#nafme2018 nafme...contents 2018 gaylord texan resort & convention center 1501 gaylord trail,...

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CONTENTS 2018

GAYLORD TEXAN RESORT & CONVENTION CENTER1501 Gaylord Trail, Grapevine, Texas 76051 U.S.A., Ph. 817-778-1000

Need help in person? Go to NAfME Central to fi nd a NAfME staffer.

Share your conference experience:

NAfME Central Network, Learn, Listen, Shop, Relax! ................... 5

NAfME Leadership ........................................ 6

Micro-Credentials .......................................... 7

Special Events .................................................. 9

Forums (Nov. 10–11) ............................................... 11 Music Program Leaders Forum

Emerging Leaders Forum

Collegiate Forum

SESSIONS ................................... 14Opuses

Amplify: Innovation ................................14Amplify: Inspiration .................................16Amplify: Involvement ..............................17Amplify: Learning .....................................18Amplify: Technology .................................19

Poster Presentations ............................. 20

Best Practice Sessions .......................... 27

Sponsored Sessions ............................... 31

Thanks to Our Exhibitors........................... 34

Conference Sponsors ................................... 36

NAfME Corporate Members ..................... 40

Young Composers Concert ...................... 42#NAfME2018

2018 NAfME NATIONAL CONFERENCE

Dallas, Texas NOVEMBER 11–14, 2018

Registration TimesMonday

NOVEMBER 127:00 a.m–6:00 p.m.

TuesdayNOVEMBER 137:00 a.m–5:00 p.m.

THE NAfME 2018 NATIONALCONFERENCE MOBILE APP ISAVAILABLE FOR DOWNLOAD!

This interactive app will allow you to:

• View the complete event schedule (including Opuses!), explore all the offered sessions, and get detailed presenter information.

• Keep your eyes on the most popular sessions and events by accessing the app’s Activity Feed, which highlights useful comments, photos, ratings, and more.

• Receive announcements, and obtain the most up-to-date event information.

• Expand your professional network.

Download the AttendeeHub app, available on the Apple App Store and the Google Play store.

Tap on AttendeeHub and search for “2018 NAfME National Conference”

OR

Visit bit.ly/NAfMEApp2018OR

• Scan this QR code:

3NAfME.org

SUBSCRIBE TODAY TO THE NAfME ONLINE LEARNING PLATFORMMust-have professional development for the successful music educator

“I suggested NAfME Academy to my district administrator as a way for me to have specialized professional development. This resource is very useful, and I will recommend it to other music educators.”

– Tammy, 32-year general music educator from Illinois

“I really like NAfME Academy because I can pause it and come back to it later. I feel like I can never know too much, so it was a no-brainer for me.”

—Melissa, 3-year music educator from Illinois

NAfME Academy is an online learning platform. By purchasing a one-year subscription, you will have access to 100+ hours of professional development webinars and various other content to augment your success in the classroom. This $600 value is offered to NAfME members for only $20 a year—and to non-members for $100 annually. Subscribe today! Visit bit.ly/NAfMEAcademy to learn more.

1-800-336-3768 | [email protected]

Academy

PROFESSIONAL DEVELOPMENT

5NAfME.org

n Network with music educators from all over—meet old friends and new!

n Connect with clinicians and mentors; hear student performances!

n Browse music education products and services offered by our Exhibitors.

n Visit the NAfME Bookstore brought to you by Rowman & Littlefield.

n Find tables and chairs for relaxing, socializing, and regrouping.

NAfME staffers will be on hand to answer your questions.

(Activities and offers are subject to change.)

Come to the Tate Level for a cantata of opportunities!

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Network I Learn I Listen I Shop I Relax NAfME CENtrAl 2018

Sunday, November 11 JAM SESSioN ANd HAppy Hour

5:45–7:15 p.m.

Monday, November 12 CoffEE ANd TEA 7:30–8:00 a.m.

KEyNoTE AddrESS 8:00–9:00 a.m. ExHiBiT HAll opENS 10:00 a.m.

druM CirClE ANd folK dANCiNg

6:00–7:15 p.m.

Tuesday, November 13CoffEE ANd TEA 7:30–8:00 a.m.

ExHiBiT HAll opENS 10:00 a.m. youNg CoMpoSErS CoNCErT

10:30–11:30 a.m.

poSTEr prESENTATioNS ANd HAppy Hour 6:15–7:30 p.m.

ViSiT THE ExHiBiTS!Monday and Tuesday11:30 a.m.–1:00 p.m.

No sessions are scheduled during this time.

Important LocationsATTENdEE rEgiSTrATioN: Vineyard Level Lobby (lower level)

ExHiBiTor rEgiSTrATioN: Tate Level Lobby (upper level)

ExHiBiT HAll: Tate Level

luNCH: Back of Exhibit Hall (for attendees who purchased advance tickets when registering)

WElCoME KEyNoTE: Tate Level

JAM SESSioN ANd STudENT pErforMiNg groupS: Tate Level

All SESSioNS: Vineyard Level

DON’T FORGET ABOUT PROFESSIONAL DEVELOPMENT RECOGNITION!This year, Forum attendees receive 10 hours of professional development recognition, and Opus attendees receive 20 hours. A total of 30 hours is available to those who attend both a Forum and an Opus. Be sure to pick up your certificate at the Registration Desk.

Contact JJ Norman at [email protected] for details.

Registration Hours Monday 7:00 a.m.–6:00 p.m.

Tuesday 7:00 a.m.–5:00 p.m.

Exhibit Hall HoursMonday 10:00 a.m.–5:00 p.m.

Tuesday 10:00 a.m.–2:00 p.m.

6 NAfME.org

NatioNal ExEcutivE Board officErs

Kathleen D. Sanz n President and Board Chair

Denese Odegaard n Immediate Past President

Mackie V. Spradley n President-Elect

NafME ExEcutivE staff

Michael J. Blakeslee n Executive Director & CEO

Christopher B. Woodside n Chief Operating Officer

Eastern

President Marc E. GreeneImmediate Past President Scott R. Sheehan President-Elect Keith Hodgson

n

State Presidents

Connecticut Brian HuttonDelaware Daniel BriggsDistrict of Columbia Benita GladneyEuropean Lisa WilliamsMaine Benjamin PotvinMaryland Angela St. PierreMassachusetts Sandra DoneskiNew Hampshire Heidi WelchNew Jersey Jeffrey SantoroNew York Michael SalzmanPennsylvania Tina BennettRhode Island Toni-Annette Silveira Vermont Heather Finlayson

North Central

President Judith BushImmediate Past President Leyla SanyerPresident-Elect Karen Salvador

n

State Presidents

Illinois Brayer TeagueIndiana Chris TaylorIowa Kendra LeisingerMichigan Lisa FurmanMinnesota Daniel HamptonNebraska Jeff MountNorth Dakota Sara BaumannOhio Kathleen McGrady South Dakota Kimberly BruguierWisconsin Kati Seiter

Northwest

President John Combs Immediate Past President Camille BlackburnPresident-Elect Scott Barnes

n

State Presidents

Alaska Dean ShannonIdaho Kathy StefaniMontana Kristin Harney Oregon Kathryn BriggsWashington Andrea KlouseWyoming Lila Kennah

Southern

President Dian P. Eddleman Immediate Past President Sara T. WomackPresident-Elect Sonja Z. M. Williams

n

State Presidents

Alabama Gregory Gumina Florida Kenneth WilliamsGeorgia Evelyn Champion Kentucky Terry ThompsonLouisiana Carol LuptonMississippi Nancy RobertsonNorth Carolina Jazzmone SuttonSouth Carolina Martin DickeyTennessee Lafe CookVirginia Allen HallWest Virginia Andrea Hasley

Southwestern

President Michael Raiber Immediate Past President Patricia KiddPresident-Elect Mike Quilling

n

State Presidents

Arkansas Amber MossColorado Kevin BeaberKansas Gretchen BixlerMissouri Brian ReevesNew Mexico Bernie ChavezOklahoma Anne DawsonTexas Jacqueline Henninger

Western

President Samuel TsugawaImmediate Past President Russ SperlingPresident-Elect Renee Shane-Boyd

n

State Presidents

Arizona Karalee HagenCalifornia John Burn Hawaii Janice BoychukNevada Nichole HeglundUtah Rhonda RhodesWestern (India) Anjli Mata

divisioN Boards

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2018 NAfME LEAdErship

7NAfME.org

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How Micro- Credentialing Works

What it is

n A credential provides an opportunity for you to showcase your participation in an in-depth learning experience. You can promote the credential as part of your resume and in your annual evaluation with your administrator or supervisor.

n NAfME will provide you both with a PDF certificate naming the credential and, by early 2019, a virtual micro-credential badge.

hoW it Works at the 2018 NafMe NatioNal CoNfereNCe

n Participants attend in-depth training in a topic area. This can be in-depth workshops or a suite of sessions around a similar topic. Additional readings and/or online resources may also be required. Each credential will require between 10–12 hours of learning, usually a combination of conference sessions and online resources.

n In addition, participants will submit a brief action plan to demonstrate that they have thought about how to put their learning into action.

n Upon successful completion of the action plan, participants are issued the credential. As noted above, this will be a PDF certifi-cate currently, moving to virtual credential-ing through our new platform, AMPlIFY.

hoW you CaN partiCipate

n Sign up at bit.ly/2018Micro-Credential to signal your interest and to receive updated information about your topic’s credential.

n Participate in the post-training assessment. NAfME will e-mail you the link to the action plan based on the information you provide on the sign-up form. participation will cost $25, which includes a one-year subscrip-tion to NafMe academy.

Micro-Credentials Available at the Conference!NAfME is excited to offer these micro-credentials at the 2018 National Conference.

AvAilAble CredentiAls

aMplify: learNiNg n teaching Music as a Well-rounded subject. how do we move beyond the podium and include our students as active music-makers and leaders in our ensembles as promised in our 2014 Music standards? sponsored by little kids rock.

aMplify: iNNovatioN n Cultivating innovative Music-Making. how do we successfully embrace a variety of musical experiences with this generation of students? sponsored by tonara.

aMplify: iNvolveMeNt n engaging Diversity in Music-Making and teaching. how do we create a fully inclusive classroom for all learners and all students, regardless of background, learning style, or level of musical experience? sponsored by National federation of state high school associations (Nfhs).

aMplify: iNspiratioN n inspiring students through Music Creativi-ty. how do we provide for the creation and improvisation of music throughout the curriculum—whether an ensemble, general music, or music appreciation class? sponsored by steinway & sons.

aMplify: teChNology n teaching the tech-savvy generation. how do we integrate technology in a meaningful way that engages students and provides new opportunities that were never before possible? presented by ti:Me, technology for Music education.

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By January 31, 2019, successful participants will receive a virtual micro-credential badge attached to their membership through the new NafMe online community, aMplify. this badge can be included in your linkedin or other online resume resources to showcase your learning.

QuestioNs? Contact JJ Norman at [email protected].

Micro-credentials 2018

music.depaul.edu☎ 773-325-7444

✉ [email protected] depaulschoolofmusic

DePaulSOM DePaulSOM

The DePaul University School of Music Faculty is dedicated to your success.

› Upon graduation, DePaul Music Education majors obtain teaching positions at schools throughout the Midwest and across the country.

› Undergraduate students obtain teaching experience in their junior year, while receiving individual attention from the faculty throughout their four years of study.

› Master’s students earn a degree while continuing to teach and are eligible for a School of Music scholarship.

DR. JACQUELINE KELLY-MCHALE / Director of Music Education

9NAfME.org

2018 NAfME National Conference Special Events

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SPECIAL EVENTS 2018

MONDAY, NOVEMBER 12TIME PLACE GROUP DIRECTOR

7:50–8:05 a.m. Ballroom Singing Brothers of Stilwell, Martha Ellen Stilwell School of the Arts, Jonesboro, Georgia

Jimmy Cheek

11:30–11:45 a.m. Central Stage Eastern New Mexico University Chamber Singers, Eastern New Mexico University, Portales, New Mexico

Jason Paulk

12:45–1:00 p.m. Central Stage William B. Travis Early College High School Classical Guitar Program, Austin, Texas

Susan Rozanc

5:45–6:00 p.m. Central Stage Western Washington University Jazz Combo 1A, Western Washington University, Bellingham, Washington

Kevin Woods

TUESDAY, NOVEMBER 1311:30–11:45 a.m. Central Stage Mariachi Los Mineros, University

of Texas at El PasoCurtis Tredway

12:45–1:00 p.m. Central Stage The Standard, Kansas City Kansas Community College

John Stafford II

5:45–6:00 p.m. Central Stage Ohio Northern University African Drum & Dance Ensemble, Ohio Northern University, Ada, Ohio

Sarah Waters

STUDENT PERFORMANCES

1

2

3

4

5

Groups pictured: 1. Eastern New Mexico University Chamber Singers, 2. Singing Brothers of Stilwell, 3. Mariachi Los Mineros, 4. The Standard, 5. Ohio Northern University African Drum & Dance Ensemble

SUNDAY, NOVEMBER 11TIME PLACE EVENT

5:45–7:15 p.m. Tate Level Jam Session and Happy Hour

MONDAY, NOVEMBER 128:00–9:00 a.m. Tate Level Welcome

Keynote

6:00–7:15 p.m. Tate Level Drum Circle and Folk Dancing

TUESDAY, NOVEMBER 1310:30–11:30 a.m. Tate Level Young Composers

Concert

6:15–7:30 p.m. Tate Level Poster Sessions and Happy Hour

SPECIAL EVENTS

Strengthen your school’s Music. Honor. And Society.

Starting a Tri-M ® Music Honor Society chapter will help show the value of your music program to the school. It will also benefit your students by allowing them to:

• Build an impressive record for college• Grow as leaders in music• Serve their community

Ready to start a chapter?Visit MusicHonors.com

it's timeTO START A Tri-M MUSIC

SOCIETY CHAPTERhonor

MusicHonors.com | 1-800-336-3768 | [email protected]

®

Strengthen your school’s Music. Honor. And Society.

Starting a Tri-M ® Music Honor Society chapter will help show the value of your music program to the school. It will also benefit your students by allowing them to:

• Build an impressive record for college• Grow as leaders in music• Serve their community

Ready to start a chapter?Visit MusicHonors.com

it's timeTO START A Tri-M MUSIC

SOCIETY CHAPTERhonor

MusicHonors.com | 1-800-336-3768 | [email protected]

®

11NAfME.org

NAfME Emerging Leaders, Collegiate, and Music Program Leaders FORUMS

Saturday, November 10EmErging LEadErs

Forum CoLLEgiatE

ForummusiC Program LEadErs Forum

EsCondido 1 EsCondido 3

12:30–1:00 p.m. Welcome & Introduction / Ice Breakers

1:00–1:30 p.m. Characteristics of Leaders

1:30–2:00 p.m. Leadership Challenge

2:00–2:30 p.m. What’s My Style? Leadership Skills, Styles, & Strategies

2:00–3:00 p.m. Welcome and Overview

2:30–3:00 p.m. Break

3:00–4:00 p.m. What Is Leadership in NAfME and in My MEA?

3:00–4:00 p.m. Opening Keynote—Connie McKoy

4:00–5:00 p.m. Overview of the NAfME Strategic Plan and Initiatives

4:00–4:15 p.m. Break

4:15–5:15 p.m. Innovations Council—Anne FennellEsCondido 2

5:00–5:15 p.m. Break

5:15–6:00 p.m. Panel with Music Program Leaders and

Mock Interviews

5:15–6:00 p.m. Open Group Discussion

6:00–7:30 p.m. Reception (Tate Level)

Three two-day NAfME Forums offer Music Program Leaders a range of relevant professional development, help Collegiate preservice teachers discover what it takes to be a successful music educator, and provide Emerging Leaders with a chance to network and learn about the skills needed to guide music programs and take music education into the future.

