams, After Sectionals Podcast;

Dr. Cassandra Bechard, University of Minnesota; Dr. Jonathan Helmick, Slippery Rock University; Wendy & Phil Hartman, Meridian, Idaho;

Marcellus Brown, Boise State UniversityContact us at [email protected]

www.idahobandmasters.org

PROFESSIONAL DEVELOPMENT: MUSIC EDUCATION IN ACTION—MUST 505

Lionel Hampton School of Music, Moscow, ID3-credit Option: June 16-22

Please join us for a unique professional development opportunity (with graduate-level credit) as we host our annual High School Summer Music Camp. Study

with the faculty of the Lionel Hampton School of Music while working alongside talented high school and junior high students from across the state and region.

Improve your pedagogy for all instrument and voice types across multiple styles. For more information, contact Dr. Lori Conlon Khan: [email protected];

208-885-0157; Registration Deadline May 17, 2019

IDAHO STATE UNIVERSITYSUMMER MARCHING BAND CAMP

Pocatello, June 25-27Join us for three solid days of working with ISU Music Faculty

and special Yamaha & Conn-Selmer sponsored educators. Directors can attend for a Continuing Education credit.

More information at: www.isu.edu/marchingband/summer-camp/Contact Tom Kloss (208) 282-4626 [email protected]

J.W. PEPPER BIRCH BAY BAND WORKSHOP for concert and jazz band directors July 29-August 2

and JOY OF SINGING CLINICS for school choral, elementary/classroom singing,

& sacred choral) July 22-23Birch Bay Band Workshop - https://www.jwpepper.com/

sheet-music/events?option=getdetails&event=268Joy of Singing - https://www.jwpepper.com/sheet-music/

events?option=getdetails&event=550


H Find us on Facebook!H Summer Convention

@ College of Southern IdahoJune 12-15

H Credits through CSI available on-siteH Golf Scramble on the 12thClinic Sessions June 13-15

H Contact us at H [email protected]

or find us on the web at H www.idahobandmasters.org

www.uidaho.edu/LHMC 208-885-6231

JUNE 16-22, 2019Lionel Hampton School of Music | Moscow, Idaho

• Specialized instruction for brass, woodwinds, piano, strings, percussion and all voice types

• One-on-one study and group classes with University of Idaho faculty members

• Perform in large ensembles such as band, choir, orchestra, and jazz ensemble

• Participate in coached chamber music ensembles• Attend faculty recitals• Choose from a variety of evening activities such as jam

sessions, scavenger hunts, movie nights, and game rooms

JOIN US FOR A WEEK OF FUN AND MAKING MUSIC ON OUR BEAUTIFUL CAMPUS!

MUSIC EDUCATORS! Visit our website to learn about our side-by-side professional development opportunity to earn up to 3 credits through U of I.


American Falls School District Welcomes New Ukulele Ensemble

By Stephanie Bachman, Idaho State Journal, used by permission

AMERICAN FALLS — Fourteen middle schoolers donned leis and plucked the strings of new ukuleles at the inaugural Spirit of the Falls Ukulele Concert on April 11 at American Falls High School. Idaho State University Music Professor Curtis Thompson attended as a guest performer.

The concert was part of a new program that School District 381 created after receiving a grant through the Idaho Community Founda-tion, and through this a ukulele ensemble class was born.

“One of the most beloved instruments in the world and we get to have an ensemble that specifically plays that in rural Idaho,” said Rob-bie Hanchey, director of instrumental music for the school district. “You drive out of town and you’re instantly surrounded by farm fields everywhere and to think — oh my gosh, here’s all these kids playing ukuleles. It’s super great.”

The William Thomas Middle School students serenaded the audi-ence with songs like “Girls Like You” in the style of Maroon 5, “I Can See Clearly Now” in the style of Johnny Nash, and even Taylor Swift’s “Shake It Off ” — all of which they learned in the class’s six-week term. According to Hanchey, the class had snagged the students’ interest from day one.

“They love music, and this was something they were curious in,” Hanchey said. “And then when we started teaching the first day, they learned four songs right off the bat. We never put up early because we didn’t realize we were out of time because we were so engrossed in the process and they were loving it.”

For student Paige Adair, the class was an exploration of a new instrument, and one that she ended up enjoying.

“It’s a fun instrument to play and write new songs with,” she said.On April 12, the students played again while on a tour to the

elementary schools. At some points, the assembly gym was filled with voices as many of the younger students joined in to sing along with the songs performed.

Hanchey has high hopes the ukulele classes they’re offering will result in a boom of students interested in non-traditional music and has just started offering ukulele classes at American Falls High School as a STEAM credit (science, technology, engineering, art, and mathe-matics).

“I think it’s going to be a huge hit,” he said. “They just signed up for classes, so when we get our preliminary figures, I think they are going to be very high.”

To expand on the program and hone music instructors’ teaching methods, all of the district’s music teachers will be attending a confer-ence called the Modern Band Summit in Fort Collins, Colorado, at the end of July. The summit is presented by national nonprofit Little Kids Rock, which trains instructors how to teach all things modern band.

“A really cool thing is that the school district believes in what we’re doing,” Hanchey said. “And I think the community believes in it, too.”

In addition to the classes, Hanchey said there is an idea to allow

students to participate in an open mic night at the high school, where they can perform for their fellow students and pick up experience they wouldn’t otherwise gain without that opportunity.

“It would kind of have a coffee shop vibe,” he said. “We want to give them real-world experience. We want to give them a love and a passion for music, that way they can take it with them into the world.”

ISU Professor J. Curtis Thompson has also been involved with the students’ learning, as he visited the class during its course and taught the students certain techniques and songs. As guest performer at the concert, he played pieces such as “Over the Rainbow” arranged by Jake Shimabukuro and an upbeat “Five Foot Two” arranged by Roy Smeck that included a certain plucking technique he taught to the students.

Thompson, who was a fellow classmate with Hanchey at Idaho State University, said one of the things that drove him to the American Falls ukulele ensemble class was all the budding possibilities for the students.

