cmea news spring_conference 2014.pdf

volume LXV, number 3www.cmea.org

CMEA NEWSCONNECTICUT MUSIC EDUCATORS ASSOCIATION

In Service Conference 2014Crowne Plaza, Cromwell, Connecticut

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CMEA NEWSCONNECTICUT MUSIC EDUCATORS ASSOCIATION

Volume LXV, Number 3

INSIDE THIS ISSUE

President’s Report by Stephanie Zak ..................................3

CNAfME State Council by Sarah Petersen .................................5

Teaching the Creative Process: One Step at a Time by Kim Yannon .....................................9

Student Affairs Commission by Ned Smith ..................................... 12

CMEA In-Service Conference Preliminary Schedule .. 13

Love Your Chromatic Scales Every Day by Joan Winters ................................. 19

Windsor Students Spread Holiday Cheer in Honor of Sandy Hook Victims by Benjamin Mueller ............................ 21

Berklee World Strings Workshop/Concert by Joan Winters ................................. 23

Active Listening Music Activity by Lynne Kearney ............................... 25

CMEA In-Service Conference Registration Form ...... 26

NAfME Registration Form ................................ 27

Stay current with us on Facebook!Go to Connecticut Music Educators Association

Share ideas, concert events, report “Good News” in your school/district/college campus!

2 CMEA News, Spring/Conference, 2014

For complete information: www.music.ccsu.edu Get your Master’s in 4 Summers @ CCSU!

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GENERAL MUSIC Sound Connections in the Comprehensive Music Curriculum — Janet Barrett Dalcroze Eurhythmics: Experiencing Rhythm in Your Whole Body — David Frego Integrating iPads into the Elementary Music Classroom: A Course For Elementary Teachers Taught By An Elementary Teacher — Amy Burns Of Stories and Songs: Composing Our Way through K – 5 — Janice Smith and Michele Kaschub Cultivating a Creative Learning Community in the General Music Classroom — Kim Yannon Get Them Moving, Keep Them Moving! — Jan Baker

CHORAL MUSIC Building a Choral Program of Depth and Excellence — Christine Bass Recruiting, Engaging, and Retaining Singers! — Christine Bass Choral Directors’ Symposium — Drew Collins Topics in Vocal Techniques: The Unseen Instrument — Judith Nicosia Choral Conducting Inside and Out — Amanda Quist

INSTRUMENTAL MUSIC Effective Teaching Strategies for the String Class — Kirk Moss Teaching Improvisation with Technology — Michael Fein Topics in Instrumental Music Education: Brass Techniques — Daniel D’Addio Composing and Arranging for School Bands — Scott Watson Instrumental Repertoire for the Curious Music Educator — Rodney Winther Instrumental Conducting — Rodney Winther

MUSIC TECHNOLOGY Music, Multi-Media, Creativity & Learning — Gena Greher Teaching Improvisation with Technology — Michael Fein Integrating iPads into the Elementary Music Classroom: A Course For Elementary Teachers Taught By An Elementary Teacher — Amy Burns Finale: A Music Teacher’s Best Friend — Scott Watson iPad Music Tech Camp — Stefani Langol Tech Inspired Music Education! — Stefani Langol Presenting, Practicing, and Performing with iPads — Tom Rudolph SmartMusic Applications for Instrumental and Choral Students and Ensembles — Tom Rudolph Teaching Music in the Cloud — James Frankel (Online)

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CMEA News, Spring/Conference, 2014 3

PrESIDENT’S rEPorT

by Stephanie Zak, CMEA President, Music Instructor, Meriden Public Schools

Greetings from the frozen tundra of Connecticut! For those of you who are snow lovers,

I hope you have enjoyed the storms and Polar Vortex. If you were one of the lucky ones

who were able to hop a plane to somewhere warm, I am thoroughly jealous! I am hoping that

Spring is somewhere around the corner and that the HUGE snow piles will produce luscious

green grass and beautiful flower beds!

Since my last article, the Student Affairs Commission has been keeping busy with adjudications and festivals. I want to thank each region for their hospitality and for all of the questions and suggestions for CMEA Executive Board to ponder. It is your voice, the membership, which drives change in CMEA. In the coming months, the Executive Board will revising portions of the CMEA Handbook of Guidelines and Policies, while Students Affairs Commission will be finalizing the SAC Handbook (which will include items such as high school and middle school

audition and festival information, job descriptions, policies, etc).