Sunday, November 11EmErging LEadErs

Forum CoLLEgiatE

ForummusiC Program LEadErs Forum

EsCondido 1 EsCondido 2 EsCondido 3

8:00–9:00 a.m. Opening Announcements and

Connie McKoy—Session 2

8:30–9:30 a.m. Ways to Be a Leader & Group

Problem-Solving

8:30–9:30 a.m. The First 3 Years of Teaching

—Nancy Ditmer 9:00–10:00 a.m. Unconference Session 1

Forums 2018

12 NAfME.org

9:30–9:45 a.m. Break

9:30–9:45 a.m. Break

9:00–10:00 a.m. (continued) Unconference Session 1

9:45–10:45 a.m. Best Practices to Be an Effective Board Member

9:45–10:45 a.m. Working with Administrators —Denese Odegaard

10:00–10:30 a.m. NAfME Toolkit—Tooshar Swain

10:30–11:30 a.m. Presentation 1—Tiffany Kerns, CMA Foundation

10:45–11:00 a.m. Break

10:45–11:00 a.m. Break

11:00 a.m.–12:00 noon Dealing with Change & Stability

11:00 a.m.–12:00 noon NAfME Collegiate Chapter Best Practices—JJ Norman 11:30 a.m.–1:00 p.m.

Lunch (on your own)12:00 noon–1:00 p.m. Lunch (on your own)

12:00 noon–1:00 p.m. Lunch (on your own)

Escondido 1 1:00–2:00 p.m. Presentation 2—Joan Ashcroft, Leadership1:00–2:30 p.m.

Cultural Proficiency in Music Education and Interactive Panel Discussion2:00–3:00 p.m. Unconference Session 2Escondido 1 Escondido 2

2:30–3:00 p.m. Break

2:30–2:45 p.m. Break

2:45–4:00 p.m. Teacher Evaluation—Kim Mieder3:00–4:15 p.m.

Can I Do This? 3:00–4:00 p.m. Glenn E. Nierman—Teacher Evaluation Workbooks

4:00–4:15 p.m. Break

4:00–5:00 p.m. Presentation 3—Tiffany Kerns, CMA Foundation

4:15–5:30 p.m. Setting Personal Goals & What’s in It for Me?

4:15–5:15 p.m. Taking Care of Life and Music—Mike Raiber 5:00–5:30 p.m.

Wrap-up5:15–5:30 p.m. Wrap-up

5:45–7:15 p.m. Jam Session and Happy Hour (Tate Level Foyer)

Sunday, November 11 (continued)EmErging LEadErs

Forum coLLEgiatE

Forummusic Program LEadErs Forum

Escondido 1 Escondido 2 Escondido 3

2018 Forums

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N O W A V A I L A B L Efrom INDIANA UNIVERSITY PRESSfrom INDIANA UNIVERSITY PRESS

explore YOUR WORLD

iupress.indiana.edu

14 NAfME.org

Amplify: InnovatIon

opus Leader: anne FenneLL

mOndAy november 129:15–10:15 a.m., MesiLLa 2

developing a Culture of innovation in Music educationpresenTer: anne Fennell › What is innovation in music education, and how do we develop a culture of innovation in our classrooms? This session will identify the “how” of innovation in music education and offer ideas for intentionally integrating innovation with character dispositions and student-centered work with the goal of providing music education for all students.

10:15–11:30 a.m., MesiLLa 2

Create/Build Capacity for innovation through LearningpresenTers: anne Fennell, alex ruthman, alexander Koops, & david Williams › How do we develop and create a culture, climate, and mindset for innovation in our music classrooms while supporting authentic learning for all students? Participants will identify and share processes and pedagogical approaches to intentionally support a growth mindset of innovation in our music classes. The future of our collective culture and the next generation of music educators are in our classes, ready to actively engage in music through learner-centered processes.

2:15–3:15 p.m., MesiLLa 2

Composing within the ensemblepresenTer: alexander Koops › Creating is listed as the first of four core standards in the 2014 National Core Arts Standards. Many who teach large ensembles, however, are unsure of how best to implement the creating process components of imagine, plan and make, evaluate and refine, and present within the context of large groups. Examples of student work will be presented, along with music composition teaching strategies and lesson ideas. Participants will interact with these process components individually and as a whole. The focus of this session will be on how to implement the creating process through composition in ensembles.

3:15–3:45 p.m., MesiLLa 2

Teaching a Musical instrument in the digital agepresenTer: ron regev › Advancements in technology have always had a significant impact on the performance and teaching of music. This lecture will give an overview of the history of the connections among technology, music performance, and teaching, and will list and demonstrate the most advanced tools and applications available to teachers, students and performers today. The same technology that is pulling students away from music can be used to bring them back.

✴ sponsored By: Tonara

3:15–4:15 p.m., MesiLLa 2

Collaborative Conversations derived from Morning WorkpresenTers: anne Fennell, alexander Koops, david Williams, & alex ruthmann › In small groups, participants will create intentional dialogue and discussions surrounding our topics of innovation in music education and connected character disposi-tions. As a large group, we will then identify and present ideas, share thoughts, and provide questions and answers to connect with our work and growth from the day.

4:30–5:30 p.m., MesiLLa 2

digital Music in performance: The ipad ensemblepresenTers: david Williams, patrick Cooper, & Christopher Burns › In this session, presenters offer an overview of the possibilities of using iPads in live performance by examining real-life examples from an iPad ensemble that models learner-centered peda-gogical principles. We will examine the social and musical characteristics of the musicians, possible approaches to rehearsals, classroom setup and equipment, and what performances might involve, including collaborations with other artists and breaking down the artificial “fourth wall” that is too often placed between musicians and audiences.

5:30–5:45 p.m., MesiLLa 2

Music as reflectionpresenTer: anne Fennell › How can we invite students and teachers to create music that is a reflection of our individual and collective ideas and connections to the world? Participants will view student work to identify how teachers can intentionally create opportunities for reflection through students’ personal compositions and connections to sound.

2018 SeSSiOnS › Amplify: InnovatIon opus

KeyAmplify: innOvAtiOn

Amplify: inSpirAtiOn

Amplify: invOlvement

Amplify: leArning

Amplify: technOlOgy

pOSter preSentAtiOnS

BeSt prActice SeSSiOnS

SpOnSOred SeSSiOnS

15NAfME.org

students to discuss and negotiate musical ideas in reference to in-game events.

option 3

Write, Record, Release: publishing RecordingspRESEntER: Kevin Lane › In days gone by, school music groups would make recordings of their performances and have them put on small runs of vinyl records, to be sold mainly to parents. But thanks to the Internet and me-dia vendors such as iTunes, Spotify, and YouTube, your group can now reach a much wider audience. This session explores the steps required to release recordings of your students’ original compositions and arrange-ments and how to have them reach the widest possible audience.

option 4

Musicians as Citizens: Artistic Understanding & HumanismpRESEntER: Dijana ihas › This session will share examples of strategies and materials designed to deepen students’ understanding of music beyond what is written in the score. Participants will observe examples of interactive performances designed to empower students to convey artistic ideas and perceptions through interactive and engaging performing practices. Strategies, materials, and examples of performances are built on principles of Comprehensive Musicianship and Teaching Artist approaches.

option 5

the Student-Run Venture: Reshaping the Music ClassroompRESEntER: Mark tonelli › Student-run ventures are actual businesses that students enroll in as a course. This experiential learning is on the rise, empowering students to exercise professional skills. Students enrolled do not merely learn about artistic direction, marketing, or accounting—they actually handle this work and leave with valuable business experience. The session will explore three ventures: record label, live performance venue, and touring ensemble. Discover how this classroom opportunity can help students identify passions, hone skills, and prepare for a career.

option 6

turning Classroom Spaces into punk placespRESEntER: Gareth Smith › Punk is an ethos and an aesthetic that can be a powerful catalyst for unleashing the agency and power of individuals and groups of students. Seth Kahn-Egan presented five punk premises that

this presenter proposes pose challenges and present possibilities for pedagogues. These ideas point to a plethora of possible assign-ments, performances, and perspectives, each of which can engage students in more ways than traditional music education approaches usually provide.

option 7

nYU MusEDLabpRESEntER: Alex Ruthmann › New York University’s MusEDLab creates new technologies and experiences for music-mak-ing, learning, and engagement. Learn about some of them in this session.

option 8

Whole MusicianpRESEntER: Anne Fennell › This keynote examines goals for music teaching and learning, including ways to support the development of the “whole musician” as a way to engage all students as musicians/learners regardless of their abilities or long-term aspirations as performers. Discover methods that engage students of diverse abilities in activities that support their development as whole musicians. The session also outlines evidence supporting the strength and efficacy of whole-musician teaching and learning via a student-centered approach.

9:30–10:15 a.m., MESiLLA 2

Creating imagining: Hybrid Spaces in teaching and LearningpRESEntER: Jonathan Kladder › Reimagin-ing secondary instrumental or general classrooms offers possibilities for music teaching and learning. Recent advancements in technological interfaces and the ubiquity of portable technology generates opportunities for individuals to create, perform, and disseminate music. These new possibilities can offer unique spaces where students merge musical ideas, experiences, and interests. Through collaboration, individuals explore a variety of sound combinations, make mistakes, and learn from one another.

2:15–2:55 p.m., MESiLLA 2

teaching for Critical and Creative thinkingpRESEntERS: Anne Fennell, Alexander Koops, David Williams, & Alex Ruthmann › Participants will explore explicit opportuni-ties to experience, apply, and reflect on critical and creative thinking through music. Current research from the OECD (Organisa-tion for Economic Co-operation and Develop-ment) based in Paris, France, will share ideas

Amplify: InnovatIon opus ‹ SeSSionS 2018

TueSdAy november 138:00–8:15 a.m., MESiLLA 2

Connections and Conversation threads, Reflections

pRESEntER: Anne Fennell › What innovative pedagogical approaches provide opportuni-ties for music-making for all students? Participants will identify connections to our work from Day 1 and collaboratively provide questions and conversation threads for the Day 2 session.

RotAtion SESSion: REFLECtionS AnD DiRECtionS ››8:15–9:30 a.m., HiGH pLAinS 1

pRESEntER: Anne Fennell › Lightning Talks are 10-minute sessions that provide participants with an opportunity to connect with 5 of 8 topics in a quick format. The presenters will share their ideas and information during the first 6 minutes of the session, followed by 4 minutes of questions, discussion, and connections. At the end of the 10-minute sessions, the participants will then have 3 minutes to rotate to a new area and choose a different session topic.

option 1

Rockestra: Let’s Get Rock’npRESEntER: Shelby Montgomery › Teaching rock music can be intimidating, but it doesn’t have to be! Learn how to imple-ment teaching rock and popular music in your orchestra classroom. Teachers will be given a curriculum guide for the year with lesson plans. Do you have students in your school who play rock instruments but are not in a traditional music class? Find those kids, and let’s get rock’n! Teach theory, ear training, literacy, community involvement, and leadership skills with rock music, and watch your program flourish!

option 2

Video Games and Creation in the Ensemble ClassroompRESEntER: Brian Meyers › Collaboration, creativity, and technology merge in the ensemble classroom as students work together to compose music for a video game. This session presents a template of how to integrate video games and group composi-tion into ensemble classes of all ages for a comprehensive and enlightening musical experience. Attendees will create a musical cue list in response to a video game sequence. The concept of collective collaboration will be presented as a way for

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and concepts to teach for critical and creative thinking. Through music, we have the perfect opportunity to provide reflection and dialogue that allow all students to understand these necessary skills.

3:00–4:00 p.m., Mesilla 2

The innovative Practices of Hip-Hop MusicPReseNTeR: Jarritt sheel › The works of artists like Drake, Childish Gambino, Jay-Z, Kanye, Nicki Minaj, Cardi B, and others remain outside of the purview of the educational establishment. Music education continues to be behind the times in valuing home-grown music. Hip-hop is the fast-est-growing music genre in 2018 and is the most-listened-to music in the world. It is American music, deeply rooted in the experience of the underprivileged and marginalized. In this session we will explore hip-hop as a method, an idea, and a product. Attendees will walk away with activities and concepts to infuse their own instructional practices.

4:05–5:00 p.m., Mesilla 2

Transforming secondary Rehearsals with learning CentersPReseNTeRs: Heather Bolin, alyssa Guerra, Matt spitsberg, & Kelly Morgan › Learn to differentiate instruction, use multiple learning styles, energize rehearsals, facilitate student-driven learning, engage the mind/body, and foster creative musicianship. Heather Bolin and team offer hands-on experiences to inspire use of learning centers in secondary rehearsals. See how these rotations maximize learning by providing many opportunities to reach myriad curricular goals via an interactive, standards-based environment. Specific centers will invite participants to explore topics that traditional rehearsals might not address.

5:00–5:20 p.m., Mesilla 2

Collaborative ConversationsPReseNTeRs: anne Fennell, alexander Koops, David Williams, & alex Ruthmann › In small groups, participants will discuss common threads of innovations in music education, identifying the how and what of innovations for transformative teaching and learning.

5:20–5:35 p.m., Mesilla 2

Closing—Twitter Chat as ReflectionPReseNTeR: anne Fennell › Participants will connect and share ideas around innovations in music education using the hashtag #IN_ovations and tagging @NAfME. Questions will be posed, and participants can share their ideas, growths, needs, and connections.

5:35–5:45 p.m., Mesilla 2

Next steps—Reading, Reflecting, ClosingPReseNTeRs: anne Fennell, alexander Koops David Williams, & alex Ruthmann › Participants will self-assess and identify personal goals for their learning, understand-ings, and connections to innovations in music education.

Amplify: InspIratIon

oPus leaDeR: CHRisToPHeR azzaRa

mondAy november 129:15–10:15 a.m., HiGH PlaiNs 2–3

six Principles for Music Teaching and learningPReseNTeR: Christopher azzara › In this interactive session, Christopher Azzara will explore the relationships among music listening, improvisation, reading, and composition. With an understanding of how these skills are related, participants will be able to implement sequential curricula that will help their students learn how to improvise, improve listening and reading comprehension, compose original ideas, and gain a deeper understanding of literature.

10:30–11:30 a.m., HiGH PlaiNs 2–3

applications of the six Principles for elementary MusicPReseNTeR: lynn Grossman › In this session, Lynn Grossman will provide suggestions for applying the six principles of music teaching and learning to elementary music instruction.

10:30–11:30 a.m., TexoMa 3

applications of the six Principles for secondary MusicPReseNTeR: alden snell › In this session, Alden Snell will provide suggestions for

applying the six principles of music teaching and learning to secondary music instruction.

2:15–3:15 p.m., HiGH PlaiNs 2–3

intuition and Reason in Music Teaching and learningPReseNTeR: Christopher azzara › Drawing on intuition and reason, Christopher Azzara will introduce participants to key elements and skills designed to: (1) develop improvisa-tion and composition in a variety of musical styles; (2) include improvisation and composition as an integral part of teaching and learning; and (3) assess student learning.

3:30–4:30 p.m., HiGH PlaiNs 2–3

Creativity & improvisation in early Childhood through PlayPReseNTeR: lynn Grossman › How can we provide rich opportunities for children to develop audiation? Learn how building a repertoire of tonal and rhythm patterns through songs and chants enables children to have something musical to “say” in creative activities. We’ll use manipulatives and puppets for musical movement, inviting children to engage in “conversation.” Participants will practice techniques for building improvisation readiness, giving children opportunities to make connections, imitate, and improvise.