“I really wanted to tap into all the potential that is in this area,” Thompson said. “I’ve done my dream, I’ve been playing in musicals and shows, I lived on the coast for a while teaching, and I thought, ‘There’s someone out there like me.’ So I just wanted to make myself available to any students who have questions.”

To further encourage and empower students around the communi-ty, he is offering the ISU Summer Ukulele Camp, where students from first to 12th grade can have nine hours of music lessons from June 3 to 5. Those interested can reach him at [email protected] to learn more.

“I’m really excited to bring this idea to the area,” he said. “I want to give kids something to do and something to learn.”


search:Boise State Music

MUSIC.BOISESTATE.EDUVISIT

VISIT: MUSIC.BOISESTATE.EDU/CAMPS

Monday, June 3 — Friday, June 7, 2019 LOW BRASS CAMP Open to trombone, euphonium, and tuba students entering grades 6-12, and graduating seniors.

Monday, June 10 — Friday, June 14, 2019 SUMMER CHAMBER MUSIC CAMP For young musicians (band, orchestra, piano, or voice) who will be in grades 7-12 for the 2019-20 school year.

Thursday, June 20 — Monday, June 24, 2019 PASSION FLUTE X Open to flutists of all ages who are ready to be inspired and challenged!

SUMMER MUSIC CAMPS

VISIT: MUSIC.BOISESTATE.EDU/CALENDAR

During both the fall and spring semesters, Boise StateMusic hosts concerts, recitals, master classes, andworkshops — many of which are free and open to the public! View more information on the calendar located atour website, and subscribe to our weekly email blasts!

UPCOMING EVENTS

ENSEMBLES

VISIT: MUSIC.BOISESTATE.EDU/UNDERGRADUATEVISIT: MUSIC.BOISESTATE.EDU/GRADUATE

BM/MM: Music Education BM: Prepares for a career in public, private, or charter school music teaching. Options are available for degree-seeking students or students already in possession of a music degree but who desire teaching certification.

MM: Students engage in courses related to research, pedagogy, history, and philosophy, and music theory. Declare with an emphasis of either elementary, choral, or secondary instrumental.

BM/MM: Music BM/MM: Music Performance BM: Provides a strong background in repertoire and performance, and prepares for graduate work in the creative and performing arts and a professional career at the university level.

MM: Designed for those seeking a performance career, further graduate study, private studio teaching, and/or collegiate applied teaching. Course work centers around applied study, music theory and history, pedagogy, and literature.

BM: Music Composition Students will discover and explore their unique creative voice and develop their musical and compositional skills through weekly instruction, group seminars and discussion, live performances of their original works, and appropriate coursework in music theory, history, orchestration, and electronic music.

BA: General Music Provides basic knowledge of music and a broad liberal arts background with electives available to allow exploration of other areas of interest.

Music Minor Offers courses in private lessons, ensembles, and other academic music courses.

DEGREE PROGRAMS


NorthwestNotes

NW NAfMEPresident

John Combs

MUSIC FOR ALL —Why We Do What We Do For ALL Our Students.She was quiet, lacked confidence, and had a poor com-

plexion which caused her to hide her face by holding her head down and letting her long blond hair cover her. She was frequently unkempt but not unclean. She was, not surprisingly, not one of my better flautists. In fact she was a struggler.

Nevertheless, she was always there, worked at her part during class and spent most of the band period engaged in music making with her peers. She was even found to smile on occasion. I was told by her mom that band was her favorite class, that she was struggling in other parts of her education but she found that going to band every day really helped her forget about her problems. She didn’t practice. She developed some skill but was pretty limited in what she could do. Nevertheless, she wanted to be part of the experi-ence. She loved wearing the formal band dress for concerts.

She quit in the middle of her junior year. I was surprised. She quit her favorite class? When I saw her in the hallways I attempted to connect with her to see what had happened. She always saw me first and bolted. I made phone calls. None returned. I anguished about what I may have said or done that brought about this change. After a few months life and the band went on without her.

The next time I remember seeing her was on graduation day. The band always played at commencement and it was a great time to cheer for my graduating seniors and encour-age the rest of the class. There she was walking across the stage to receive her diploma. Unlike most of her classmates, there was not much hoopla with the announcement of her name; no air horns, screams of joy or massive applause. I just heard the sound of one or two sets of hands applaud-ing. I knew her, I had supported her, therefore I joined the miniature celebration with applause and a loud “Way to go, Sarah!”

Fast forward a couple decades later. Facebook was on my screen and I was celebrating the 20th Anniversary of our band’s trip to The Tournament of Roses Parade. Former stu-dents were signed on and celebrating their memories of the

trip. What fun to relive the experience with them. Then sud-denly a name appeared. Sarah. The girl who had dropped band right after we’d returned from the trip. Her comment was long and went something like this:

“Mr. Combs, I don’t know if you remember me but I was the flute player who quit band shortly after we got back from this trip. I just wanted you to know that the experience of be-ing in band and making this trip to the Rose Parade changed my life. I knew you weren’t very happy with me quitting, especially after you helped me with a “scholarship” that my flute playing didn’t deserve. I avoided talking to you about it because…I didn’t want to disappoint you and yet I had to quit. You see, Mr. Combs, I was so far behind in credits that I had to double up on classes; two classes of English, two classes of math. There was no time for band if I was going to gradu-ate before my parents kicked me out of the house.

“I wanted you to know that going on that trip and being in band allowed me to see myself in a different way. Rather than being the loser I thought I was, I was part of something bigger than myself, something better than myself. I wanted to have what the other kids had and I knew the only way I could do it was to start working and stop feeling sorry for myself.

“All I had to do was to run my life like you ran a band rehearsal: high expectations, hard work, and still have fun. I’ve applied those principles to my life. Here’s a photo of me, my husband, our four kids (all of whom are in music) and our horse ranch. I love my life. Thanks so much. Sorry I haven’t reached out before now. Love, Sarah”

I talk about “the other paycheck” of teaching. You know, the one that fills your heart rather than your checking ac-count? I got a huge check that day from a very unexpected source. Remember— what you do each and every day as a teacher has consequences that are far reaching and potential-ly life changing. You may never know for who. Do your level best each day for every child. You DO make a difference.