I wou ld l i k e t o f o rma l l y congratulate Richard Diamond and Matt DeLassus as our interim Eastern Region Co-Chair Directors. They will serve in the position until a formal election takes place. I assure you that they will be a united voice for the Eastern Region and I look forward to working with them.

I would also like to welcome another addition to the Student Affairs Commission staff -Andrew Potts. He, in conjunction with Ray Sinclair, will co-chair this year’s All State Festival. Please review the information that was sent via email regarding upcoming deadlines for All State. You may also view All State information on the CMEA website under the Student Events link.

Information regarding the 2014 In-Service Conference is now available on the CMEA website. There you will find a new scheduling strand format and registration rates that now include a ONE DAY OPTION in addition to a three day pass!

Also located on the home page of the website is a short survey regarding

professional development. I encourage all members to take a few minutes to fill out the survey – this data will drive decisions on how to present professional development to the membership in the future.

If anyone has rehearsal pictures from their region festivals, articles of interest, or news from their school district programs, please forward them to Bruce Connery (CMEA Editor) so we can include them in the next magazine.

I hope to see everyone at the 2014 In Service Conference!


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CNAfME STATE CoUNCIl

by Sarah Petersen

It seems like spring will never come with all this snow we’ve been having, but the

Collegiate State Council is very excited for everything we have planned for this spring!

First up is our second annual Benefit Concert which we have rescheduled for February 23rd. We are grateful for the collegiate performers who have taken time out of their busy schedules to share music with us for this event! We will once again benefit Horns for Kids and we are thrilled to be helping this program! For more information, visit their website: www.hornsforkids.org.

Our next planned event is the conducting workshop for collegiate students on March 29th. Because of the success of last year’s event, we will expand the day to include choir as well as band. We have spoken to our faculty clinicians and have begun to discuss possible repertoire. We are excited to, once again, host this event at Central Connecticut State University! Also on the distant horizon is an end-of-the-year social event. Collegiate students, if you have any ideas for this event, please send us an e-mail at [email protected].

We are always excited to hear about the efforts of our music education students at our Connecticut Universities. We are pleased to share with you the wonderful goings-on at the University of Connecticut!

Valerie Stickles, UConn NAfME President, shared the following: “Over the winter break, the UConn chapter received funding from the Neag School of Education to hold a “mini-conference” at UConn that will address some of the unforeseen obstacles faced by music educators that aren’t necessarily addressed in university-level teacher preparation programs. We are in the process of planning the event titled “Behind the Scenes of a Successful Program: A Professional Development Day for Aspiring Educators.” The event will take place on Saturday, March 8th from 9:00am to 12:00pm in the Charles B. Gentry Building at UConn. There will be three presenters – all current music teachers – who will be talking about things they wish they had known before becoming a music teacher.” Their chapter would like to extend an invitation to all of the NAfME chapters in Connecticut. Collegiate chapters should look to their chapter presidents for more information about this event.

For middle and high-school aged musicians, late winter and spring means Regionals and All-State festivals. Our Collegiate Council reminisced about our own experiences at Regionals. Personally, I was involved with Middle School Regionals as well as High School Regionals in the Northern Region. One of the most encouraging parts of these festivals, for me, was that I was surrounded by peers who had a similarly serious focus in music. At school, my peers weren’t always interested in music on the same level as I was but during those festivals, I could really share my passion for music with those who felt the same way. Collegiate Council Vice President Wesley Marchena and I

were looking back on our High School Regionals experience and we realized that we sang in the same Northern Regional Choir. Although we didn’t meet during the event, we became friends later on, which I believe is a testament to the enduring influence of these festivals. Through a high level of musical excellence, Regionals festivals brings students together, engaging everyone in a common goal, and builds connections that last long after the festival has ended.

Wesley Marchena, Collegiate Council Vice President, wanted to share his story: “Ever since elementary school I have been an instrumentalist. Upon entering high school I had become a more serious musician and wanted to find other ways to express my musicianship. This led me to audition for the school musical. The choral director, in charge of the musical, suggested I audition for regionals on voice as well. The choral director helped prepare me for the audition as far as what the judges are looking for, what to expect for sight singing, etc. If it was not for that teacher appreciating my talents and helping me grow as a musician I would have never had the opportunity to participate in a regional festival. The festival choir was the first choir I had ever participated in and though I had always been an instrumentalist I felt welcome. I learned that instrumental or voice we are all musicians no matter how we choose to express our craft.”