3:30–4:30 p.m., TexoMa 3

inspiring Creativity through effective Composition MentoringPReseNTeR: Patricia Riley › In the 2014 Music Standards prepared by NAfME, Creating has been elevated to one of three Artistic Processes, making the creative activity of composing more essential and relevant than ever! This session will explore examples of complete and in-progress student compositions and examples of mentoring comments and advice in response to the compositions. Participants will view and discuss the presented examples and engage in some mentoring activities.

4:45–5:45 p.m., HiGH PlaiNs 2–3

assessing Music improvisationPReseNTeRs: alden snell & Christopher azzara › In this session, we provide methods and teaching techniques for assessing music improvisation. Drawing on a recently-completed literature review, we share suggestions for developing reliable and valid checklists, rating scales, and rubrics that encourage students to reflect on their growth as improvisers. We also share rating scales that have been found reliable in a variety of teaching settings.

TuesdAy november 13 (cont.)

2018 sessions › Amplify: InnovatIon opus / InspIratIon opus

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Tuesday November 138:00–9:00 a.m., HigH Plains 2–3

inspiration for Creativity in secondary Ensembles (Part 1)PREsEnTERs: alden snell & Christopher azzara › In this session, we consider how to inspire students’ creativity through perfor-mance of standard repertoire in secondary ensembles. By teaching main and secondary melodies, bass lines, and harmonic progres-sions, teachers can help students begin to think like a composer. When encouraged to think this way, students develop skills for improvising and composing music with understanding. In this session, we will share examples drawn from ensemble repertoire, making connections to various musical styles and genres.

8:00–9:00 a.m., TExoma 3

Explore, improvise, & Compose across the Elementary CurriculumPREsEnTERs: Beatrice olesko & matthew Clauhs › General music teachers and ensemble directors can work together to provide students with tools to create and perform original musical ideas. Together, we can provide a cohesive music curriculum that inspires creativity and collaboration. Experience interactive lessons focused on exploration, improvisation, and composition in elementary music contexts, and share examples of student work in addition to connecting these activities to Core Arts Standards and assessment tools that lead to understandings.

9:15–10:15 a.m., HigH Plains 2–3

improv within 4 approaches: Dalcroze, gordon, Kodály, orffJulie scott, susan Brumfield, steven Robbins, & Diane lange › The philosophy of the Alliance for Active Music Making states: “the music educator must have the freedom to move in and out of different approaches, guided by foundational tenets that assist the intuitive teacher in discerning the best solution to meet the learner’s needs.” Join four presenters who specialize in a different music-making approaches. Experience and activities demonstrating how teachers of Dalcroze, Gordon, Kodály, and Orff philosophies involve, engage, and inspire students to be creative as improvisers and composers.

2:15–3:15 p.m., TExoma 3

Develop improvisers in Elementary & middle Choral RehearsalPREsEnTER: sandra Doneski › Warm-ups can be planned to develop the physical and psychological domains that undergird accurate and healthy singing while also scaffolding the rhythm, tonal, and harmonic understanding necessary for thoughtful improvisation. Giving students opportunities to think in music provides pathways for devel-oping higher-order thinking in choral music-making.

2:15–3:15 p.m., TExoma 1–2

Creativity in secondary instrumental Ensembles (Part 2)PREsEnTER: alden snell › In this session, we consider how to inspire students’ creativity through performance of standard repertoire in secondary ensembles. By teaching main and secondary melodies, bass lines, and harmonic progressions, teachers can help students begin to think like a composer. When encouraged to think this way, students develop skills for improvising and composing music with understanding. In this session, we will share examples drawn from ensemble repertoire, making connec-tions to various musical styles and genres.

3:25–4:15 p.m., TExoma 3

improvising and arranging in small groupsPREsEnTERs: Christopher azzara, alden snell, & lynn grossman › Using what they have learned in the Amplify: Inspiration Opus, participants will improvise and compose arrangements in small groups and in various musical styles.

4:25–4:55 p.m., TExoma 3

Collaborating Creatively & Effectively with PianoPREsEnTER: steinway & sons representative › The session will be focused on creating an effective and creative partnership with your collaborative pianist. Learn the Do’s and Don’ts of working with a pianist and how you can prepare with limited rehearsal time. Regardless of group type or size, learn to better communicate and collaborate!

✴ sPonsoRED By: sTEinway & sons

5:05–5:45 p.m., TExoma 3

inspiration opus: wrap-up, Questions and answerslEaDERs: Christopher azzara, alden snell, & lynn grossman

amplify: Involvement

oPus lEaDER: aliCE m. HammEl

moNday November 129:15–10:00 a.m., TExoma 1–2

Poverty—Equity, access, and inclusion: is Fair Equal?PREsEnTER: alice m. Hammel › How does our knowledge of equity, access, and diversity affect the way we teach? How can we identify students in need and assist them? What can we do to create a more inclusive and equal environment in our classrooms and ensembles? This session focuses on poverty and its intersectionality with other differences students and their families face. The session looks at situational and generational poverty as well as best-practice ideas for teaching situations.

10:00–11:30 a.m., TExoma 1–2

Racial literacy and music EducationPREsEnTERs: Darrin Thornton & nicole Becker › Racial literacy is the first step toward anti-racist practice. Building racial literacy requires reflection, dialogue, and a collaborative effort to seek mutual under-standing. In this facilitated discussion, we will explore the unique affordances music education offers for racial literacy work, as well as the challenges presented by incorporating such work into the classroom.

2:15–3:15 p.m., TExoma 1–2

Restorative JusticePREsEnTER: andrew mcguire › Students in the Modern Band program at Sullivan High School in Chicago Public Schools learn, compose, and collaborate to forge pathways through popular music. The nontraditional expectations of marketing, booking shows, organizing rehearsals, and arranging their own music require high levels of social-emo-tional sensitivity. Their projects demonstrate not only their musical prowess, aligned to the 2014 Music Standards prepared by NAfME, but also their social-emotional learning.

3:15–5:15 p.m., TExoma 1–2

african-american Diaspora Presented by smithsonian FolkwaysPREsEnTERs: Huib schippers & Patrica

amplify: InspIratIon opus / Involvement opus ‹ sessioNs 2018

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Shehan Campbell › Since 2008, Smithso-nian Folkways has been engaged in the education of teachers through a process known as World Music Pedagogy. Through intensive 40-hour courses, teachers are developing instructional practices that feature Folkways multimedia resources for involving students in thoughtful listening, perfor-mance, creative activities, and an under-standing of music’s significance to cultural knowledge and values. This session will make a case for the application of Folkways resources to World Music Pedagogy as a comprehensive approach to knowing the music and culture of the African-American diaspora.

5:15–5:45 p.m., Texoma 1-2

Listening Like an adjudicatorPReSeNTeR: James Weaver › This work-shop uses the NFHS Music Adjudicator online training course to educate students on how to prepare for contest and festivals by teaching them what to expect from their adjudicators. The use of this course has positively changed the way teachers and students alike approach adjudicator assess-ments as well as how they create peer feedback on school performances.

✴ Sponsored by National Federation of State High School associations

Tuesday November 138:00–9:00 a.m., Texoma 1–2

Issues of Social Justice— Whose Song are We Singing?PReSeNTeRS: Karen Howard & Christopher Roberts › Explore the sociocultural and performative context of songs used in elementary music classes, including standards and additions from global cultures. Hear an introduction about culturally responsive teaching and social justice in music education, then learn about the musical material. Topics include presentation of gender in classic American folk songs, evolution of controversial terms, and song ori-gins. Ideas for navigating the histories of these songs through discussions and modifications will be presented.

8:45–10:15 a.m., Texoma 1–2

Principles of Culturally Responsive PedagogyPReSeNTeR: Jeffrey murdoch › This session will help music educators identify social and racial inequalities that exist in public-school classrooms, while providing useful and practical methods of addressing these inequalities through instruction, program-ming, and administration. Principles of culturally cultural responsive pedagogy and how it transfers to the music ensemble classroom will be discussed.

2:15–4:45 p.m., HIgH PLaINS 1–3

Poverty Simulation

5:00–5:45 p.m., Texoma 1–2

So Where are We? Lessons from Wakanda PaNeL: all Involvement opus Presenters › This experience will serve as the conclusion of our Involvement Opus. Presenters will share final thoughts as related to the Marvel film Black Panther. To be discussed in particu-lar: what we take, who we deny, and how we ignore (in subtle and unsubtle ways) those in need.

amplify: LearningoPuS LeadeRS:

JoHaNNa SIebeRT & aRmaLyN de La o

moNday November 12

9:15–10:15 a.m., meSILLa 1

National Standards as Foundation for a Well-Rounded SubjectPReSeNTeRS: Johanna Siebert & armalyn de La o › Successfully integrating each process of the 2014 National Standards into ensemble experiences can seem daunting for practitioners. However, if we shift our focus to the process of learning by engaging students in Creating, Performing, and Responding, we will see that students are more invested in the learning experience, resulting in greater musical independence. This session focuses on the Creating process within a choral ensemble experience and how teachers can effectively integrate innovative ideas into their curriculum.

10:30–11:30 a.m., meSILLa 1

Learning-Centered Pedagogy in middle School bandPReSeNTeRS: david Williams & Robin Heinsen › Learner-centered classrooms and project-based learning involve students in evaluating their own progress and in making decisions. This session describes a middle school concert band project where students rehearsed/performed a piece without musical input from the teacher. Presenters will describe methodology used, share how students reacted to changes in previously established procedures, and discuss how the process evolved over the length of the project. Hear student and director interviews and a recording of the performance.

10:30–11:30 a.m., eSCoNdIdo 1

The essential Nature of Singing and assessment in musicPReSeNTeR: Joanne Rutkowski › Strategies for informally and formally assessing children’s use of the singing voice in the general music classroom setting will be the focus of this session, as well as its alignment with the Prekindergarten through Grade 5 Performing Standards. The nature of children’s singing voices and application of the “Singing Voice Development Measure” will be addressed. Audio and video record-ed examples of children singing and assessment activities will be included.

2:15–3:15 p.m., meSILLa 1

Responding units and the LoC Teaching with Primary Sources CurriculaPReSeNTeRS: michael apfeldorf, Cheryl Leterle, Johanna Siebert, armalyn de La o, Robyn Swanson, Lynn Tuttle › In 2016, NAfME received a 3-year project grant from the Library of Congress (LOC) to participate in the Teaching with Primary Sources program. Focusing on helping teachers incorporate primary sources in their teaching, NAfME has created Responding-focused curriculum units connected to the LOC’s vast free resources in music that include audio, video, still images, and sheet music files. Participants will hear from LOC partners, the NAfME project director, and two LOC unit developers as they share units created by current music practitioners.

3:30–4:30 p.m., meSILLa 1

Leading to artistic Choice & ownership in middle School band & orchestraPReSeNTeRS: Jenny Neff & elizabeth Fortune › This session introduces practical

2018 sessioNs › amplify: invoLvement opus / Learning opus

moNday November 12 (cont.)

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teaching strategies for ensembles that help students make artistic and individual choices in their music-making, thereby taking ownership of the process. Presenters will share accessible free primary sources from the Library of Congress that inspired curriculum units for middle-school band and orchestra, focused on the Responding Artistic Process. Participants will discover new ways to incorporate the process components in their lessons/rehearsals that lead students to more meaningful music learning.

3:30–4:30 p.m., Mesilla 1

Responding Process Curricular Units for General MusicPReseNTeRs: Robyn swanson & Carrie Marsh › Learn about general music Responding units that lead students in exploring musical elements and the ways composers and performers incorporate these elements. See how students interact with music through movement, listening, and creating artwork as they verbalize their ideas and opinions of music. Discover free, accessible primary sources from the Library of Congress focused on the Responding Artistic Process. Incorporate the process components into lessons in ways that lead students to meaningful interpretations and music-making.

4:45–5:45 p.m., Mesilla 1

Practices & effective Teaching using Teacher evaluation RubricsPReseNTeR: Glenn Nierman › What does effective standards-based teaching look like? How will we know? In this session, partici-pants will explore teacher evaluation rubrics for examining culture and environment (Domain II) and instruction and assessment (Domain III). They will discuss student and teacher evidence based on standards-based instruction and participating teacher reflections. Participants will be able to use the tools from this session when observing the next day’s student performance groups as they work with selected ensemble directors.

Tuesday November 138:00–9:00 a.m., Mesilla 1

Creating Made easyPReseNTeR: Denese Odegaard › Students love to create, and the 2014 Music Standards lay out a sensible process for students to learn an important component of music literacy. By creating in music class, students

are more engaged, become better musicians and master higher-level thinking skills. In this session, you will be the student trying a variety of creating strategies for elementary general music and ensembles at all levels. Each strategy can be applied to any level through adaptation.

9:15–10:15 a.m., HiGH PlaiNs 2–3

improv within 4 approaches: Dalcroze, Gordon, Kodály, OrffPReseNTeRs: Julie scott, susan Brum-field, & steven Robbins › The philosophy of the Alliance for Active Music Making states: “the music educator must have the freedom to move in and out of different approaches, guided by foundational tenets that assist the intuitive teacher in discerning the best solution to meet the learner’s needs.” Join four presenters who specialize in a different music-making approaches. Experience and activities demonstrating how teachers of Dalcroze, Gordon, Kodály, and Orff philoso-phies involve, engage, and inspire students to be creative as improvisers and composers.

9:15–10:15 a.m., Mesilla 1

ensemble Unity: Finding Harmony with the National standardsPReseNTeR: Briana Nannen › Successfully integrating each Artistic Process of the 2014 Music Standards into ensemble experiences can seem daunting for practitioners. However, if we shift our focus to the process of learning by engaging students in Creating, Performing, and Responding, we will see that students are more invested in the learning experience, resulting in greater musical independence. This session focuses on the Creating process within a choral ensemble experience and how teachers can effectively integrate innovative ideas into their curriculum.

2:15–3:15 p.m., saN saBa 1 (band), saN saBa 2 (Choir), saN saBa 3 (Orchestra)

Responding and Performing with Directors and student GroupsGROUP sessiON: Participating educators will experience artistic, shared, expressive decision-making both virtually and in person as they observe this year’s artist-directors leading high school, collegiate, and profes-sional musicians in rehearsals and perfor-mances. The artist-directors will practice their inclusive rehearsal techniques in front of participating music educators. In this “rehearsal in the round,” teachers will sit around/in the ensembles, learning how the directors craft performances to be more inclusive of and engaging for the ensemble players.

3:30–4:00 p.m., Mesilla 1

Transforming learning and Teaching through Music as a second languagePReseNTeR: scott Burstein › This session will focus on a unique approach to teaching music through Modern Band: Music as a Second Language, a pedagogy based off of Steven Krashen's Second Language Acquisition methodology. The focus of MSL is on acquiring music like a language through student-centered repertoire, approximation, creating a comfort zone, and scaffolding. Participants will leave with an understanding of the five hypotheses of Second Language Acquisition and how they can be applied to music education.

✴ sponsored by little Kids Rock

4:15–5:45 p.m., Mesilla 1

amplify: learning Personal Reflection assessmentPReseNTeRs: Johanna siebert & armalyn De la O › Participants will engage in roundtable discussions and feedback about what they have learned throughout the “Amplify: Learning” Opus. They will work in small groups to share personal “aha” moments from observing the student performance groups, new ideas gleaned for their own practices, and personal action plans for their classroom instruction that include next steps for professional learning.

amplify: technology

OPUs leaDeR: JOHN MlyNCzaK

moNday November 129:15–10:15 a.m., esCONDiDO 3

Opening session: Teaching the Tech-savvy studentPReseNTeR: John Mlynczak › Students today are highly engaged with technology, both at home and in school. How can we use technology to engage music students at all levels? John Mlynczak will discuss current trends in student technology, demonstrate how to integrate music technology lessons seamlessly into a music class at any level, and provide a range of ideas for incorporating technology to increase student engagement and retention.

amplify: learning opus / technology opus ‹ sessioNs 2018

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10:30–11:00 a.m., Escondido 3

Music Technology Applications for General MusicPREsEnTER: Meghan Endicott › This session will demonstrate using technology to differentiate your general music class through flexible grouping, varied strategies, and just-in-time direct instruction with personal-ized learning strategies.