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Including Literacy in Your Rehearsals

By Marcia Neel, Music Education Consultants, Inc.Literacy can signify a diverse intention, and, in fact, our rehearsals can

provide us with opportunities to teach literacy in every sense of the word. For purposes of this article however, literacy will refer to “artistic literacy” rather than literacy in the other academic areas. Created by the National Coali-tion for Core Arts Standards and released in 2014, the National Core Arts Standards (NCAS) cultivate a student’s ability to carry out the four Artistic Processes of Creating, Performing, Responding and Connecting.

If we think back about our most rewarding musical experiences, many of us would be able to clearly articulate the specifics about the piece, the conductor, the location of the performance and where we were in our lives at that time in general terms. In fact, a question that I used to ask prospective music educators in the interview was, “tell me about the most rewarding per-formance experience you ever had.” The reason for this inquiry was to ensure that the candidate could specifically communicate what it takes to provide this type of experience for others.

In almost every case, interviewees would respond that the reason they had this significant “experience” was because they were thorough-ly prepared musically and also possessed a deep understanding of the work being performed. Think about it. . .shouldn’t every rehearsal lead to a performance where all of the music-makers are confidently prepared both musically and intellectually?

Yes, but the concern often arises that directors just don’t have the time to work with those “other” processes. Performing is what comes easiest however it also goes without saying that high-quality performances come about as a result of in-depth study and preparation. The Teaching Music Through Performance series published by GIA has provided a model to em-ulate. Each work presented provides a Teacher Resource Guide made up of specific units as follows:

Unit 1: Composer; Unit 2: Composition; Unit 3: Historical Perspective; Unit 4: Technical Considerations; Unit 5: Stylistic Considerations; Unit 6: Musical Elements; Unit 7: Form and Structure; Unit 8: Suggested Listening; Unit 9: Additional References and Resources

Having this type of comprehensive information at our fingertips provides us with the depth of knowledge required to fully prepare our students for studying, and eventually performing, a specific work.

But what about Creating, Responding and Connecting? (The music standards consider Connecting to be embedded in the processes of Creating, Performing, and Responding) The ideas provided below are from directors who have found a way to incorporate these Artistic Processes into their curriculum.

1. Creating. Today’s young people are creating their own music more than ever and the vast majority of them are not in our ensemble classes! What is it about creating that leads so many young people to experiment with and dabble in this process?

Have a conversation with your ensemble about the creative process and then encourage them to come up with their own creations (compositions/arrangements). The end result could be a video recording of the students performing their works. Students could create their own solos, or they could be encouraged to work in groups – duos, trios, quartets, etc., in preparing their composition.

For example, during marching band season, challenge each section to come up with their own musical “cheer.” They can arrange contemporary songs or compose their very own. Another idea I learned from the band pro-gram at Foothill High School in Henderson, NV, is to have students arrange or compose their own “Musical Holiday Cards” to send to former music teachers, parents, and school staff. Students will be energized by the idea of creating such a special gift for those who have helped them along the way.

Finally, you could schedule a special concert where students from your program can join with students from the school’s other musical ensembles to

perform their works. Creating also means coming up with new instruments. I’ve seen students play compositions on percussion instruments made with PVC pipe. Through the use of technology, students have generated composi-tions and arrangements performed on their computers, e.g. Eric Whitacre’s series of Virtual Choirs or Jacob Collier’s unique and inspiring videos like “Don’t You Worry ‘Bout a Thing” or “Isn’t She Lovely.”

The key is to give your students guidelines to work within so that they have a framework for their composition. They will be excited by the chal-lenge and you will be amazed with the outcome.

2. Responding. Encourage your students to think about how the music they choose to listen to while not in rehearsal makes them feel? Can they come up with cognitive reasoning for their choices? Is there a common thread to the music that they choose? Is there a cultural significance to the music and does it elicit a specific response? (joy, relaxation, locomotion, etc.)

Ask students to make an on-paper playlist of 20 musical selections that they chose to listen to over a specific 24-hour period within a given “Let’s Lis-ten” week. Provide them with a spreadsheet to complete that requests the fol-lowing information: 1) Artist name; 2) Song title; 3) Song style; 4) Response. Lead students to discover if there is a common thread – do they choose one artist or style over another because of how the music makes them feel? Next, ask students to explore and consider how this relates to the creative process? In other words, do composers create music to elicit a specific response from the audience or even the musicians themselves?

Finally, ask students to relate their own responses to the music being refined in rehearsals. Do they see a correlation between how they feel about the music to how the audience thus responds to it?

Music is used to create all sorts of responses intentionally which is why it is used, for example, in commercials to encourage purchasing, in themed performances (4th of July, etc.) to elicit feelings of patriotism, and in movies to influence the audience in some way. It is thus important for us guide them in developing their ability to perceive music and analyze it, to interpret the intent and meaning of the work and finally, to apply some sort of criteria to evaluate it.

In the big picture, these are the same processes that music-makers have followed for generations as they connect through music to themselves and their societies. Our student music-makers also need to have experiences in creating to be successful musicians as well as successful 21st century contrib-utors. Finally, they need to respond to music as well as to their culture, their community, and their peers. Our rehearsals provide the optimal intersec-tion for all of these processes so let’s stretch out and try something new to enhance the musical experiences for our students.

Marcia Neel serves as president of Music Education Consultants, Inc., a consortium of music education professionals who work with a variety of educational organizations, arts associations, and school districts to foster the growth and breadth of standards-based, articulated music education programs. She also serves as Education Advisor to the Music Achievement Council, a 501(c)(6) organization whose sole purpose is to assist directors

in recruiting and retaining students in instrumental music programs through effective pro-fessional development programs. In 2016, Marcia was named Senior Director of Education for the Band and Orchestral Division of Yamaha Corporation of America and subsequently, a Yamaha Master Educator. Neel also serves as a member of the Board of Directors of the Percussive Arts Society.

Previously published in School Band and Orchestra, February 2017, re-printed and edited by permission

Excelcia Ensemble Series Launched by Excelcia Music Publishing

The Excelcia Ensemble Series gives music educators new brass quintets, clarinet and saxophone quartets, and woodwind quintets which will engage and delight their students. Addressing the critical need for high-quality, mid-level, small chamber literature, expert educational composers, including Larry Clark, John M. Pasternak and Tyler Arcari, offer these newly-composed and arranged pieces, each beautifully en-graved and with full score and reference recordings.