Jennifer Allin, Collegiate Council Secretary, shared her story as well: “My experience with Eastern Regionals was probably one of the scarier things I did in high school, but the work put in to prepare for it definitely made me a better musician. Although I’m a flute major, in high school I always auditioned for Regionals as a vocalist. I hated the days in our honors choir that we had to work on solfege, and I hated that our choir director made all 16 of us audition every year. However, she knew what she was doing, and I’m now very grateful to her. That very same solfege helped not only those Regional auditions, but my ear-training abilities as a


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freshman music major. As far as the actual Eastern Regional festival, it was an amazing experience, one that has stayed with me to this day! The teacher who worked with the choir was incredible, and every piece selected was of the highest quality. Also, being involved in such an intense rehearsal schedule was my first glimpse of what a degree in music might be like. My first concert introduced me to Mozart’s Laudate

Dominum, which has since become one of my all-time favorite pieces. Years into college I couldn’t forget how much I loved those experiences, and so I’ve returned to voice lessons and singing ensembles at CCSU. Regionals was a fantastic part of my secondary school experience, even the years that I didn’t get in, and I encourage every music student to audition at least once before they graduate.”

Finally, we always love to hear from you! Please send us any news about your collegiate chapters as well as other events that we may be able to promote! Together, we can support each other as future music educators and the Collegiate Council hopes to facilitate that. If you wish to get in contact with any member of the council, please send a note to our e-mail address: [email protected].

2013-14 State Council Executive BoardSarah Petersen, senior, Western Connecticut State University, PresidentWesley Marchena, senior, Western Connecticut State University, Vice PresidentJennifer Allin, senior, Central Connecticut State University, SecretaryMary Gorry, junior, Central Connecticut State University, Activities Chair

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TEACHINg THE CrEATIvE ProCESS: oNE STEP AT A TIME

by Kim Yannon

This article is the second in a series dedicated to creative exercise in the music classroom.

In my last article, I attempted to stoke the fire for teaching creativity in the music classroom

by providing a defense for the inclusion of both heuristic (open-ended, problem finding) and

algorithmic (formulaic, step-by-step process, problem solving) creating experiences. I cited my

own research, which did not show either instructional style to have a significant effect on the

creativity outcomes of students when taking their creativity aptitude into account. I concluded

that this was good news for teachers: that it was more important to provide students with both

approaches so that they can practice divergent and convergent thinking skills and experience

both problem-solving and problem-finding activities. All students have the ability to be creative.

Maybe you were intrigued enough to await this second essay dedicated to the components of the creative process. I hope you were, and I hope that it inspired you to do some research on your own. In this article, I will outline the progressive behaviors related to creative output and provide some examples of their inclusion in a music or ensemble classroom.

In the music classroom, creativity takes the form of improvisation and composition, exemplified by Content Standards 3 and 4. Researchers have attempted to not

only codify the processes used in creative practice, but also their discriminating characteristics. Burnard (2000) describes improvisation as “spontaneous single-event performances” and composition as “creating revised pieces,” suggesting that the process component of revision is the discriminating factor. John Kratus’ (1994) process components of composition which include exploration, development, and repetition. This suggests that improvisation can be a step toward composition, but the development and repetition of musical ideas are what constitute the compositional part of the process. Others suggest the difference lies in the time constrain involved - improvisation unfolds in real time, composition is allowed to exist “off the grid,” so to speak - and whether the process culminates in some sort of notation (Lehmann, Kopiez, 2010).

Improvisation, while certainly a worthy goal itself, can also be a generative process for composition. Mary Cohen (2011) makes the distinction between structured and free improvisation and, in

listing the benefits of each, points out the ability of free improvisatory activities to result in a bank of musical ideas. Maud Hickey (2012) calls this “scribbling” and also advises this exploratory activity to create musical ideas that can be used as the basis for future compositions.

For my own classroom purposes, I have settled on the following as component processes for creative practice: exploration, planning, developing/constructing, revising, evaluating. I use and train my students in this creative practice routine for both individual and collaborative projects.