11:00–1:30 a.m., Escondido 3

Technology opus Goals setting PREsEnTER: John Mlynczak

2:15–3:00 p.m., Escondido 3

Music Technology for Ear TrainingPREsEnTER: Benjamin Guerrero › This session discusses how to teach electronic music classes while keeping music at the center of the curriculum. Topics include timbre, audio effects, MIDI programming, sound design, and identifying problems. Learn how to design curricula to align with students’ interests and developing aural skills. Learn about individual and group projects that can be incorporated into current curricula.


Flexible Tech in Use: Exploring Flipped LearningPREsEnTER: Rachel Hahn › “Flipped classrooms” can allow educators to use class time for enhanced problem-solving, applica-tion, or in-depth review. This session shows how a flipped classroom can be introduced without large-scale curricular changes. Videos of flipped classrooms reveal how this method can be used to assess student needs and facilitate exploration, practice, and feedback. Interactive demonstrations and suggestions allow attendees to try flipped strategies and tools.


Meet the Makers 1—Music creationPAnEL sEssion › This panel will focus on some of the top music-creation applications and will allow participants to interface with the companies building these solutions.


Music Tech Playground TimeGRoUP sEssion › This dedicated, hands-on tech time will allow participants to try out various technology solutions and apply the knowledge learned during the day.

Tuesday November 138:00–8:45 a.m., Escondido 3

Practice & collaboration through smartphone RecordingPREsEnTER: sarah Mahoney › Using smartphone recording technology, students can record their practice and performances. At Puget Sound Music Academy, students use YouTube accounts to upload their practice and share feedback, providing motivation for further practice. Recording technology implementation encourages innovation, listening, connecting, and learning through self-evaluation and autonomy. Get to help with facilitating this process, and create “test” videos from your smartphone.

9:00–10:00 a.m., Escondido 3

Leveraging Technology for Music AssessmentPREsEnTER: daniel Massoth › This workshop will allow participants to evaluate the latest technology designed to assess musical performances. More important, discussions will be focused around guiding principles and philosophies of technology integration, including practical and efficient uses that lead to valid and reliable assess-ments.

10:00–10:15 a.m., Escondido 3

Amplify: Technology Group RecapPREsEnTER: John Mlynczak

Amplify: Technology (continued)


increasing Agency & inspiring creativity through TechnologyPREsEnTERs: Mary Lynn doherty & nicole chopp › This session offers an opportunity to engage with Raspberry Pi and Makey-Makey technology in small groups on Projects Designed (an outline of a curriculum for 4th and 5th graders) and discuss what may be possible in the future. Led by a technologically-savvy first-year teacher and her music education professor who is learning new skills, this session allows both techies and novices to explore the potential

for greater student engagement and empowerment.


Music Technology Applications on the WebPREsEnTER: Alex Ruthman › Explore some of the amazing software tools from New York University’s MusEDLab. See musedlab.org/about


Meet the Makers 2—Music Performance and AssessmentPAnEL sEssion › This panel will focus on some of the top music performance and assessment applications and will allow participants to interface with the companies building these solutions.


Music Tech Playground TimeGRoUP sEssion › This dedicated, hands-on tech time will allow participants to try out various technology solutions and apply the knowledge learned during the day.

PosTer PRESENTATIONS

Tuesday November 136:15–7:30 p.m., TATE BALLRooM 6–8

Amplify Your data: Engaging creativity Through AssessmentPREsEnTER: Holly olszewski › Learn about assessments focusing on students creating music. Examine an assessment at primary, middle school, and high school levels. Participants experience the unpacking of the assessment (preparing for the assessment), as well as doing the assessment and reflecting on the work. Discover how your data can be used to demonstrate educator effectiveness, as well as about a collabora-tive scoring project that gave Michigan teachers an opportunity to compare strategies with colleagues. Resources at maeia-artsednetwork.org.

6:15–7:30 p.m., TATE BALLRooM 6–8

Using Technology for coding Teacher Evaluaton observationsPREsEnTERs : Glenn E. nierman & Brian Moore › At the turn of the twentieth century, classroom observations were the most

2018 sessioNs › amPlify: TEchNOlOgy OPuS / POSTER PRESENTATIONS


21NAfME.org

common source of teacher evaluation data. Today, multiple tools and systems support music teacher evaluation. The purpose of this poster session is to demonstrate how smart devices can be used to record, annotate, analyze, and archive teacher/student interaction through the use of video/audio capture, time-stamped text entry (in sync with any media recordings), and embedded reference materials (such as rubrics or standards) to facilitate both the observation and post-observation experiences.

6:15–7:30 p.m., TaTe Ballroom 6–8

Using Technology in World music TeachingPreSeNTerS: Sangmi Kang & Hyesoo Yoo › Teaching world music in general music classes is increasingly important because U.S. classrooms are diversified. Among many musical activities that teachers can incorpo-rate into music classrooms, the most accessi-ble activity is listening to world music pieces. We will introduce a variety of activities for engaged listening: singing/playing the main melody of world music songs, playing rhythmic ostinati, and moving the body eurhythmically to the music while world music songs are played.


Ukulele: Four Strings, So many PossibilitiesPreSeNTer: michael Christiansen › In this session, music educator Mike Christiansen will present material that will assist in teaching classroom ukulele. Topics include: what you’ll need to get started, teaching sequential technique and curriculum, teaching accompaniment and solo skills, repertoire, and implementing blended learning and ukulele ensembles. Whether you’re new to teaching classroom ukulele or a seasoned instructor, there will be some-thing here for you.


Inclusive Involvement in an Innovative approach to ensemblesPreSeNTer: Caron Collins › The SUNY Potsdam Campus Community Band consists of players of a wide range of ages, sociocul-tural backgrounds, and musical abilities. The members work together democratically on all musical decisions. Informances offer audiences opportunities to participate in music-making experiences. Session attendees will see video demonstrations and receive materials/resources to help amplify music-making involvement in their own ensembles and community.


The 100-Gig Challenge: engagement through Service learningPreSeNTer: michael Pavlik › Illinois band director Michael Pavlik challenged his students to play 100 (or more!) chamber-en-semble performances in their community during a school year. What began as a service learning project became something much more: As students played at nursing homes, middle and elementary schools, homeless shelters, hospitals, stroke recovery centers, community events, etc., a sense of purpose took hold in every musician, and their engagement and learning were significantly enhanced.


Integrate, Improvise, & Create: Haiku & the Pentatonic ScalePreSeNTerS: melissa Crowhurst & Penelope renoll › With other musicians, create a haiku and practice a pentatonic scale to compose a xylophone accompaniment to the poem. Learn how to provide an explorato-ry setting for your classroom, giving students the opportunity to practice improvisation skills. Participants will have the opportunity to perform their compositions. Leave with an interdisciplinary lesson plan to bring back to your music classroom!


Prosthetics to Help Hold the Bow, Trombone, and malletsPreSeNTer: Brett Noser › I have been working with the Southeast Community College CAD department and the University of Nebraska–Omaha Biomechanics Depart-ment to help create and coordinate prosthet-ics that can be used by students to hold a bow that pivots similar to a wrist, to help hold a trombone or to help move a trombone slide, and to help hold mallets and drum sticks. Learn about ways to make these prosthetics for students using a 3D printer, or how to get started to work with your school or area schools to create these items for students.


Thoughts on Commercial/ Popular music educationPreSeNTer: Steve Holley › Traditional and jazz education typically reach only twenty percent of our students. To encourage “the study and making of music by all,” we must diversify of music we study, create, and perform. We’ll examine the similarities and differences between traditional, jazz, and commercial music education. How do we

create a cohesive, inclusive, forward-looking curriculum in an effort to instill not only musical abilities and an appreciation of all genres, but life skills that will support our students on any career path?


Flipped out: Transforming Your ensemble for the 21st CenturyPreSeNTer: Caron Collins › Incorporate all four 2014 Music Standards while developing 21st- century skills in a democratic environ-ment in your ensembles. You are encouraged to participate in the NAfME webinar of the same title before this session; it provides background on “flipped classrooms” and describes a process to transform your ensembles from solely using direct instruc-tion to infusing collaborative learning into your rehearsals. Bring a piece you are currently working on with your ensemble; we will investigate ways to “flip” your strategies for deeper student learning.

2018 SeSSionS › Amplify: technology opus / poster presentations poster presentations ‹ SeSSionS 2018

NAfME eNews

e-maIl NeWSleTTerThe Nafme biweekly e-mail newsletter is in its third year. every other Thursday morning you'll receive the latest news from your association and news about the teaching profession in general.

a GreaT WaY To learN aBoUT • music in a minuet Blog Highlights• music advocacy news from Capitol

Hill and around the states• Classroom resources and

professional development• Deadlines for competitions and events• Current articles from member journals• Industry trends in music education

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riches for the Impoverished music ProgramPreSeNTer: Bruce Harkins › Poverty is a significant issue for a majority of our schools, parents, and students. This reality creates a considerable challenge for both our schools and our music programs. The session will provide a variety of resources and applicable strategies for music teachers seeking a to create a prosperous and flourishing music program.


How to Implement Chromebooks into the Choral ClassroomPreSeNTer: mala Kennard › Learn about the many uses for Chromebooks in the choral classroom. Whether you are a middle- or high-school director, you will find links to free and commercial sites that will enhance your teaching of concepts, as well as ways to record individual and groups for assessment. You will leave with many ideas, whether your school is 1:1 or you have a rack of Chrome-books to use. This session focuses on Google products for the choral classroom. Feel free to bring your laptop or Chromebook.


all music is music: Bringing DaWs into the music ClassroomPreSeNTer: Kevin Haugland › Adding music technology, specifically Digital Audio Workstations (DAWs), in the music class-room allows students not involved in school music ensembles to experience musical growth in a different setting. To pursue this goal, students used iPads, PCs, and their own music storage devices. The series of experiences was inspired by the four anchors of the National Core Arts Standards: Create, Perform, Respond, and Connect. Evidence of growth was measured with these National Core Art Standard anchors as benchmarks for growth.


Inspiring Inward awareness: Identity through CompositionPreSeNTerS: amy lewis & David Potter › This poster session will examine the theoretical frameworks of identity develop-ment and their implications for music education. Participants will have the opportunity to sample musical reflections of identity development, and as an exercise,

they will also be able to create compositions based on their personal interpretations of identity development using voice, instru-ments, and music software.

6:15 –7:30 p.m., TaTe Ballroom 6–8

Sounds of Korea: lift Your Spirit and expand Your mindPreSeNTerS: Hyesoo Yoo & Sangmi Kang › Learn effective strategies for including Korean folk music in elementary and secondary music classrooms. Participants will experience authentic, classroom-friendly Korean folk pieces. They will learn viable methods for bringing these ideas to their music classes with the use of everyday items and handmade versions of Korean instru-ments. They will also enjoy rhythm and movement and traditional costumes and dance materials. Lessons include fun, hands-on activities. Handouts contain materials for immediate use in the classroom.

6:15–7:30 p.m., TaTe Ballroom 6-8

activities to make all Students Successful in music ClassPreSeNTerS: Paul mclaughlin & lorraine mclaughlin › This hands-on session offers examples of activities and methods we have used for years in our music classrooms and music therapy sessions to meet the needs of all students. We will also be providing you with materials you can take with you and use immediately in your classroom. Whether you join in and play along or sit back take notes and enjoy, we hope the information from this session will inspire you to create fun ways to teach music to your students.


a Critical race Theory approach to music educationPreSeNTer: Theresa Thomasulo › Our Eurocentric approach to music teaching favors students in the white majority, placing students of color at a disadvantage. Critical Race Theory provides a framework for examining society, culture, race, and power and helps us overcome biases. Without sacrificing musical content, this pedagogical approach centers students in a community that celebrates differences and supports everyone. Learn how to choose/compose culturally rich and relevant material while being mindful of race, language, context, and students’ roles as culture bearers.


engaging the Special learner in Notation recognitionPreSeNTer: Nancy Witmer › Effectiveness of a software application on an iPad for teach-

ing music notation to students with dyslexia was examined. Results showed use of the device for guided practice in conjunction with instruction was significantly more effective at increasing ability of students to recognize music notation than using instruction alone. Participants will have the opportunity to try the app on their mobile devices or those provided by the presenter. We will discuss practical application and future implications for work with students who have learning differences.


Coding + Composition = Chiptune musicPreSeNTer: Shawna longo › Ever heard of chiptune music? Ever thought about connecting the principles of coding with music composition? STEAM is catching fire across the country, and it is easy to find natural, authentic access points between math and music. This session will offer an example of how to do just that through the composition of chiptune music using Nintendo Entertainment (NES) controllers.


Performance-Based Games & Technology to reach more StudentsPreSeNTer: Victoria Warnet › Research shows students exhibit more on-task behavior when engaging in activities requiring active participation. This session examines music games, activities, and apps that can be incorporated into the music classroom. All programs described can be modified/altered to teach a variety of musical topics. Many of the games and activities can also incorporate the use of a smartboard, although this is not a requirement. Explore a variety of musical apps, many free, that can be used in the classroom or on students’ own smart devices.


research & Strategies for engaging StudentsPreSeNTer: Charles Turner › This session examines school culture, power dynamics between teacher and student, and methods for positive engagement in the music classroom. New teachers and teachers in a new school may find this particularly helpful as they seek to engage new students more deeply in the music-making process. We will review research, discuss best practices, and provide a packet of resources for immediate application in the classroom. Finally, the session will address how these methods can help build a more robust performance program.

Tuesday November 13 (cont.)

2018 sessioNs › Poster Presentations

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Unleashing Creativity through Drum Circle FacilitationPreSeNTer: michelle lewis › Learn how to unleash ways to create music in a nonthreat-ening and equitable environment. Facilitate composition through drum-circles, and discover myriad cross-curricular ideas to help your students create and publish high-quality work. Build a community of learners who are challenged, motivated, and whose ideas ensure student ownership of learning. Empower your students to be self-directed and make an impact on their community! You will walk away with ideas to help your students collaborate, communicate, and create projects related to real life.


listening lessons for the elementary music ClassroomPreSeNTerS: Darla meek & oshadhee Satarasinghe › Movement may be one of the greatest tools at our disposal for introducing our students to masterworks. When we teach using the powerful kines-thetic sense, students learn faster and retain information longer. Come learn how to craft effective listening lessons involving creative movement for your classroom. Extensive handouts and PowerPoints will be available for participants.


JazzSlam (Jazz Supports language arts & math)PreSeNTer: mari mennel-Bell › JazzSLAM celebrates and preserves our cultural heritage of jazz, one of America’s most important original art forms. All students can participate in hands-on learning through music. This session will demonstrate some of the academic skills inherent in jazz study: language arts, math, social studies, geography, problem-solving and test- taking strategies, and learning to stay focused and find clues to answer questions about what they read and sing.


Getting appy: Three awesome apps to make Your Band SmilePreSeNTer: robert roche › Wondering how to engage your students in a high-tech world? Don’t worry—be appy! Learn how a few of the latest music apps can inspire students to explore and improve their music skills. Interact with these apps during this session on your own tablet or smartphone, and learn to create an engaging musical experience for students with virtual synthe-

sizers, drum loops, and other innovative sounds.