Perfect for use at an adjudicated solo festival or recital, these 12 metic-ulously-edited pieces come in a variety of styles and make reading a joy. Written at grades 1.5 through 3, these pieces will quickly become favorite


“go-tos” of music directors.Excelcia Music Publishing prides itself on publishing high quality

music that inspires students. The Excelcia Ensemble Series is no excep-tion. Excelcia Ensemble Series marks the third music series out on the market by the publishing company launched by Larry Clark in 2018.

Quartets in the series include Andante Cantabile by Haydn/ arr. Larry Clark, Curse of Tortuga by Tyler Arcari, Fascination by Larry Clark, L’Al-cenagina by Banchieri/ arr. Tyler Arcari, Shaker Song Setting by Bracket/ arr. Jon Bubbett, Washington Post March by Sousa/ arr. John M. Paster-nak. The quintets include Amazing Grace by Newton/ arr. Jon Bubbett, Bring a Torch, Jeanette Isabella - traditional/ arr. Tyler Arcari, Greensleeves by Dix/ arr. Dale Bloodworth, Méditation From Thaïs by Massenet/ arr. Tyler Arcari, Schumann Suite by Schumann/ arr. Larry Clark and Swan Dancing by Larry Clark. Quartets are available for $12.99 and Quintets for $14.99.

Excelcia Music Publishing is based in Lakeland, Florida, and publishes and sells music internationally. Composers, educators, and retailers are invited to contact Excelcia Music Publishing to be a part of creating, learning, and performing music that inspires. www.excelciamusic.com

University of Idaho Lionel Hampton School of Music a GRAMMY Museum Affiliate

By Corrin Bond, used by permissionThe Lionel Hampton School of Music became a GRAMMY Museum

Affiliate early this year. This makes the University of Idaho one of only sixteen GRAMMY Museum University Affiliates across the country, and the second University Affiliate in the Northwest. The GRAMMY Muse-um’s University Affiliate program provides educational institutions with access to the rich musical history and archives of the GRAMMY Museum for educational purposes.

“There are many possibilities, including student internships, faculty collaborations, access to exhibits and guest speakers, collection exchanges and new granting possibilities,” Vanessa Sielert, director of the Lionel Hampton School of Music, said. “The GRAMMY Museum’s network is

quite broad, and the new connections that become available to us as an affiliate are many.”

Sielert first became aware of the opportunity to apply for the program through Clinical Assistant Professor of Music Education, Lori Conlon Khan. Before moving to U of I two years ago, Conlon

Khan taught in the Boise area for 30 years. She first became aware of the GRAMMY Affiliate program through Bob Santelli, who she met while participating in the American Roots Music Summer Institute hosted by the Idaho Humanities Council. Santelli served as the executive director of the GRAMMY Museum in Los Angeles from 2008 to 2016, and is now the university director of popular music and performing arts at Oregon State University. Santelli formally presented Sielert with a GRAMMY Museum Affiliate plaque at Hamp’s Gala, the event that kicked-off the start of the 2019 Lionel Hampton Jazz Festival on Thursday, Feb. 21.

Conlon Khan said, “It’s a really wonderful networking opportunity to us, especially since we’re rather isolated and not too close to a major met-ropolitan area. It can be that hook, where our students can go, ‘Oh, I can be in contact with someone in LA or in Cleveland, [Mississippi].’” At this stage, Conlon Khan said U of I has the chance to make the program fit student and university needs. She said, “As we go along, we get to figure out just what it means to us.”

Sielert is preparing for a trip to Los Angeles for her first GRAMMY Affiliate meeting, where she hopes to learn more about how the Universi-ty can best take advantage of this new affiliation.

New Director of Bands & Tuba/Euphonium Professor: Dr. Mark Thiele

The Lionel Hampton School of Music is proud to announce Dr. Mark Thiele, our new Director of Bands and Tuba/Euphonium Professor. Mark joins the University of Idaho after a 20-year career in the “President’s Own” United States Marine Band in Washington D.C. Welcome Profes-sor Thiele!

FOR TEACHERS —Professional Development: Music Education

in Action—MUST 505, June 16-22Lionel Hampton School of Music | Moscow, ID | 3-credit OptionPlease join us for a unique professional development opportunity (with

graduate-level credit) as we host our annual high school summer music camp. Study with the faculty of the Lionel Hampton School of Music while working alongside talented high school and junior high students from across the state and region. This intense, but fun week provides the perfect oppor-tunity to improve your pedagogy for all instrument and voice types across multiple styles. For more information please contact Dr. Lori Conlon Khan: [email protected]; 208-885-0157; Registration Deadline May 17, 2019

I am the new World’s Finest Chocolate rep for Southern Idaho. I’ve been helping groups fundraise for 5+ years. I’m excited to help more music groups raise money with a product that families know and love.

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New Musical Now Available as a Generous Fundraising Opportunity for Schools & Community Theaters

Are you thinking about your upcoming Christmas musical? Take a moment to learn how Ebenezer Scrooge the Musical can enrich your theatre and choir programs this upcoming Christ-

mas season. Dickens’ classic tale of Ebenezer Scrooge is told with ALL NEW songs that will delight and inspire audiences of all ages.

Deanne Casperson, high school choir teacher, wrote Ebenezer Scrooge the Musical as a true labor of love for music and her stu-dents. Initially, she wrote a few songs based on Dickens’ A Christmas Carol for her choir to perform at their yearly Christmas concert.

During the performance, Deanne realized how poignant the story of Scrooge could be with her songs, and slowly, over the course of 2½ years, an entire musical was born. It has since been performed for 6 seasons and has been a great fundraising success. Ebenezer Scrooge the Musical is now a holiday tradition in the community.

Deanne wrote her first song at the age of seven, in which she saved Christmas by defeating the mean little trolls at Santa’s workshop. Today, her new adaptation of A Christmas Carol will help save Christmas again by inspiring all of us to be a little kinder and a little more generous. Please join us in this new telling of A Christmas Carol that harnesses the true spirit of Christmas through heartfelt, captivating songs. Visit ebenezerscroogethemusical.com to learn more. You won’t be disappointed.