Exploration: This process includes time for free improvisation and recording of ideas in a music journal. I allow students to use standard and iconic notation, including solfege syllables, stick notation, etc...While I do not subscribe to the philosophy that a composition has to be written down, I do value notational systems as a way to remember (from week to week) ideas and share with others. It is important to note that periods of free improvisation may result in more


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musical ideas than would ever be used in musical compositions. Free improvisation also may occur as simply an isolated activity, especially if there is a sub!

Planning: Composition in my classroom is usually used a means of assessing a student’s understanding of musical concepts. Because of this, a planning period is crucial. Whether we are studying variation, beginnings and endings, sameness and differentness (unity and variety) or ostinato, students need time to consider their options and decided what the final product will sound like. It’s the same process I would use to set instructional goals and the same process I would hope my students would use throughout their life to imagine a particular outcome before planning the steps needed to achieve that outcome. It is a life lesson, really.

Developing/constructing: This is the time consuming process and may not be able to be accomplished in a class period. While students should engage in short, fun, creative activities in each class period, longer projects are also appropriate. Your role in the class would be as consultant and facilitator - and to offer an occasional reminder about practice dynamics! Keep in mind is that not all students will complete this step at the same time. The development phase should be flexible and occur with some regularity.

Revising : Once students have completed their work, a period of practice and revising should be afforded students. This practice can take the form of an initial performance for the class with feedback, a performance for the teacher with feedback, or just a period of time allowed for making changes. In any case, the first complete hearing of a work should spur constructive criticism by the composer. It is important to train students to take time at this step

of any creative process to revise. Again, it is a life lesson.

Evaluation: The final product should also go through a closing evaluation and students should be able to answer the following questions: 1) what was I trying to achieve or communicate by composing this piece, 2) what was most/least effective about my piece, and 3) would I do something different if I were starting over? These questions can also be changed to accommodate a group or peer assessment.

I train my students to follow this process by laying out the process before an activity is started and by periodically interrupting short term group and solo creating projects with questions:1) Who is still working on the first step

of coming up with a musical germ?2) Who has settled on an idea and is

working on what the final product will sound like?

3) Who is putting their composition together?

4) Who has started practicing their finished product?

For short, algorithmic projects that should result in the same length composition from every student or group, I have a group practice. Everyone can respond to a prompt (counting off, a song/poem for which they have composed an interlude/introduction/coda) by performing at the same time. It gives them a sense of performing, but without an audience. I can quickly assess if someone’s response is too long or too short and can offer suggestions. I follow this with a period of revising before the final performance.

For long term projects, in addition to allowing students to use standard or iconic notation for the purposes of remembering ideas over time and making revisions I do use mp3 and video recording of “in process” compositions so students can be

quickly reminded of their progress. For older students, audio recordings can be stored, coded, of course, on the music website for working at home.

Once compositions are completed, how are they assessed? I will share some ideas in our spring issue. Until then, if creative work is not a regular part of your classroom routine, it will be worth your while to experiment with small solo and group projects. You may have to consider your room configuration, a journal system for students, electronic means for recording progress, easy access to classroom instruments, and, most importantly, the ability of your students to work independently. Having children compose simple introductions, codas, ostinatos, and variations on songs they a familiar with, will give you an opportunity to practice the creative process and introduce independent creative work to your students.

Resources:Burnhard, Pamela (2000). Examining

experiential differences between improvisation and composition in children’s music-making. British Journal of Music Education, 17(3), 227-245.

Cohen, Mary (2011). Exploring the differences between improvisation and composition. ESTA International Conference.

Hickey, Maud (2012). Music outside the lines: Ideas for composing in K-12 music classrooms. New York: Oxford University Press.

Kratus, J (1994). The ways children compose. In H. Lees (ed.) Musical connections:Traditions and change (pp.128-140). Auckland, NZ : ISME.


STUDENT AffAIrS CoMMISSIoN

by Ned Smith

“Alone we can do so little; together we can do so much.” ~Helen Keller

Happy Conference everyone! Yes, we should celebrate that as a holiday.

The ability to bring together music educators and their students for a few days of collegial conversation and the All-State festival should be a truly celebrated opportunity. The lifeblood of CMEA moving forward will be our ability to network like-minded professionals to develop new ideas, mutual respect for our successes and challenges, and a shared vision for what music education in Connecticut could be. Every opportunity to get involved or spend time with fellow CMEA members can be a step in that direction.