Social Justice & music ed: The Intent & Impact of our WorkPreSeNTer: Charles Turner › This session will consider research at the intersection of social justice and music education. With El Sistema as the most-widely-known example, some music education organizations claim transformative social and economic out-comes for their students. We will examine these claims and the organizations’ intent and impact in this area. Participants will engage in several scenarios where issues of social justice create tension in the classroom. Research-based strategies will be provided, and teachers will share their best practices and ideas.


making music accessible to Students with Special NeedsPreSeNTer: Victoria Warnet › We will examine modifications and accommodations that can be made in music class to allow all students to make music. We will consider some common disabilities, their acronyms, and accommodations and modifications. Although labels may be helpful in providing students with the correct accommodations/modifications, not all students are the same. Additionally, the modifications and accommo-dations mentioned in this session can prove to be beneficial both for students with disabil-ities and their typically-developing peers.


amplify learning by Student Choice within Your ensemble!PreSeNTerS: Joshua Boyd & andrew lightner › This session discusses how you create a progress system to amplify student learning by allowing the student to choose his or her own path toward music mastery. We will break down ensemble objectives into individual actions and talk about how to organize these actions into tiered sets, from beginner to mastery, including components such as technology, composing, and arranging, among others. Attendees will create their own beginning progress system so that they can put these methods into action immediately!


Creative and Practical Possibilities: orff-SchulwerkPreSeNTer: Kateri miller › Orff-Schulwerk Music for Children volumes can be used creatively and practically. Discover how easy

these books are to use if you remember that the volume is a tool, not the rule! Not only will teachers stretch their own creativity when presented with suggestions and practical uses for the volumes, but in the classroom, students will explore, create, and make decisions in the outcome of lessons. What better way is there to amplify innova-tion and inspiration in both teachers and students in the elementary general music classroom?


making College a realityPreSeNTer: larisa Skinner › While working at the Passaic Gifted and Talented Academy in New Jersey, I proposed to my administra-tion a collaboration with the John J. Cali School of Music at Montclair State University. This collaboration greatly enhanced educa-tional opportunities for our string students, who were taught and coached on their respective stringed instruments by university students and faculty from Montclair State. This interaction could potentially lead to some of our students’ future enrollment there or at another college/university.


Creating lifelong, Conscientious, music ConsumersPreSeNTer: elizabeth maughan › We will discuss different music philosophy/teaching perspectives with a focus on how to develop students who will be lifelong, conscientious, music consumers. Attendees will learn various upper-level teaching approaches for issues such as copyright law. We will explore techniques for creating community in the general music room and how to help hesitant students become independent music readers. New ideas for teaching music history and The Great American Songbook will also be shared.


assessment in the Beginning Instrumental ClassroomPreSeNTer: Crystal rufenacht › We will share with teachers of beginning instrumental students both paper-based and electronic assessment resources that can be used to showcase students’ understanding of musical concepts such as note identification, rhythmic accuracy, pitch differentiation, and composition, as well as of sound production, dynamics, phrasing, and articulations. Examples of self and group evaluation performance critiques, skills rubrics, and journals to track home practice will be presented. Standards and the NAfME Teacher Evaluation Workboosk will be discussed.

2018 SeSSionS › Poster Presentations Poster Presentations ‹ SeSSionS 2018

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library of Congress materials for Use in Teaching StandardsPreSeNTer: Timothy Brakel › This session offers an overview of free resources available from the Library of Congress in Washington, D.C., that can be used to teach the 2014 Music Standards in Creating, Performing, and Responding. Examples include the National Jukebox of historical recordings, videos on a variety of topics such as “Artists Rights & The Digital Marketplace,” recorded perfor-mances, and lesson plans that can be used to teach the music of many genres in accor-dance with the Standards.


reversing roles: What Students learn When They TeachPreSeNTer: larisa Skinner › As teachers, we are on a quest to get our students to think critically about the music they are learning. We often get into a rut: Play this, fix that, finger it this way, and perform. We frequently answer the same questions about the same concepts, such as, “What is that note?” or “What’s the dynamic here?” We will discuss how role reversal in the classroom has had a major impact on students’ musical under-standing.


rethinking music appreciation at the Secondary levelPreSeNTer: Jeremy Young › Hate teaching music appreciation? Rethink the class using creative lesson planning and “outside-the-box” lessons! Change the perspectives of your students and your own by using memes, parodies, debates, and more! Create meaningful content that connects Bach to the Beatles and beyond!


Creating Pathways to asia with Folk Songs, Games, and DancesPreSeNTer: oshadhee Satarasinghe › There has been a significant increase in South Asian immigration to the United States over the past several years. However, few educational materials are available for presenting music from these countries. In this session, participants will learn folk songs, games, and dances from Sri Lanka and India. Teaching these activities is an excellent way to inspire interest in other cultures, and it also gives the students from

these countries a sense of home. Lesson plans and PowerPoints will be available for participants.


engaging Students in an online or Blended ClassroomPreSeNTer: Chandler Bridges › This poster shares “best practices” for engaging students in both blended and online classrooms. Topics discussed include creating engaging discussions, fostering student collaboration, and Learning Manage-ment System (LMS) setup. The discussion includes further results of the research and educational implications.


Inspiring Cutting edge, Innovative, & efficient TeachersPreSeNTer: Natalie Sarrazin › This best-practices session will demonstrate efficient and effective ways of targeting, developing, and implementing problem- and project-based learning, integration, and other student-centered teaching strategies that work best for you. These strategies engage music education students in hands-on planning and collaborative work and prepare them to be efficient and effective classroom teachers knowledgeable in the latest forward- thinking teaching techniques. Resources for this session are based on case studies.


enhancing Creative Thinking with Technology in music Teacher educationPreSeNTerS: Jonathan Kladder & matthew Clauhs › This session presents examples of successful approaches to technology implementation into two “traditionally”—conceived music teacher education coursework requirements: brass and woodwind technique classes. In these courses, two music education faculty implemented a variety of applications on iPads to support creative musical engage-ment. See examples of student work, student perceptions and experiences, and outcomes. Implications for the field of music education and suggestions for further research will be provided.


Individual assessment in Choir: a Strategy for the Digital agePreSeNTer: elizabeth Hearn › Assessment should be valid, reliable, individualized, and relevant. Ensemble classes present unique

assessment challenges. The strategy presented in this session allows students to submit a real-time recoding of their singing in an ensemble setting through a common recording technology—a phone. Suggestions will be made for software and online platforms that are useful in collecting student submissions and providing feedback. Learn about this assessment strategy, and engage in a discussion about authentic assessment and the evaluation of choristers.


a System to amplify Involvement through Student ChoicePreSeNTerS: Kalyn Todd & Christian Gordon › Amplify student involvement! Progress-system teaching involves teach-er-created performance tasks where students are given the freedom to accom-plish the tasks in any way, order, or time that they choose. Attendees will see videos/pictures of students choosing their own paths to learning during a “progress cycle.” Participants will be encouraged to ask questions using Twitter to receive live, real-time answers. After the presentation, attendees can connect with the presenters, ask questions, and explore ideas related to progress-system instruction.


Hearing Is Believing: Using recordings in Band rehearsalPreSeNTer: Scott Tomlison › This session will focus on how we as educators can effectively use recordings in band rehearsal. Topics include rationale and justification for the teaching strategy, effective criteria for choosing recordings, and procedures for implementation. The session will conclude with a discussion on where to find solid model recordings.


No Teacher Is an Island: Cooperation among Feeder SchoolsPreSeNTerS: melissa eick & margaret Flood › Our students come to us with diverse musical experiences. As teachers at all levels, we can make it a priority to provide classroom experiences that serve students throughout their time in a school music program. One way to do this is to establish a cooperative relationship among teachers in feeder schools. A secondary band director and an elementary general music teacher offer practical tips on how to initiate, maintain, and grow collaborative connections among elementary, middle, and high school programs.

2018 SeSSionS › Poster Presentations

TueSday november 13 (cont.)

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De-Stress and retain your music majorsPreSeNTerS: Sara Baker & Katherine Buckler › As college music students self-report increased levels of depression, anxiety, and social phobia, a systematic approach to retaining music majors must include addressing their psychological health. Tested strategies that can be implemented in classrooms and departmentwide initiatives will be presented in this hands-on presenta-tion promoting mental and emotional well-being.


laptop orchestras in Secondary Schools: a Feasibility StudyPreSeNTer: Sarah Hamilton › This study examined the integration of a laptop orchestra into the curriculum of a secondary public school. Participating directors and members of laptop orchestras at U.S. colleges and universities completed surveys about resources required to support the ensemble. Student learning outcomes of these orchestras aligned with the 2014 Music Standards. Directors needed specialized training, and equipment costs ranged from $10,000 to $750,000, but far less if students own their own laptops.


Blended Classrooms: Best Practices for engagementPreSeNTer: Chandler Bridges › Best practices for engagement in blended classrooms are presented as actionable techniques that can be incorporated into a variety of subject areas. Topics presented include online discussion boards and course development for music classes.


approaches to Trauma-Informed PedagogyPreSeNTer: erin Price › The music classroom can be a safe haven for all students. Attendees will learn basic developmental repercussions of childhood trauma, including sexual and physical abuse, extreme poverty, and violence, and then apply that knowledge to best practices in music education. Attendees will learn how to provide hurdle help for their students while correcting problem behaviors, and also how to develop interdisciplinary lessons. Acquire ideas to help increase student performance and participation opportunities, regardless of level of musical or intellectual ability.


music Superheroes ConcertPreSeNTer: mary loyer › This poster presentation teaches music students how to maximize their own superhero potential by participating in a Music Superheroes Concert. Dressed as superheroes, students at all levels connect, perform the works of the great composers, and reflect on the creative abilities that made these people super-talented. Students gain an appreciation of the legacy of the composers and become inspired to be superheroes in their own right, as well as begin to understand the expres-sion of creativity.


Teaching music to the Dyslexic learnerPreSeNTer: Cynthia Pistone › One in five students, roughly 20 percent of the popula-tion in the United States, is a dyslexic learner. In this session, learn about best practices for teaching children with dyslexia. Leave feeling equipped to meet your dyslexic students where they are and teach to their learning styles.


Does Competitive marching Band meet Needs of all Students?PreSeNTer: Justin antos › How do secondary students perceive value of competitive marching band? This study investigated whether certain perceptions of competitive marching band emerge when data are stratified across the categories of gender, year in school, ethnicity, and section prior to each round of data analysis. Partici-pants were students from 11 suburban public high schools located just outside Chicago. Results indicate that high school students’ perspectives of competitive marching band may be shaped by their demographic characteristics.


Uketastic UkulelePreSeNTer: Kris Gilbert › The ukulele is currently a hot topic in music education. Come and learn how to incorporate the ukulele into your classroom through the use of popular music.


“my administrator Doesn’t Under-stand”: lessons from researchPreSeNTer: Sarah Brown › Learn about research into the professional relationship between music teachers and administrators.

Two surveys, one each for music teachers and administrators, were sent via social media/e-mail. Along with data on district, school, and teaching situation, the survey sought perceptions of the music program’s contribution to the community and of the classroom observation process. Acquire strategies to improve your working relation-ship with school administrators and on how to help your program be an integral part of the school community.

2018 SeSSionS › Poster Presentations Poster Presentations ‹ SeSSionS 2018

The “Music in a Minuet” blog is in its fourth year—and growing! NAfME educators—from collegiate, to in-service teachers, to retired members—are welcome to share their ideas andexperiences on this blog with fellow members. This is your space to show-case your thoughts and classroom tips!

Some reCeNT CoNTrIBUTIoNS:

• 7 Things They Don’t Teach Music Education Majors [That You’ll Wish They Had]

• Celebrating Cinco de Mayo with Mariachi Music

• Finding the Right Music Literature for Your Guitar Program

• Technology Ideas for Your Music Program and Rehearsals

• Teaching Lessons to Children with Special Needs

• Planning a Field Trip? Know These Essential Tricks!

• Minimizing the Frustration of Learning the Horn

• The Happy Percussionist: Another Approach to Retirement

Visit bit.ly/NAfMEBlog (case-sensitive) to read these and other articles. If you would like to contribute to the “Music in a Minuet” blog or reprint an article from the blog, please contact the NAfME Marketing department at [email protected].

Share Your Ideas with Music Educators!

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Snare Drum: From the First lesson to the College auditionPreSeNTer: Jason Giachetti › This workshop is an in-depth and detailed study of snare drum pedagogy. Session topics will include equipment, technique, exercises, stroke patterns, hand development and coordination, sequential learning of rudiments, and literature.


Why High School Students Participate in BandPreSeNTer: edward Varner › Forty-five high schoolers were asked what motivated them to participate in band. Findings support prior research revealing that many students are intellectually, emotionally, expressively, and musically nurtured by membership in a school band. A number of respondents indicated that band was where they built their strongest support relationships and highlight-ed the importance of band as a social and emotional support space where they find sanctuary from the stressors of their lives.


Scaffolding Vernacular music learning in Class GuitarPreSeNTer: Dave Sanderson › Students in a secondary guitar class bring their own

musical preferences, experiences, and abilities. While each student may have a unique motivation for taking the class, many want to be able to play their music. This presents a challenge for a teacher attempting to navigate the various student playing abilities and musical preferences. Learn how to scaffold instruction so students of all playing abilities can join in performing popular music selections and how students can share their music with their peers in engaging learning experiences.


learning & Involvement through Creating & Improvising in middle SchoolPreSeNTerS: marci Deambrose & lori Falcone › Move beyond performing in middle school music to include students as active music creators. This presentation focuses on the skills students need to create their own music, moving from scaffolded proj-ects to “on their own” composition. Learn ways to create music in vocal and instrumen-tal classrooms, such as improvising with pop tunes, creating music in the style of the music on the concert, and teaching autonomy in composition. This model has been developed to accommodate students with a variety of musical interests and at various levels.


Singing Games from around the GlobePreSeNTer: Christopher roberts › Why do children worldwide play singing games? Because they’re fun! These games also lend themselves to in-tune singing, rhythmic development, and musical independence. Via brief extensions in lessons, children can broaden their understanding by learning about the cultures of origin of the songs. Participants will learn singing games from different countries, discuss characteristics of successful games, see videos of U.S. children playing singing games, and discover ways to find singing games and associated content for the elementary music class.


Non-Jazz Improvisation activities for Band and orchestraPreSeNTerS: James mick & matthew Clauhs › Creating music is one of the Artistic Processes that guide the 2014 Music Standards, yet few instrumental students engage in creative activities outside the jazz-band setting. In this session, presenters share sequential improvisation activities for band and orchestra students that require no prior experience or knowledge of jazz theory.


empowering Song: an approach for TeachingPreSeNTer: andré deQuadros › The Empowering Song approach was developed in a men’s prison and a women’s prison in Boston. This approach has kinship with Orff, but it aims for personal transformation and community mobilization. Empowering Song works through group singing as a channel, a springboard, and a source of inspiration leading to work in the other arts and reflective journaling. The session will present tools, techniques, and processes for participants to work in working both with underserved communities and the general music classroom.


Game-Based STeam Projects for music TechnologyPreSeNTer: Candice Davenport › Do your students enjoy challenging themselves with games? Do they like playing with their tech devices? Get in on the STEAM train, and learn how to build and incorporate game-based tech challenges for teaching music through composition and film scoring.


Tales of 2 ensembles: Performance- Focused & active learningPreSeNTer: Gillian malacari › Working at two different schools, I set up contrasting orchestra classrooms, one a conventional performance ensemble, and the other with an active learning focus on analysis and composition. The active learning approach used specific music vocabulary based on the elements of music, helping students organize their knowledge. Students used this knowledge to scaffold their compositions and musical analysis. We will share the results of our study and its implications, as well as a number of simple compositional activities.