Deanne Casperson is an award-winning songwriter whose mu-sic has been featured on syndicated radio, on PBS, and at events throughout the country, including the National Christmas Tree Lighting in Washington, D.C.

Yamaha Re-thinks How Student Strings Are Made and Played

The traditional techniques used to manufacture the finest stringed instruments have re-mained virtually unchanged for centuries. Yamaha is changing this with today’s announcement of the YVN Model 3 Student Vio-lin Outfit, a major step forward in the manufacture of stringed in-struments for developing players, academic music programs and the rental market.

Drawing upon advanced building methods first developed for Yamaha percussion and wind instruments, the YVN Model 3 is constructed with the tight tolerances normally associated with much more expensive, luthier-built models. These improvements allow the violin to sing with rich tone while maintaining stu-dent-proof durability for renters—and a family-friendly price for those ready to invest in a quality starter instrument.

By innovating key parts of the manufacturing process, Yamaha has found new ways to use traditional materials while simulta-

neously reducing time and material consumption. Among the innovations is a proprietary graduated “press-formed” spruce top that offers exceptional tone and resonance for a student violin. Ya-maha also designed the YVN Model 3 to be easier to service than traditional stringed instruments, making it both faster and more cost-effective to keep the violin at peak performance. At the same reducing material waste and improving manufacturing efficiency to improve the company’s carbon footprint.

Yamaha applied its innovative approach to the instrument’s appearance, as well. A completely new laser cutting technique uses resin to create handsome inlaid purfling. The finish, while traditional in look, is designed to be a durable performer in rental situations and in school orchestra programs.

“Over many decades of building instruments for teachers, retailers, rental houses, and players of all levels, we heard over and over that they wanted great sound, playability, easy maintenance and durability—all at an affordable price,” says Ken Dattmore, marketing manager, Strings, Yamaha Corporation of America. “It’s always a leap of faith to try something new, especially with an instrument as traditional as violin. But we’re finding that the dealers, teachers and technicians who’ve been most excited about the YVN Model 3 have been those most knowledgeable about tra-ditional violinmaking. It delivers the performance they want—in a package and at a price they find very attractive.”

Pricing and Availability: The full-sized Yamaha YVN Model 3 outfit, which includes a bow and sturdy shaped ABS case, has an MSRP of $835.00 and is expected to ship during the first quarter of 2019.

Yamaha Corporation of America (YCA) is one of the largest subsidiaries of Yamaha Corporation, Japan and offers a full line of award-winning musical instruments, sound reinforcement, com-mercial installation and home entertainment products to the U.S. market. Products include Yamaha acoustic, digital and hybrid pi-anos, portable keyboards, guitars, acoustic and electronic drums, band and orchestral instruments, marching percussion products, synthesizers, professional digital and analog audio equipment, Steinberg recording products and NEXO commercial audio products, as well as AV receivers, amplifiers, MusicCast wireless multiroom audio systems, Blu-ray/CD players, earphones, head-phones, home-theater-in-a-box systems, sound bars and its ex-clusive line of Digital Sound Projectors. YCA markets innovative, finely crafted technology and entertainment products and musical instruments targeted to the hobbyist, education, worship, music, professional audio installation and consumer markets.

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The Challenging andRewarding Lives of

Music Teachers By Lori Gray, Boise State University

I would consider it a disservice to Music Education students if I always painted a rosy picture of teaching. The truth is, our jobs as music teachers can sometimes be difficult. There will be moments in our careers when we will face challenges or trauma in our own lives, or when we will help students or colleagues with issues in their lives. I can vividly recall the moments when I supported students who had lost loved ones, and that horrifying day of teaching when terrorists hijacked planes and crashed them into the Twin Towers of the World Trade Center in New York on 09/11.

As an Elementary Music Teacher, I can still tearfully recall the empa-thy I felt for a student who was failing 5th grade because she had lost her grandmother. I remember the bond we shared when I revealed to her that I had recently lost my mother. Years later, as I face another challenging time of personal loss and grief with the passing of several loved ones in my family, I realize how resilient contemporary music teachers must be to persist in our society today. I am also profoundly aware of the positive impact we can have on the lives of those around us, who seek healing through music. As music teachers, we must have the skills needed to cope with our own issues, and support others in theirs, all while sharing the beauty of music with students, each and every day.

In our Foundations of Music Education class, my graduate assistant and I asked students to brainstorm a list of challenges music teachers may face in the world today. While this list may not be exhaustive, it does seem rather daunting. The students included: poverty; mental health is-sues (personal, students or staff members); funding for programs; lack of support for music; issues with administration; disabilities; guns or weap-ons in schools; supporting marginalized students and staff; poor behavior and bullying; student violence; death; issues connected to religion; gangs; family abuse; divorce; foster-care and adoption; teacher burnout; natural disasters; drugs; violent acts that impact the school community; and trau-matic historical or societal events that impact the school (e.g., 9/11).

We then asked the students in class to consider their role as music teachers within school communities dealing with these issues, and the support systems that may be in place to address them. The students brainstormed a new list of resources to look for, and what to do if sup-port systems are lacking. The list included: have a routine for self-care including your mental health; seek a therapist if needed; collaborate with other teachers, staff, and administrators; work with the school counselor and special education teachers to support students’ needs; form strong professional relationships with the administration, staff, teachers, parents, and students; invite administration into the music classroom and to music events and thank them for support; support other school activities and programs outside of music; create a psychologically and physically safe space in music for all students; maintain an open mind and seek solutions to problems; and, seek funding for music programs through the parent-teacher association, fundraising, and grants. Though listing challenges in teaching was a heavy topic for class, students found it useful to be aware of and to address current issues, and to examine ways to be proactive within school communities.

For this article, I reached out to members of our teaching community to get their views on these topics and their experiences with contempo-rary challenges in teaching.