Creating music-makers & leaders Using Peer assessment StrategiesPreSeNTerS: Katrina Cox & amy Sim-mons › Students are rarely asked to analyze the products generated in rehearsals. In this session, we describe strategies to incorpo-rate the 2014 Music Standards related to the Performing subcomponents of Rehearse, Evaluate, Refine, and Present. See how strategic sequencing paired with teacher-fa-cilitated small-group activities can challenge students to connect what they learn about music-making to the musical products they generate by involving them in decision-mak-ing and peer assessment.

Tuesday November 13 (cont.)

2018 sessioNs › Poster Presentations

saVe THe daTe!

The next Nafme Collegiate

advocacy Summit is

June 17–19, 2019WasHiNgToN, d.C.

Questions? e-mail [email protected]

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Promoting Compassion & empathy through World musicPreSeNTer: louise o’Hanlon › Exposure to world music and ethnically diverse composi-tions is vital for students navigating today’s world. This music can be a springboard for sensitive and honest discussions about social change, race relations, and political activism. I will share my top 5 favorite world pieces, from beginning to authentic performance. Several of my students will provide feedback about the result of performing world music in the choral classroom and the impact it has had on their understanding of those who are different from them.


Urban TTBB Choir: Selecting music that makes a DifferencePreSeNTer: John Wayman › Selecting appropriate literature for adolescent male choirs experiencing the onset of vocal maturation can be a challenge. Based on an examination of 10 years of literature per-formed by successful middle school tenor/bass choirs from urban areas, this session can help alleviate some of the guesswork. Learn what music urban tenor/bass singers are responding to successfully and what music elements are contained in these selections.


Using Composer Database Tools to Diversify Your CurriculumPreSeNTerS: rob Deemer, Cynthia Turner, & Christian Folk › There is a growing desire to explore music of composers that reflect the diverse U.S. population. This means finding works by women composers and composers of color, two groups often not included in classrooms or concert programs. Recently, searchable and browsable database tools have become available to allow educators, conductors, performers, and researchers to focus searches and easily find women composers and composers of color based on a number of data points. Learn the challenges and joys of this kind of inclusion!


Interactive learning StructuresPreSeNTer: Becky Jontos › Interactive Learning Structures are used to actively engage students through thought, action, and dialogue. They can be used to activate prior knowledge, teach content, encourage practice skills, or inspire reflection. This session will introduce participants to partner, small-group, and whole-group structures that are quick and easy to manage.


adapting Classroom Instruments for Students with DisabilitiesPreSeNTer: Tracy Wanamaker › Students with disabilities are eager to play classroom instruments and participate in classroom music making, but sometimes their challeng-es limit traditional interaction with instru-ments. Learn how to remove barriers and provide accessibility to many classroom instruments by making a few simple adaptations/modifications that allow students full participation in music-making and equal access to the curriculum. Explore new technology that makes creating music accessible to everyone, even if the student has very limited mobility.


own It! rehearsal Techniques empowering Students Success!PreSeNTer: Daniel Tembras › This presentation will focus on rehearsal tech-niques that empower students to take ownership of their growth and musical success by creating an inclusive atmosphere that is high energy and inspirational.


Using Storybooks to Create meaningful music experiencesPreSeNTer: Suzanne Hall › When done effectively, the use of picture- and story-books can offer immersion in music experiences and understanding of music elements. Additionally, integrating music and language arts promotes higher-level thinking in both subject areas. This session introduces a number of storybooks and activities that correlate with the elements of music. Participants will engage in moving, listening, dancing, singing, and creating via storybooks while developing understanding of melody, harmony, form, timbre, rhythm, and texture.


ensemble Unity: Finding Harmony with the National StandardsPreSeNTer: Briana Nannen › Successfully integrating each process of the NAfME Music Standards into ensemble experiences can seem like a daunting task. This is especially true when we consider the performance expectations placed on so many programs by external forces. However, if we shift our focus to the process of learning by engaging students in Creating, Performing, and Responding, we will come to see that students are more invested in the learning experience, resulting in greater musical independence. This session will focus on the

Creating process of the Standards in a choral ensemble and how teachers might effective-ly integrate new and innovative ideas into their curriculum.

Best Practice SeSSionS

Wednesday november 148:00–9:00 a.m., SaN SaBa 2

Diversifying elementary repertoire with Songs & Games in SpanishPreSeNTer: Julie Bannerman › This interactive session explores songs, singing games, and chants in Spanish from Latin America and the United States for PreK–Grade 2 students. Whether you teach children who speak Spanish or not (and even if you don’t), you will leave this session with ideas to get started and activities to try. Resources to be shared include contemporary song collections, singing picture books, recordings, recommended artists, and online sources.

8:00–9:00 a.m., SaN SaBa 1

music education InnovatorsPreSeNTer: Give a Note Foundation representative › Give A Note Foundation’s Music Education Innovators Award winners offer insight into the goals, successes and details of how they built their winning programs. These programs address challeng-es of enrollment, scheduling, funding and diversity through innovative classroom techniques, technology and repertoire. Our MEIA ambassadors share the details of their process and provide takeaways specifically designed to help you replicate their success in your music programs.

8:00–9:00 a.m., SaN SaBa 3

STeam, maker Culture, and music educationPreSeNTerS: evan Tobias, ryan Bledsoe, Jenny Chavez, & Nathan Botts › How can we place music education in a more equitable position vis-á-vis STEM disciplines and STEAM education? This presentation offers perspectives, strategies, and guidance for those interested in intersections between music and STEAM, maker culture, and how we can play a leadership role in STEAM education. Attendees will leave with a sense of what is possible and knowing the next steps to making a difference in their communities.

2018 sessions › PoSter PreSentationS PoSter PreSentationS / beSt Practice ‹ sessions 2018

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8:00–9:00 a.m., Escandido 1

Kodály in the Urban classroomPREsEnTER: Lucia schaefer › Since its intro-duction to the United States in the 1960s, the Kodály Method has not changed substantial-ly, even as our school communities have changed greatly. Participants will examine some ways the method can be tweaked to meet the needs of urban learners by integrating current teaching concepts and recent discoveries in educational psychology. Session includes a 30-minute Kodály lesson optimized for an urban setting and digital access to resources.


Tools for instrumental Teaching in Under-Resourced communitiesPREsEnTER: chandran daniel › This session will cover some of the common challenges for band directors in under- resourced communities as well as strategies for finding success in these teaching situations. Topics will include strategies for acquiring equipment, fundraising in low-socioeconomic-status areas, building rapport with students, creating an inclusive environment for minoritized students, connecting with administrators, scheduling, and finding additional resources through your community.


Rehearsal strategies for a changing WorldPREsEnTER: angela ammerman › Frustrated by the daily struggle to motivate students and draw out a better sound? Check out this interactive session on innovative rehearsal techniques for the string orchestra classroom! Participants will play through a variety of string orchestra literature while acquiring ideas for engaging students from all backgrounds/ability levels. Learn tips and tricks from one of the most diverse schools in the U.S. that will motivate any student to get to work! Please bring your instrument, no matter what level!

8:00–9:00 a.m., TExoma 1-2

Ukulele Techniques: How to Teach Them and Play Them YourselfPREsEnTER: Joshua Krohn › Are your students past playing just C, F, and G chords? Looking for songs that offer a bit more challenge? Want to teach your students advanced strumming, improvisation, and

melody creation? This session is for you! Join us for an hour of fast-paced, challenging pieces that will inspire both you and your students. The session covers both how to play melody lines using classical picking as well as the methodology for teaching these techniques to your students.

8:00–9:00 a.m., TExoma 3

How to Use Hip-Hop and Pop in General music & EnsemblesPREsEnTER: courtney Powers › Success-fully incorporate hip-hop music in your general music classroom. This session includes a brief history of the genre, where to find appropriate hip-hop pieces, and how to arrange them for your ensembles. Learn about hip-hop songs that include classical music samples (e.g., hip-hop Nutcracker) and how your students can make their own classical music samples. See a video of students in action with Pachelbel’s “Cannon in D” as they write rhymes and perform pieces using the same chord progression.

8:00–9:00 a.m., HiGH PLains 1

Guitar & Popular music Ensembles in the High school music ProgramPREsEnTER: morris acevedo › Many students today miss out on opportunities to learn traditional band or orchestra instru-ments such as violin or trumpet, and by high school, they are unlikely to take up one of these instruments. However, they may be open to learning guitar, bass, keyboard, or drum set. Learn successful strategies for teaching large guitar classes for both beginning and advanced guitarists in the same room, as well as techniques for popular music performing ensembles that involve music theory, improvisation, and arranging.

8:00–9:00 a.m., HiGH PLains 2–3

spirituals & Gospel: Performing america’s Timeless musicPREsEnTER: Horace scruggs › When leading spirituals, gospel, or other African-de-rived music, choral directors often ask: “How does one create a convincing performance with l the nuance and vitality many Afri-can-American genres require?” Learn terminology, conducting gestures, rhythmic interpretation, movement suggestions, and other performance practices to help ensure confident rehearsals and authentic perfor-mances. Topics will include historical perspectives, music selection, vocal production, and accompaniment styles.

8:00–9:00 a.m., davis 3

adapted composition, notation & PerformancePREsEnTER: Kimberly Kesner › How can we, as music educators, provide platforms of success for severely disabled students in our music classrooms? This session will feature fun hands on activities for music composi-tion, music notation and adapted instru-ments. We will discuss how these methods can be used in performance settings. The activities are geared towards those who work with students who have severe and multiple disabilities, but like all lessons, they can easily be adapted to fit the needs of higher functioning students.

8:00–9:00 a.m., davis 4

dance with me: Using shared Gestures in the choral EnsemblePREsEnTER: david Fryling › An ensemble’s ability to respond to conducting gestures depends on a multi-tiered process, the first step of which is getting performers to look at us! By involving your ensemble in the gestural process, you encourage partipants to think critically about what is being “said” with your gestures. When you provide experiential opportunities in the choral rehearsal to immerse musicians in a shared gestural vocabulary, an exciting new sense of ensemble emerges from the group. Pick up new ideas for your own gestural grab bag!

9:10–9:25 a.m., san saba 2

no one sits on the bench in band: marching band for allPREsEnTERs: michquelena Ferguson & John Potlunas › Marching band is a place for all. This “Old School vs. New School” session will explore the joys, fears, challeng-es, and rewards that directors experience when true inclusion occurs in a marching band. Learn from anecdotes, testimonials from students and parents, and current trends in music education about techniques for dealing with students with identified and unidentified special needs from the perspec-tive of both a retired and a second-generation music educator.

9:10–9:25 a.m., san saba 3

High school student Experiences in alternative seatingPREsEnTER: Tammy Yi › Ensemble seating offers the chance to practice social justice. Learn about the outcomes of alternative seating practices (randomized/scrambled/rotational seating) in a high school string orchestra. These alternative seating practices enhanced the ability of the orchestra,

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increased student confidence, and fostered new friendships. This presentation also considers the experiences and perspectives of the students.


iPad as an instrument in the Modern Band classPREsEnTER: spencer Hale › In this session, participants use the GarageBand app on iPads to provide musical performance opportunities to their students in Modern Band classes. Through hands-on performing, participants will learn how to use Garage-Band to create opportunities for student-cen-tered and instantly successful musical experiences. The presentation will also address assessment, management, scaffolding, and growth for students. Bringing an iPad or iPhone with GarageBand is highly recommended.

9:10–9:25 a.m., TExoMa 3

Engaging diversity in High Poverty schoolsPREsEnTERs: Lisa Lehmann & Jeanne Reynolds › Discover how high-poverty schools get strong results through high-quali-ty music instruction. Learn from teachers as they share successful techniques and strategies learned through Elevate ARTS, a federally funded Professional Development for Arts Educators (PDAE) grant that provides professional development and support. Presenters explain how the use of culturally responsive instruction and engaging lessons has led to high achievement and engagement.

9:10–9:25 a.m., HigH PLains 1

Equity of Women & nonwhite composers in Band & orchestra RepertoirePREsEnTERs: Mary Lynn doherty & alexis Lamb › We have made positive strides in recent years vis-á-vis diversity, equitable access, and inclusion in the music classroom. With the goal of continuing to advance inclusion and equity through programming in classes and concerts, this session will help teachers choose and use repertoire to engage their students and the larger school community, share resources, encourage discussion that can serve as a model for how we can address inequities, and promote a more inclusive learning environment for our students.

9:10–9:25 a.m., HigH PLains 2–3

Middle school a cappella: Back to the FuturePREsEnTER: douglas carnes › Middle School a Cappella: Back to the Future will be

a deep dive into the future of a cappella singing in middle school choir classrooms. Often considered the most challenging choral singing experience, a cappella is often avoided by middle school educators, but with its emergence in the media, it has become cool again. From barbershop to doo-wop, Pentantonix to the classics, we will discuss best practices, and future of a cappella in the classroom.

9:10–9:25 a.m., davis 3

Learner-centered Pedagogy in the Middle school BandPREsEnTERs: david Williams & Robin Heinsen › This session describes a project untaken by middle school concert-band students where a learner-centered rehearsal structure was used. Students were charged with rehearsing a piece without musical input from the teacher. The piece was performed as part of a spring concert, again without a conductor. Presenters conclude with a review of student and director interviews and a recording of the performance. There will be time for discussion and questions.

9:10–9:25 a.m., davis 4

Lead students to artistic choices & ownership in Middle schoolPREsEnTERs: Jenny neff & Elizabeth Fortune › Learn useful and clever band and orchestra teaching strategies that help students make artistic personal choices in their music-making, thereby taking owner-ship. Presenters will share Library of Congress primary sources that inspired unit plans for band and orchestra repertoire at the middle school level and that focus on the Artistic Process of Responding. Participants will discover new ways to incorporate the process components into their lessons/rehearsals that lead students to meaningful music-making.

9:35–10:05 a.m., san saBa 1

Korean Percussion as a Music- Making activity & a Repertoire PiecePREsEnTERs: sangmi Kang & Hyesoo Yoo › Playing percussive world music pieces engages students because of strong beats and high energy. We will introduce a samulnori (Korean percussion ensemble) piece as a world music class activity and as a part of the performance repertoire for upper elementary and secondary general music classrooms. Samulnori literally means “playing four things” in Korean; it is played using four Korean instruments. Traditional Korean percussion instruments provided by the Houston Korean Education Center.

9:35–10:05 a.m., san saBa 2

Embracing the Whole Musician: ignite the Musician’s chiPREsEnTER: Janette Harriott › This active session explores movement to music and preparing the body and mind for music-mak-ing and better health. Develop the musician’s chi with body, mind, and soul techniques. Finding the better musician inside each music teacher will lead music teachers to find the better musician inside their students. Explore a variety of techniques to help lead your students to musical success by becoming one with their bodies and their music. Handouts will detail resource lists of all strategies. Come ready to learn and move!

9:35–10:05 a.m., san saBa 3

Mindfulness in the choral classroom: What, When and How?PREsEnTER: val Flamini › Explore ways to include mindfulness practices in choral rehearsals. Experience activities that streamline the latest mindfulness-based research with choral education objectives. Create an environment where students experience acute awareness and deep enjoyment. We will breathe, move, meditate, improvise, and, of course, sing! Including optimal experiences as you plan/carry out rehearsals leads singers to feelings of exhilaration and a state of consciousness where singing in rehearsal is a reward in itself.

9:35–10:05 a.m., Escandido 1

nontraditional Music courses in secondary Level schoolsPREsEnTER: shane colquhoun › Discover strategies for offering nontraditional music courses in secondary schools. According to researchers, about 80% of students in secondary schools in the United States do not participate in traditional large ensembles. While attention has been paid to diversifying music curricula, traditional ensembles (band, orchestra, choir) remain the most common music classes. Learn about nontraditional music courses offered in U.S. secondary schools, including multicultural music, music technology, and popular music.

9:35–10:05 a.m., Escandido 2

secondary general Music? What Might Be & Why We should carePREsEnTER: Patrick cooper › Consider the many student learners in secondary schools who never walk through our doors. The idea of general music is extrapolated to the secondary classroom to permit student- centered learning and autonomous musical

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growth. Learn how thinking of the teacher as facilitator (as opposed to director) can be beneficial for including nontraditional secondary students in music. A true student-centered approach is offered to show how any student interest can be supported when we advocate for “secondary general music.”

9:35–10:05 a.m., Escandido 3

amplifying success: Middle school Men & successful singingPREsEnTER: John Wayman › Teaching middle-school male choral students can be tricky! The voice-change process is challeng-ing from beginning to end. This clinic will address the emotional, physical, and mental issues that are part of the vocal maturation process. The presenter will offer solid, tried-and-true solutions to help your male students become more confident and successful.

9:35–10:05 a.m., TExoMa 1–2

Building Better Humans through MusicPREsEnTER: Melanie Guerin › When political debate and social media comments make respectful discourse seem like a lost art, music teachers are uniquely equipped to help students connect with others. Through music, students can learn to express themselves effectively, listen for understand-ing, and relate to others with honesty and openness, but only if we teach these skills. We will explore exercises, activities, and projects that can help develop students’ self-expression, critical listening, and empathy to enrich both their music-making and their humanity.

9:35–10:05 a.m., TExoMa 3

Teaching Musicianship through Leadership & EngagementPREsEnTER: Kym scott › Do you wish your students could learn music more quickly or sight-sing more accurately? This session presents concepts from a variety of teaching methods, including Kodály and Dalcroze Eurythmics, to provide simple, fun ideas for implementing a musicianship education plan in any choral curriculum. Activities offer opportunities for student engagement and leadership. The presentation includes ways to improve aural skills, rhythm, music-theory knowledge, sight-reading, and general musicianship.

9:35–10:05 a.m., HiGH PLains 1

High school arts Management: students Pulling it TogetherPREsEnTERs: aldonna Girouard & Jamie choquette › The demands of managing public performances turn the music teacher into a performing arts manager: promoter, marketing specialist, box-office manager, audio engineer, stage manager, lighting designer, and house manager. Why not redirect these skills to the development of a Performing Arts Management class that offers students hands-on, real-world experience? Workshop participants will come away with an outline of how to start their own performing arts management program.

9:35–10:05 a.m., HiGH PLains 2–3

strategies for increasing student EngagementPREsEnTER: denisse santos-stanbery › “I want to teach, but my students don’t seem to want to learn!” This session will focus on practical planning and management strate-gies that can be applied in music classrooms to help increase student engagement. Learn why some strategies work with some students, while others are not as effective. Throughout this session, we will discuss ways to motivate students to learn in meaningful ways. Strategies that have effectively served to increase student engagement in music classrooms will be shared and demonstrated.

9:35–10:05 a.m., davis 4

Using Mindfulness, Music, & Movement to EmpowerPREsEnTER: Lesley Moffat › This presenta-tion is geared toward helping teachers invite mindfulness into their personal and profes-sional lives. In this interactive session, participants will experience the mindfulness practice in action and learn techniques for incorporating it into their own lives so they can begin to explore it with students. Mindfulness serves to clear the clutter from our thinking so we can bring our focus to where we want it. Daily practice of 5–7 minutes can be life-changing for you and your students.

10:15–10:45 a.m., san saBa 1

developing student voice in the Large EnsemblePREsEnTER: Brian Weidner › Students who are involved in the music-making process are more likely to make music outside of high school. To facilitate student-led practices, ensemble directors can offer opportunities for students that encourage ownership of

aspects of the music-making process such as repertoire selection, rehearsal preparation and execution, concert programming, and musically-focused social interaction. Learn about models for instrumental and choral teachers that help support democratic, interdependent music-making.

10:15–10:45 a.m., san saBa 2

Engaged Listening: Musics of 6 countries from 3 continentsPREsEnTERs: sangmi Kang & Hyesoo Yoo › Teaching world music is important because U.S. classrooms are increasingly diverse. An accessible activity that teachers can include in general music classrooms is listening to world music. Experience a variety of musical activities for engaged listening, such as singing/playing the main melody of world music songs, playing rhythmic ostinati, and moving the body to the music. Participants will enjoy activities using world music samplers, excerpts from six world music songs from three continents.

10:15–10:45 a.m., san saBa 3

Lights, camera, action! Become Your own Teaching assistant!PREsEnTER: Josephine cappelletti › This session will introduce music educators to the creation and use of self-published video content for the music classroom. Video technology is a complementary tool to traditional instruction that can be effectively leveraged to fit any teaching style. The session will highlight how you can become your own classroom teaching assistant by creating personalized videos to teach staple pedagogical lessons.

10:15–10:45 a.m., Escandido 1

composition and Guitar in the special needs classroomPREsEnTER: Lauren crapanzano › Traditional instruments should be accessible to students with special needs. During the past semester, we have taught students with severe mental disabilities how to perform and compose through the guitar.

10:15–10:45 a.m., Escandido 3

Woman Power: The impact of Female composers on the Wind BandPREsEnTER: carter Biggers › Women composers were crucial to the development of Western art music. The wind band profession has been blessed with talented women writing works for band, including Carolyn Bremer, Julie Giroux, Libby Larsen, Anne McGinty, and Cindy McTee. Explore research into the inclusion of women

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composers on standard selective music lists, lesser-known women composers for wind band, and steps we can take to elevate women composers to an equitable footing in our programming.

10:15–10:45 a.m., Texoma 1–2

Female Band Directors: What makes Us SpecialPReSeNTeR: Tiffany Cox › The experiences of women in instrumental music teaching positions has been proven to be drastically different from the experiences of our male counterparts. Learn to identify the unseen obstacles that women in instrumental music face and how to overcome them. Become a more effective teacher by embracing your femininity and supporting our next generation of young women instrumentalists.

10:15–10:45 a.m., Texoma 3

Helping Students with Disabilities Find Success in musicPReSeNTeR: amy Cruz › Learn about the most common learning disabilities, how they manifest themselves in the music classroom, and how to adapt your teaching to support those students. Special education lingo will be decoded so you can help your students with special challenges find success in music.

10:15–10:45 a.m., HigH PlaiNS 1

Transforming (Nonsinging) males into Singers PReSeNTeRS: Jerry Ulrich & the georgia Tech glee Club › This session will focus on recruitment strategies for males. If we attract into our ensembles nonsingers using fun music, young men with limited choral experience can discover a love of music and singing that can lead to deeper musical engagement with more substantive literature.

10:15–10:45 a.m., HigH PlaiNS 2-3

Supporting lgBTQ Students in music ClassroomsPReSeNTeR: William Southerland › Inspired by the March 2018 Music Educators Journal article “The Rainbow Connection,” this session highlights ways music teachers can use research-based best practices to create a supportive environment for marginalized students, including those who are lesbian, gay, bisexual, transgender, or queer (LGBTQ). The session offers an overview of recent LGBTQ student experi-ences and a discussion of activities to enhance student interactions. Ask questions or address issues you face in your school.

10:15–10:45 a.m., DaviS 3

increasing Participation among Underrepresented PopulationsPReSeNTeR: matthew Clauhs › After examining the traditional school music paradigm, music faculty in a northeastern district implemented new Modern Band electives at the secondary level and popular music pedagogy at the primary level. Enrollment data demonstrate how Modern Band courses increased participation among diverse groups. The experiences of these students and teachers can be useful to those wanting to increase school music participa-tion rates, especially for marginalized and underrepresented student populations.

10:15–10:45 a.m., DaviS 4

Now That i Have Your attention, What Do i Do with it?PReSeNTeRS: John Parsons & amy Simmons › Explore strategies for imple-menting several 2014 Music Standards in beginning instrumental instruction, namely goals related to Performing (Interpret; Rehearse, Evaluate, and Refine; Present) and Connecting. To teach students to be active music-makers and leaders in ensembles, we must focus learner attention on thinking creatively and using life experiences to inform decision-making. See video examples of three educators who teach these concepts skillfully. Learn techniques that are helpful to mentors and teacher-educators at all levels.

SponSored Sessions

Monday november 121:00–2:00 p.m., SaN SaBa 1

Strum & Drum—World Rhythms for Ukuleles and PercussionPReSeNTeR: Kalani Das › Energize your classroom with traditional songs and drum-ming ensembles from the Caribbean, Brazil, and West Africa. Learn effective and simple teaching strategies to engage students on all levels while you help them create exciting and meaningful music. Our focus is on creating quality music within a humanistic learning environment. Adaptations and modifications will also be addressed within a fluid teaching style. Some ukuleles provided. This session is based on the book Kalani’s World Rhythms.

✴ Sponsored by Peripole

1:00–2:00 p.m., SaN SaBa 2

are You looking for a Dynamic group Piano Curriculum?PReSeNTeRS: Chan Kiat lim, Susanna garcia › Whether you are a seasoned group piano teacher or just starting a program, dynamic and engaging materials make a difference. eNovativePiano’s multimedia curriculum can help solve common problems in group piano teaching by providing a customizable curriculum and ready-to-use lessons to fit your various class needs. Enhance your students’ learning experience with instructional and demonstration videos, animations, audio, and printables; and explore our teacher resources such as lesson plans, rubrics, and testing materials.

✴ Sponsored by eNovativePiano

1:00–2:00 p.m., SaN SaBa 3

The Future of music education— virtual acousticsPReSeNTeR: Jaed Parker › Learn what new technology can do to enhance the acoustics of your rehearsal room. Transport your rehearsal from a bright baroque hall to a grand cathedral to a custom preset of YOUR performance space with just a push of a button. Experience how Virtual Acoustics is changing Music Education. This sessions features a Virtual Reality demonstration of the technology.

✴ Sponsored by Wenger

1:00–2:00 p.m., meSilla 1

What Happens Between lessons? engaging and enhancing Practice with CollabraPReSeNTeRS: graham Baughman, Ron Karroll › Collabra Music is an interactive platform that engages and enhances the process of practice. Instructors and students can video record, share and collaborate around lessons, practices and assessments … real-time, anytime, anywhere … all in one system. From their browser-based dash-board, instructors can give time-stamped comments, and give feedback and praise, directly on the playhead. As a result of this connection and collaboration, students get better faster, and engagement and retention increase. Fully web-based; compatible with PCs/MACs/iOS/Android.

✴ Sponsored by Collabra music

1:00–2:00 p.m., meSilla 2

First Steps in music: Becoming Tuneful, Beatful and artfulPReSeNTeR: John Feierabend › All children are born with the potential to become

SponSored ‹ SeSSionS 2018

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musical. With inappropriate or no music experiences children can loose their intuitions for music. This workshop will provide a bridge from research to practice by demon-strating how a repertoire of traditional children’s songs, rhymes, games and dances as well as movement with classical music can develop the next generation of tuneful, beatful and artful citizens. To achieve that goal, an 8-part curriculum will be presented that can be easily used with preschool and elementary aged children.

✴ Sponsored by GIA Publications

1:00–2:00 p.m., EScondIdo 1

Ukulele or Guitar? Why one, versus the other? Why not Both? Tips and Tricks that Work!PRESEnTER: Glen Mccarthy › The popularity of ukulele continues to grow. Guitar is a proven instrument. This session will highlight the pros and cons of each and will help you decide what will be best for your curriculum.

✴ Sponsored by GAMA

1:00–2:00 p.m., EScondIdo 3

We Should Be Leading ThisPRESEnTERS: John Mlynczak & Lane Velayo › Technology in education is about empowering students to be creative self learners, and that is what music education has always done. This presentation will explore the creative technology landscape and discuss ways that music educators can be leaders in this field by applying the same creative pedagogy we always have.

✴ Sponsored by TI:ME

1:00–2:00 p.m., HIGH PLAInS 1

Get Your Students Excited with Solfeg.io + Ukulele GiveawayPRESEnTER: Lauma Kazaka › Meet Solfeg.io—a K–12 music education software that engages the whole class to play music together! The recipe is a well known song + simple technology + your own classroom resources. Save time on preparing materials and get your students excited about upcoming music lessons! Come to our workshop, try it and participate in the uke giveaway! We’ll hand out free lesson plans for interested teachers as well.

✴ Sponsored by Solfeg.io

1:00–2:00 p.m., TExoMA 1–2

Rock the Audition— How to Prepare for and Get cast in Rock MusicalsPRESEnTER: Sheri Sanders › Sheri will work with a small handful of teachers who sing—and performers and students as well—on her pop/rock audition cuts on Musicnotes in as many styles of popular music as possible so everyone is clear about and inspired by the current market and how to thrive in popular music in a musical theatre setting.

✴ Sponsored by Rock the Audition

1:00–2:00 p.m., TExoMA 3

Speaking Their Language: Inspiring Engagement in Grades 4–8PRESEnTER: Graham Hepburn › Explore the intersection of technology and popular music as powerful tools for increasing engagement and retention in upper elemen-tary and middle grade students. Participants will learn strategies for incorporating modern music, songwriting, digital composition, and much more! You’ll walk away ready to meet your students where they are, using the music and devices already in their possession to address age-appropriate concepts and skills while inspiring a connection to music that will last a lifetime.

✴ Sponsored by Quaver

Tuesday November 131:00–2:00 p.m., EScondIdo 3

I Have a degree in Music, not TechnologyPRESEnTER: John Mlynczak › Struggling to keep up with how to use school tech in your music program? Do your tech PD days not apply to music? Then this session is for you! Come learn the need-to-knows of using tech in music programs.

✴ Sponsored by TI:ME

1:00–2:00 p.m., MESILLA 1

Bringing Keyboards in the classroom to Your SchoolPRESEnTER: Mark Linn › If you’ve always wanted to start a group piano program at your school, this is the session for you. With this program, classroom music teachers can create more music-makers at their school and complement existing band, orchestra and choir programs. Not only are group keyboard classes a fun and enriching activity, but college-bound students who aspire to become band and orchestra directors will get

2018 sessioNs › SponSored

a head start on learning the keyboard skills that will be required to earn their music education degree. And adding group piano as a classroom option will strengthen your job position by adding more students to your teaching load.

✴ Sponsored by national Piano Foundation

1:00–2:00 p.m., MESILLA 2

dorico—The Future of ScoringPRESEnTER: Greg ondo › Steinberg’s Dorico offers an innovative, fresh and musical approach to creating beautiful scores on your computer effortlessly. Learn the advantage of new workflow paradigms for flows, cues, lyrics, engraving and composing to video. Dorico’s new approach and workflows make it significantly easier and faster to produce high quality scores. Don’t miss this exciting opportunity to see Dorico in action.

✴ Sponsored by Yamaha

saVe THe daTe!

The next nAfME national conference is

November 6–10, 2019Gaylord

Palm sPriNGs resorT

orlando, Florida


Workbooks for Building and Evaluating Effective Music Education

The NAfME Workbooks for Building and Evaluating Effective Music Education include materials to help music educators evaluate the quality of their program, as well as tools to help music educators discuss teacher evaluation within the context of their music classroom with school administrators. Available in hard copy and digital, fillable PDF files, these workbooks also include materials to help assess student growth and to help identify specific music classroom practices that exemplify appropriate music teaching strategies.