Ted Totorica, former Music Teacher and current Elementary School Principal in Boise stated: “I have had the opportunity of teach-ing during both flush financial times as well as years where budgets were cut severely for multiple years…The effect this has had on teachers is evident in the rise in the number of professionals accessing their Employ-

ee Assistance Programs. This paired with an overwhelming amount of information, methodologies, curricular expectations combined with few-er comprehensive materials being supplied by schools in the state has led to an ‘overload’ in what teachers feel they can effectively impart to their students. In a nutshell, it takes much more today for a teacher to feel that they are doing “all they can” to ensure a curriculum-based, education that is scaffolded for the many differing ability levels, differentiated to fill in student gaps, engaging for today’s modern learners and fully researched so that the presentation can be thorough…

“I remember when I was in Junior High that “Proposition One” was going to be the end of arts programs throughout the state. I believe that the threat of losing one’s job and the feeling that your “content” may not be as valid as the “three Rs” certainly compounds the anxiety that arts teachers feel. Music teachers must be active politically and fully invested in their teaching in order to feel that they are doing “what is right” for the profession. Others in education, certainly have other stressors but do not feel this the same. That being said, as an administrator, I am seeing the same level of stress and anxiety in all of my teachers. Some handle it better than others…

“As an administrator over a High School and Elementary School, I have found that a dedicated teacher is a dedicated teacher, and will at times drive themselves ragged for the sake of a good lesson, unit, or performance. I now believe that it is our own personalities that drive our ability to cope easily or be challenged by the many components of our careers. While taking classes to be an administrator, I learned that every decision made above my head when teaching music was not a personal slight nor did it have much to do with my program. When I was able to see the bigger picture and see where my program fit into the needs of the school, things became more understandable and much less stressful than they had been previously.”

Amy Wickstrom, former Elementary Music Teacher and Music Education Graduate Assistant at Boise State shared her personal story: “I was hired to teach elementary general music in a large elementary school right after obtaining my Bachelor’s degree in Music Education. Teaching music had been my dream job since I was a young girl…I loved teaching all students in my school, showcasing my students in after-school performances six times each year, volunteering on various committees within my school, becoming an active board member of professional music organizations, and creating a non-profit organization in order to help some of my students with food stability and to provide school supplies. I loved my job and did not mind working many hours outside of my contract time. Teaching music became a huge part of my identity…When I had my first child, at the end of my third year of teach-ing, I knew that things had to change. I cut back on some of my outside of contract time hours, but still worked 9-hour days…I did not know how to step back from any teaching responsibilities…I loved what I was doing, but it was becoming too much for me to handle.

“Then, in March 2012, I had been sick with the flu. Unfortunately, my fourth-grade program, ‘Annie Jr.,’ was scheduled at the same time. Instead of postponing the performance, I arranged for a sub to teach the rest of my classes so that I would only work with students during their rehearsal and performances. The program went very well. I was very proud of my students. I went back to work the very next day because I thought that I was well enough to return and did not want to take another sick day. I made it through a couple of classes and realized that I should not be teaching. I arranged for a sub to take over for me…

“I picked my son up from daycare, drove home, and put him in his crib for his afternoon nap. I didn’t even make it out of his room. I fainted five times. I should have called an ambulance, but instead I called my husband who rushed home and took me to the emergency room where I was treated for dehydration. I went to the emergency room again two weeks later and after receiving an ultrasound, found out that I was pregnant with an ectopic pregnancy. I was rushed into an emergency surgery…

“I had lost so much blood that I required a blood transfusion. It was a


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life or death situation. Obviously, my ectopic pregnancy was not caused by my teaching position. It did, however, alter the way that I viewed my teaching job, my family, and my physical and mental health. After my life or death situation, I decided to leave teaching. I felt like I needed to be with my son as much as I possibly could…Although I loved teaching, I needed to step away from teaching in order to focus on my family and myself…Teaching music was amazing, but it was all consuming for me.

“In examining myself, I still found a desire to teach music. Two years ago, I decided that I would go back for my Master’s in Music Education with the goal of returning to teaching music when my youngest daughter enters kindergarten. As I am now applying to teach music again, I will go back into a music classroom with a different perspective…Before I left teaching, I did absolutely everything I could to be the best music teacher. I will go back to teach again to the best of my ability, and will do every-thing in my power to teach music to all students. I will maintain healthy boundaries, prioritize my family and myself over teaching, and still do my best to teach music to all students. I am a music teacher, but it will not become the only thing that defines me again. It is not healthy for me, my family, or my students. One thing I have found as a mother is that moth-ers need to take care of themselves in order to take care of their children. I find this applies to music educators as well. Music teachers need to take of themselves in order to teach their students.”

Liz Batey, a Junior High Choir, Guitar, Piano, and Exploratory Music Teacher in Boise, who co-presented a session at IMEA on teacher burnout in 2018, responded: “Through my own teaching experiences and observations of my peers, I have found that advocating for oneself and a collaborative support system are paramount to success. The demands made on a music educator are taxing physically, mentally, emotionally and professionally. We are asked to teach our curriculum, provide timely and accurate feedback to students/parents/adminis-trators, create meaningful connections with our students, fundraise, update grades, plan/direct concerts, and a litany of other tasks. It doesn’t take much for a music educator to become overwhelmed, unhealthy or unhappy…

“Whenever possible I try to approach my administrators, colleagues, and students with the intent of finding a solution to problems or, at the very least, a compromise…If you don’t have the support you need, build your own support system…I’ve been at my most energetic, happy and flexible in the classroom when I eat well, hydrate, get adequate sleep and exercise…My father always said that I was like a vehicle. That I could let myself get run down or I could keep myself running longer and more efficiently with regular maintenance. I think we all want to be here for the long haul, so do yourself a favor and remember to fill your gas tank.”

It can be all too easy as a dedicated music teacher to give everything you have to your job and forget to “fill your gas tank.” However, I believe that to maintain a long, happy and healthy career, we each need to take care of ourselves as much as we take care of the other members within our school communities. I will leave you with a quotation that I find speaks directly to what we do as music teachers. I shared this quote with my Foundations class after our conversation about the challenges that contemporary music teachers face in school communities. I believe that coming together to make music can heal many of the wounds of the world, if we are open to the healing process.