Detailed sections include:

• An overview on how to use the workbook• How to evaluate the Opportunities to Learn in your program• Guidance on measuring student achievement• A series of evaluation worksheets that provide teacher evaluation rubrics related

to the frameworks of Danielson, Marzano, Marshall, and McREL. These worksheets provide administrator-based language for evaluation as well as concrete music classroom examples which relate directly to what an administrator is looking for during teacher observations.

• An extensive series of appendices, including additional resources in teacher evaluation and student assessment

Purchase your Workbook for Building and Evaluating Effective Music Education today: bit.ly/GMWorkbooks.

nafme.org | 1-800-336-3768

2016 EDITION, REVISED

WORKBOOKfor Building and Evaluating EffectiveMusic Education in Ensembles

2016 EDITION, REVISED

WORKBOOK

for Building and Evaluating Effective

Music Education in General Music

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2018 thanks to our exhibitors

Charms OffiCe assistant Booth 120a

14850 Montfort Suite 160 LB32 Dallas, TX 75254 charmsoffice.com

COllabra musiC Booth 116

14600 Woodbluff Trace Louisville, KY 40245 collabramusic.com

COnn-selmer, inC. Booth 121a

1665 Oak Ridge Place Williamsport, PA 17701 conn-selmer.com

COstume hOliday hOuse Booth 152

3038 Hayes Avenue Fremont, OH 43420 costumeholidayhouse.com

enOvativePianO Booth 130

519 W. St. Louis Street Lebanon, IL 62254 enovativepiano.com

figarO sOftware Booth 120b

2400 NW 80th Street # 237 Seattle, WA 98117 figaromusicapp.com

gia PubliCatiOns, inC. Booth 128

7404 S. Mason Avenue Chicago, IL 60638 giamusic.com

hOnOrs PerfOrmanCe series Booth 159

1359 Broadway, Suite 1504New York, NY 10018honorsperformance.org

J.w. PePPer Booth 124

7459 Airport FreewayRichland Hills, TX 76118jwpepper.com

JOstens, inC. Booth 156

7760 France Avenue S.Minneapolis, MN 55435jostens.com

Kansas state university glObal CamPus Booth 145

1615 Anderson Avenue Manhattan, KS 66502 global.k-state.edu

Khs ameriCa aCademiC allianCe Booth 105

12020 Volunteer Boulevard Mt. Juliet, TN 37122 academicalliance.com

lee university Booth 163b

1120 N. Ocoee Street Cleveland, TN 37311 leeuniversity.edu

library Of COngress Booth 167

101 Independence Avenue SE Washington, DC 20540 loc.gov

little Kids rOCK Booth 160

271 Grove Avenue, Bldg. E2 Verona, NJ 07044 littlekidsrock.org

medieval times Booth 153

2021 N. Stemmons Freeway Dallas, TX 75207 medievaltimes.com

musiC City POPCOrn, llC Booth 162 a&b

188 Front Street, Suite 116-9 Franklin, TN 37064 musiccitypopcorn.com

musiC in mOtiOn Booth 148

1601 E. Plano Pkwy., Suite 100 Plano, TX 75074 musicmotion.com

musiC studiO, mCgraw-hill eduCatiOn Booth 138

4225 E. Waneta Lake Road Dundee, NY 14837 mheducation.com

musiC water Of the wOrld, inC. Booth 135

1114 Lost Creek Boulevard Austin, TX 78746 musicwater.com

natiOnal federatiOn Of state high sChOOl assOCiatiOns Booth 146

PO Box 690 Indianapolis, IN 46206 nfhs.org

nKOda Booth 149

70 Conduit Street London, WIS 2GFA nkoda.com

PePwear Booth 142

1540 High Meadows Way Cedar Hill, TX 75104 pepwear.com

PeriPOle, inC. Booth 108, 109, & 110

PO Box 12909 Salem, OR 97309 peripole.com

PrOdigies, yOung musiC, llC Booth 117

2358 Dutch Neck Road Smyrna, DE 19977 preschoolprodigies.com

QuavermusiC.COm Booth 147

1706 Grand Avenue Nashville, TN 37212 quavermusic.com

rOwman and littlefield Booth 173

15200 NBN Way, Bldg. C Blue Ridge Summit, PA 17214 rowman.com

35NAfME.org

THANKS TO OUR EXHIBITORS 2018

SILVER BURDETT/PEARSONBooth 104

939 Terrace DriveLantana, TX 76226pearsonschool.com

SIMPLY SHEETS FUNDRAISING, LLCBooth 158

980 Cobb Place Boulevard NW Suite 100Kennesaw, GA 30144simplysheets.net

SNAP!RAISEBooth 144

939 Westlake Avenue N.Seattle, WA 98109snap-raise.com

SOLFEG.IOBooth 134

Elizabetes iela 45/47 (4th Floor)Riga, LV-1050, Latviasolfeg.io

STEINWAY & SONSBooth 132

One Steinway PlaceAstoria, NY 11105steinway.com

SUPER-SENSITIVE MUSICAL STRING CO.Booth 125

1805 Apex RoadSarasota, FL 34240supersensitive.com

SWEET ADELINES INTERNATIONALBooth 131

9110 S. Toledo AvenueTulsa, OK 74137sweetadelines.com

TONARABooth 118

2nd Kaplan StreetTel Aviv, Israel tonara.com

UNIVERSAL ORLANDO RESORTBooth 121b

1000 Universal Studios PlazaOrlando, FL 32819universalorlando.com

UNIVERSITY OF THE ARTSBooth 139

320 S. Broad StreetPhiladelphia, PA 19102uarts.edu

WENGER CORPORATIONBooth 163a

555 Park DriveOwatonna, MN 55060wengercorp.com

WURRLY, LLCBooth 106 & 107

12301 Wilshire Boulevard Suite 302Los Angeles, CA 90025wurrly.com

Music is Part of a

Well-rounded Education

Every Student Succeeds Act (ESSA)

REINFORCE what’s in the law.

REMIND stakeholders about the benefits of music education.

REQUEST that your school and community leaders collaborate with the State Board of Education.

Photo Credit: Rob Davidson Photography

Download your free ESSA Brochure or order complimentary copies at nammfoundation.org

REMIND stakeholders about the benefits of music education.

REQUEST that your school and community leaders collaborate with the State Board of Education.

Photo Credit: Rob Davidson PhotographyPhoto Credit: Rob Davidson Photography

Download your free ESSA Brochure or order complimentary copies at nammfoundation.org

The term ‘well-rounded education’ means courses, activities and programming in subjects such as English, reading or language arts, writing,

science, technology, engineering, mathematics, foreign languages, civics and government,

economics, arts, history, geography, computer science, music, career and technical education,

health, physical education, and any other subject, as determined by the State or local educational

agency, with the purpose of providing all students access to an enriched

curriculum and educational experience.”

S. 2277 (52)

“Well-rounded Education”

36 NAfME.org

Opus spOnsOrs

2018 cOnference spOnsOrs

TiTle spOnsOr

37NAfME.org

Bronze SponSorS

Gold SponSorS Silver SponSorS

conference SponSorS 2018

38 NAfME.org

precOnference fOrum presenTinG spOnsOr

WelcOme KeynOTe cOffee spOnsOr

drum circle spOnsOr

fOlK dancinG spOnsOr

jam sessiOn spOnsOr

sessiOn spOnsOrs

2018 cOnference spOnsOrs

AMPLIFY IS AN EXCLUSIVE ONLINE SOCIAL NETWORK JUST FOR NAfME MEMBERS.

• Discuss and Share – Younger educators can find ideas and share what they have learned. Experienced educators can mentor colleagues new to the profession. Plus, download resources relevant to your career—all in one platform.

• Network with Educators – Wherever you are, you can reach out to colleagues in other states and countries. Search a directory of your fellow 60,000 members.

HOW TO GET STARTED:

• Go to community.nafme.org.• Edit your profile using your NAfME.org member username and personal password.• Control what is visible on your profile.• Join/subscribe to communities of your choice – you will automatically be enrolled in

Music Educator Central.• Control the frequency and format of email notifications from Amplify.

Visit Amplify’s FAQ section: bit.ly/AmplifyFAQ (case-sensitive).

Reach Member Services at: 800-336-3768 or [email protected].

Bookmark Amplify on your browser: community.nafme.org.

AMPLIFYJOIN THE LARGEST COMMUNITY

OF MUSIC EDUCATORS IN THE COUNTRY!

40 NAfME.org

Thank you to these NAfME Corporate Members for supporting music education and music educators!

If you would like more information about becoming a NAfME Corporate Member,go to nafme.org/corporate or e-mail us at [email protected]

Gold level

Alfred Music alfred.com

Casio America, Inc. casiomusicgear.com

Custom Tours, Inc. customtoursinc.net

deMoulin Brothers & Company demoulin.com

disney Performing Arts disneyyouthprograms.com

educational Performance Tours educationalperformancetours.org

educational Tours, Inc. tours-eti.com

GIA Publications, Inc. giamusic.com

Hal leonard, llC halleonard.com

J.W. Pepper & Son, Inc.* jwpepper.com

Jazz at lincoln Center* jazz.org

KHS America jupitermusic.com

little Kids Rock* littlekidsrock.org

Music and the Brain* musicandthebrain.org

Music for All, Inc.* musicforall.org

Music Teachers National Association* mtna.org

MusicFirst musicfirst.com

Musician’s Toolkit* musicianstoolkit.com

NAMM* namm.org

National Federation of State High School Associations* nfhs.org

Neil A. Kjos Music Company kjos.com

QuaverMusic.com QuaverMusic.com

Simply Sheets Fundraising, llC simplysheetsfundraising.com

Steinway & Sons steinway.com

Tonara tonara.com

Universal orlando Resort universalorlandyouth.com

SIlveR levelAmerican orff-Schulwerk Association* aosa.org

Barbershop Harmony Society* barbershop.org

CodaBow International, llC codabow.com

encore Tours encoretours.com

MakeMusic, Inc.* makemusic.com

National Piano Foundation pianonet.com

Rock and Roll Forever Foundation* teachrock.org

Stage Accents stageaccents.com

West Music Company westmusic.com

Westminster Choir College rider.edu/wcc

WorldStrides worldstrides.org

Wurrly, llC* wurrly.com

BRoNze levelAmerican Composers Forum* composersforum.org

American School Band directors Association* asbdaband.org

Beacock Music beacockmusic.com

Breezin’ Thru, Inc. Breezinthru.com

Carl Stewart’s drums for drummers drumsfordrummers.org

Choirs of America VocalMusic.org

ChordBuddy chordbuddy.com

Chorus America Association* chorusamerica.org

CodA Concerts codaconcerts.com

Conn-Selmer, Inc.* conn-selmer.com

Cousin’s Concert Attire concertattire.com

The domestic Musician thedomesticmusician.com

drum Corps International* dci.org

eASTMAN EastmanMusicCompany.com

education Through Music, Inc.* ETMonline.org

el Sistema USA* elsistemausa.org

Forum Music Festivals forummusicfestivals.com

Galaxy Music Notes galaxymusicnotes.com

GAMA* discoverguitar.com

2018 NAfME CorporAtE MEMbErs

* Indicates a Music Education Policy Roundtable Member

(as of September 24, 2018)

41NAfME.org

NAfME CORPORATE MEMBERS 2018

Ginger Snaps Apparel and Praise Hymn Fashionsgingersnapsapparel.com

Gordon Institute for Music Learning*giml.org

Kwala Musickwalamusic.com

League of American Orchestras*americanorchestras.org

Longy School of Music of Bard College, MAT Programlongy.edu/social-change-through-music/mat/

Metropolitan Opera Guild, Inc.metguild.org

Music City Popcorn, LLCmusiccitypopcorn.com

Music In the Parksfestivalsofmusic.com

Music Meets Academiatestrevue.com

Musicnotes, Inc.musicnotes.com

National Educational Music Co. LTDnemc.com

NUVO Instrumental, LLCnuvo-instrumental.com

Organization of American Kodaly Educators (OAKE)*oake.org

Percussive Arts Society*pas.org

Phi Mu Alpha Sinfonia Fraternity of America*sinfonia.org

Progressive Music*progressivemusiccompany.com

Remo, Inc.remo.com

Sheet Music Plussheetmusicplus.com

Silver Burdett/Pearsonpearsonschool.com/music

Soundwaves Recording, LLCsoundwaves.org

Strathmore Hall Foundation, Inc.*strathmore.org

Super-Sensitive Musical String Co.supersensitive.com

Sweet Adelines Internationalsweetadelineintl.or g

Titanic Museum Attractiontitanicbranson.com

VH1 Save the Music Foundation*vh1savethemusic.com

Weill Music Institute, Carnegie Hallcarnegiehall.org/education

Winter Guard International*wgi.org

Wisely Music Learning, Inc.wiselymusiclearning.com

Created through the Teaching with Primary Sources program of the Library of Congress

Focused on helping educators connect to the Library of Congress’s digitized archives, and helping teachers learn how to incorporate primary sources into the classroom, NAfME has created curriculum units connected to the Library’s vast resources in music, including audio, video, still images, and sheet music files.

• Band: middle and high school• Orchestra: middle and high school• Chorus: middle and high school• General Music: elementary

Download the newest curriculum units at bit.ly/LOCcurriculum.

nafme.org | 1-800-336-3768

Curriculum Units for the 2014 Music Responding Standards

Chorus Responding Unit, Accomplished Level

A Curriculum Project of

the National Association for Music Education (NAfME)

and the Library of Congress of the United States (LOC)

Teaching with Primary Sources

GENERAL MUSIC RESPONDING UNIT, GRADE 2RESPONDING TO MUSIC THROUGH MOVEMENT

A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States (LOC)

Teaching with Primary Sources

42 NAfME.org

NAfME Young Composers Concert Program

TuesdayNovember 13 10:30–11:30 a.m.

Gaylord Texan, Dallas, Tate Level

Composers:Helen Lyons (New York, NY) ....................................“midnight Traveler”

David Jung (East Northport, NY) ............................“seafoam Green”

Kalysha Chandler (Provo, UT) .................................“Uncommon Aberrance”

Winston schneider (Omaha, NE) ............................“scherzo of the Feather stars”

Josh Conklin (Basking Ridge, NJ) ...........................“rekindling phoenix”

perFormers:Florence Wang ............................................................................................ violin

Arthur Busby ............................................................................................... violin

susan Dubois .............................................................................................. viola

Debbie Brooks ............................................................................................. cello

Anastasia markina ...................................................................................... piano

(The performing group is provided by DFW Musician Services.)

Thank you to steinway & sons for generously providing this year’s performance piano.

Winning compositions from the 2018 NAfME Student Composers Competition

Learn about all the winners of the 2018 Student Composers Competition at bit.ly/NAfMEStudentComposers.

n Concert order will be announced from the stage.

n Student Composers and the performers will speak about these winning compositions and will share ideas on how to engage students in composition.

n The conversation will be moderated by Patricia Riley, Chair of the NAfME Composition Council.

The National Association for music education (NAfme) thanks philip Lasser and the european American musical Alliance for their generous support of the 2018 NAfme student Composers Competition.

The European American Musical Alliance (EAMA), is a not-for-profit arts organization committed to fostering and promoting the classical arts. Its mission is to teach, to broaden the interest in the arts, and to present composers and performers of the highest caliber. EAMA offers summer music programs in composition, conducting, and chamber music at the historic Schola Cantorum in Paris, France—taught in the tradition of the legendary Nadia Boulanger. These programs offer intensive study of counterpoint, harmony, analysis, and musicianship, as well as composition and chamber music performance taught by professors from The Juilliard School, Indiana University, Mannes College of Music, Westminster Choir College, Peabody Conservatory, San Francisco Conservatory, the Paris Conservatory, the école Normale de Musique de Paris, and La Schola Cantorum.

2018 young Composers ConCerT

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