“Do not be dismayed by the brokenness of the world. All things break. And all things can be mended. Not with time, as they say, but with intention. So go. Love intentionally, extravagantly, uncondition-ally. The broken world waits in darkness for the light that is you.”

L.R. Knost (author of “Two Thousand Kisses a Day,” founder of the advocacy and family consulting group, Little Hearts/Gentle Parenting Resources).

Dr. Lori Gray is Assistant Professor and Director of Music Education at Boise State University. She teaches undergraduate and graduate courses in Music Education and supervises student teachers. Lori recently joined the Boise State Music faculty in the Fall of 2017, after her position as Associate Professor of Music Education at the University of Montana. Prior to her experience in higher education, Lori taught in public and private PreK-12 schools in Texas, primarily as a general music specialist.


“No, you may not lick the xylophone mallets!”

A Student Teaching Survival GuideBy BriAnna Crook, BSU Student Teacher, Sugar City Schools

For most Music Education majors, the last semester or two of your degree is primarily based in the field. Most Music Education students eagerly look forward to getting to work with students – real K-12 students, not our peers pretending to be sixth graders – and we anxiously await the day we receive our student teaching placements.

You prepare as much as you can beforehand, and then the first day of student teaching comes. You show up with your ukulele or baton in hand and a notebook to take notes on how to be a better teacher. You might think you are ready to con-quer the world, or you might be scared out of your brains to teach in front of real kids (I definitely had a healthy dose of both!). The first bell rings, and suddenly you are hit with a flood of information, suggestions, techniques, new materials, a schedule that could be difficult to navigate, and you might be left feeling like you’re going to drown in all that you have to do.

Have no fear! Student teaching is a wonderful experience and you will grow so much, both personally and professionally. Yes, sometimes you will have hard days, but if you work hard and hang in there, you’ll feel like a better educator by the end of it! Here are a few things you can do to make your student teaching semester(s) a little more manageable:

H Go in before your semester begins and get to know your mentor teacher(s). Knowing how your mentor teacher thinks, organizes, and plans can be a great way to understand how to best communicate with them. Start familiarizing yourself with the school, classroom and school procedures, other staff members and administration, and your classroom materials.

H Don’t judge a placement based on its cover, meaning its school, district, or program. Just because you’ve been a band kid your whole life doesn’t mean you can’t learn a little something from teaching elemen-tary general music. You might even find that you really enjoy something you’ve never enjoyed before, and that could potentially open job opportunity doors for you in the future. I always thought I wanted to be a band director, but after my experience with my student teaching I could definitely see myself becoming a general music teacher!

H Get a planner/scheduling system. This is pretty self-explanatory… write the important stuff down where you won’t lose it! My planner had every-thing from days we moved classes around to scheduled fire drills to collaboration meetings.

H Learn the students’ names. Learning the names of your students helps in two major ways: management and rapport. If your students recognize that you are making an effort to get to know them individually, they seem to respond better. It’s also easier to call out and stop negative behaviors by saying “Johnny, you need to stop shredding your paper” instead of just making an general comment to the class.

H Reflect on your lessons, both alone and with your mentor teacher. Your mentor teacher is there for a reason, to mentor you. They are on your side and want you to be successful! I always took a moment to talk with my mentor after almost every lesson I taught. What things went well? What things didn’t work so well? How could I change/adjust my lesson to fix those things that didn’t go well? More often than not, thinking out loud with my mentor teacher brought about some great ideas. Be willing to try the things your mentor teacher suggests as well. You might discover a new tool or technique you have never used before!

H Do not expect perfection. You are still learning, and that is okay! Strive for your best, and if things don’t go according to plan (because that happens), don’t stress out too much. Just take notes on how to improve and move forward. There’s really no sense in dwelling on the negative!

H Be organized! Find a system that works for you and remember that it is okay if your organization system does not work the same as your mentor teacher’s

system. I learned to love sticky notes in my first placement.H When it comes to management, be harder on the students at

the beginning, then loosen up later. Take it from someone who has ex-perienced the pains of trying to crack down on students later in the semester: it’s easier to be firm at the beginning and then relax a little once the students know you and your management style.

H Have your own personality— don’t be a clone of your mentor teacher. At first, I tried to do everything like my mentor teacher. His system worked well for him, his students were respectful and attentive, and it seemed to work great! As I started to teach that way, though, I realized that we have different teaching styles. If you feel more comfortable teaching your elementary students in a circle on the floor than their usual place on the risers, that’s okay! We are all human beings and no two people are going to want to do everything exactly the same. Use your time as a student teacher to try to find your teacher voice. Who are you as a teacher?

H Take notes and collect as many resources as you can. Taking notes takes time, but they’ll be worth it. I know I will constantly be referring to mine for the first few years of teaching! Most mentor teachers are more than hap-py to offer you resources such as old lesson plans and materials, books or journal articles to read, and a plethora of seasoned-teacher knowledge. Take advantage of every bit of it. Collect all, read all, and put it to use in your classroom.

H Go see other teachers. It’s always great to observe other good teachers in your area. Ask your mentor teacher about which teachers to go observe. They tend to know which teachers specialize in which areas (e.g., elementary orchestra, Orff, Kodaly, marching band). Take a day or two per placement to go out and see what else is happening in your teaching community.

H Accept feedback gracefully. Not only does this help you improve your teaching, but it often leaves an impression on those giving you feedback. If you are willing to take feedback and put it into use, you will be seen as a teacher who is a team player with the students’ best interest at heart. Take advantage of formal observations. Your university supervisor or administration will be able to offer you an extra perspective, and it’s nice to have a set of eyes observe you that isn’t with you every day.

H Don’t be afraid to make mistakes. They are going to happen, so just embrace them as learning opportunities.

H Write down the funny things. You’re going to have hard days occasionally, and that’s a normal part of any teaching job. When a student says something funny or sweet, write it down and look back on it on those hard days. Yes, I definitely had to tell a student that he may not lick the xylophone mallets! It brightens my day every time I think of that conversation.

H Take time for yourself! Leave work at school if at all possible. Just like any teaching job, it’s easy to get burned out and tired. Don’t let yourself get burned out before you even start teaching full-time! Take a few extra minutes after school to organize your desk and get everything ready for tomorrow, so when you walk into your classroom every morning you feel refreshed and energized. Balance your time so you aren’t rushed in any activity. In the evenings and on the weekends, take time to be with family and friends and do some of your favorite hobby activities.

H Get a support system. Go to other mentors, profes-sors, friends, and colleagues for support. Generally speaking, people want you to succeed and will be happy to answer questions and support you.

Now, I certainly am no expert… I won’t even finish my own student teaching for a few more weeks. But these are some of the things I have learned over the past several weeks at both of my placements. I can definitely say that, because I was willing to put myself out there and do things outside of my normal comfort zone, I have grown as a professional and have thoroughly enjoyed my experience.

H Last of all, have a good attitude! Learning to teach is an ad-venture. If you walk into every class with a good attitude no matter what your situation is, you’ll have a great experience.

BriAnna Crook is a music education student at Boise State University. She is currently doing her student teaching in Sugar City, Idaho, and will be graduat-ing with her Bachelor’s degree in Music Education in May of this year. Contact her at [email protected]. She already has a job! Way to go!


MakeMusicLive!

Four-year music scholarships awarded for majors and non-majors

Degree ProgramsBA in Music

Minor in Music

Minor in Arts, Technology & Multimedia

willamette.edu/go/musicauditions

An Alternative to Frustrating Fundraising: DONORSCHOOSE.ORGBy Jim Phillips, Coeur d’Alene High School

Are you tired of running the same old fundraiser? Have your exhausted your local community with cookie dough, candy bars, wrapping paper, etc.? Consider writing a grant through DonorsChoose.org! Nothing to sell - I’ve had 29 projects fully funded since 2009 and have not had to sell any products.

My name is Jim Phillips and I am the DonorsChoose.org Teacher Ambas-sador for Idaho. I would be more than happy to help you set up an account and get your first project up and running. (Here are my successful grants to give you an idea: https://www.cdaschools.org/Page/6410)

I am also the Band and Orchestra teacher at Coeur d’Alene High School, so I understand your busy schedule. Once you are set up to submit grants, most of the work takes less than 10 minutes to complete, then it is simply a matter of sharing information via email and social media.

Here’s the scoop: You are eligible to register if you’re a full-time educator employed at a United States public school, charter school, or Head Start cen-ter. You must work directly with students at least 75% of the time. We know that educators teach in a ton of different ways, and not everyone spends all day in one classroom. We’ve got awesome projects posted by librarians, guid-ance counselors, school nurses, and coaches who are also full-time teachers. As long as you meet the criteria above, you’re good to go!

Please contact me if you have any questions or would like help setting up an account: [email protected]

YAMAHA MASTER EDUCATOR PROGRAM Inspires, Empowers and Equips Music Directors

to Achieve Their Full PotentialReinforcing its longstanding commitment to music education, Yamaha

Corporation of America has launched the Yamaha Master Educator Program, an exciting new initiative that will provide inspiring professional develop-

ment opportunities and artistic music collaborations for music educators at the local, state and national levels.

“Many band and orchestra directors nationwide have asked us for support to improve and elevate their effectiveness as teachers,” says John Wittmann, director, Artist Relations and Education, Yamaha Artist Services Indianap-olis. “With their needs in mind, we formed an all-star group of educators with the skills, expertise, and the heart for inspiring and empowering music teachers at all levels – elementary school, high school, college and beyond.”

The Yamaha Master Educator program is designed to complement the Yamaha Performing Artist roster, and add dimension to the company’s teacher support capability. While the world-class roster of Yamaha Perform-ing Artists conducts more than 600 clinics annually, the renowned Master Educator team will play a complementary, yet pivotal role, by sharing their expertise to help educators stay motivated – and challenged – to fulfill their teaching potential.

Offering multiple benefits for teachers, the program will also provide edu-cators with access to experts who can work with their teaching teams on-site during staff development days. Now, teachers at every level of instruction can enjoy access to a diverse group of experts who can advise them on everything from recruitment in the middle schools, to the most advanced conducting techniques. Teachers can also explore an online “menu” of topics to view the specific areas of each Master Educator’s expertise.

In addition, Yamaha Master Educators will take part in speaking and conducting appointments with state Music Education Associations; district meetings for music teachers and fine arts departments, district-wide in-ser-vice days; and clinics at middle schools, high schools, colleges and conserva-tories.

The premiere roster of Yamaha Master Music Educators features a diverse range of distinguished academics, clinicians, consultants and authors. For more information about Yamaha Music Education, please visit http://4wrd.it/YAMAHAMUSICEDUCATION. SEE YAMAHA’S AD on the back cover!


SCHERZO!Humor for the Music Educator

I was strumming chords (operative word here) on my guitar during a

4th-5th general music class today. I asked the kids if they

knew the word that described playing more than

one note at a time. Fifth grader in the back row,

brilliant answer,first belly laugh of the day....

“Um... multitasking?”Melanie Halsell,

Hollister Elementary School


www.uidaho.edu/LHMC 208-885-6231

JUNE 16-22, 2019Lionel Hampton School of Music | Moscow, Idaho

• Specialized instruction for brass, woodwinds, piano, strings, percussion and all voice types

• One-on-one study and group classes with University of Idaho faculty members

• Perform in large ensembles such as band, choir, orchestra, and jazz ensemble

• Participate in coached chamber music ensembles• Attend faculty recitals• Choose from a variety of evening activities such as jam

sessions, scavenger hunts, movie nights, and game rooms

JOIN US FOR A WEEK OF FUN AND MAKING MUSIC ON OUR BEAUTIFUL CAMPUS!

MUSIC EDUCATORS! Visit our website to learn about our side-by-side professional development opportunity to earn up to 3 credits through U of I.

IDAHO MUSIC EDUCATORS ASSOCIATIONIDAHO MUSIC NOTES824 NORTHVIEW DRTWIN FALLS, ID 83301

NONPROFIT ORGUS POSTAGE

PAIDTWIN FALLS, ID

83301PERMIT NO 313

idaho music notes mn spring r.pdf · 2019. 8. 2. · spring 2019 idaho music notes 3 adapts to...

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