Traditionally, we reserve the last issue of CMEA News to say thank you to those who have been involved with student events; but this year I’ve realized

that the end of the school year does not give us ample time to truly appreciate the work done by so many individuals recognizing the true spirit of camaraderie and collaboration that should typify the CT Music Educator’s Association. As you begin the last part of your school year, I do hope that you can take some time to thank those who have worked within your regions to host auditions or put together concert festivals. Perhaps now is the time to assess whether or not you can take on some piece of process and get involved. If you’ve ever wanted to see something in CMEA change, the only answer is to get involved.

Particularly in this school year with a number of changes in personnel, I truly appreciate the help we’ve had from those who sit on the Student Affairs Commission. If you happen to see them during the conference or during this last

part of the year, please do share your appreciation with them. These are all people who believe that “together we can do so much.”

Region Directors:North - Walter CulupSouth - Theresa VossEast - Richard Diamond and Matt DeLassus (Interim)West - Nick Albano

All-State Chairs:Ray Sinclair and Andrew Potts

Adjudication Chair:Kenneth Shelley

Secretary:Dana Saccomono

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68th CMEA In-Service Conference and All State FestivalApril 3-5, 2014 Crowne Plaza Hotel, Cromwell

Register Now! New strand schedule and registration options! Sessions of interest to all music educators, including the latest in technology will be presented through-out the conference. Additionally, a special focus will be given to each individual day. New single day registration option is available in addition to a special 3 day rate. Thursday 4/3 Special focus: String/Orch/Instrumental, Pre-service (collegiate), University. ASTA sponsored reading session Concert Hour: Ridgefield HS Orchestra and Redding Grade 4 string quartetFriday 4/4 Special focus: Band/Instrumental, featured clinician Lauren Heller Reynolds & the CCSU Wind Ensemble. Concert Hour: Darien HS and New Milford HS Wind Ensembles CMEA Elementary Honors Choir concert at nearby Middletown HSSaturday 4/5 Special focus: Choral/General Music, featured clinician Joy Hirokawa, ACDA reading session, Drum Circle, SEED sessions Concert Hour: Hartt Primi Voci, The Voices of Bristow All State Festival Rehearsals: Thursday and FridayEvening performances: UCONN’s Funky Dawgs (Thurs) and Yale Whiffenpoofs (Fri)

All State Festival Concert will be held on Saturday, April 5 at 3 pm at the Bushnell in Hartford. Tickets may be pre-ordered on the conference registration form and will be also sold at the door.

Pre-register by March 24th!Registration form on page 26 and also at www.cmea.org


CMEA In Service ConferenceApril 3-5, 2014

Crowne Plaza Hotel, Cromwell

In keeping with the new professional development emphasis, sessions have been scheduled by strand: Thursday will feature ASTA sponsored sessions for string teachers and sessions dedicated to technology

(SmartMusic, Finale, SoundTree) and collegiate – with sessions for students and teachers.

Friday will feature sessions for all levels of band/instrumental as well as a reprise of technology sessions from Thursday.

Saturday will feature general music and choral sessions as well as a strand for SEED/assessment.

Each day of the conference will feature Honors Groups performances (listed below) and a grab and go lunch with opportunity to discuss issues related to the new National Standards.

Michael Mances, Scott Shuler, and John Kuhner will moderate these discussions.

Featured presenters include: Joy Hirokowa, conductor of the 2014 Elementary Honors ChoirLauren Reynolds, Director of Bands, Central Connecticut State University

The CCSU Wind Ensemble

Looking forward to seeing you all in April!

Preliminary schedule subject to change. Please consult website in mid-March for finalized schedule

Thursday, April 3

They Knew How to Play in June! Kathryn FauselConnecticut Arts Administrators Association Michael MancesClassroom Management: The Key to Successful Teaching Lillie H. FeierabendConnecticut Alliance for Arts Education: Meet the New Guy on the Block Jeffrey SpectorFind that Fabulous Fingering; A guide for the non-cellist

teaching strings or the advanced cello student Julie RibchinskySEED Success with SmartMusic Leigh Kallestad, Make MusicTeaching Music in the Cloud James Frankel, SoundtreeAlternate Rehearsal Techniques for Beginners Kevin MixonLinks to Common Core Literacy: Music IS the Answer Demaris HansenDeeper Meaning through Formal Structures in Choral/Vocal Music Kevin Jay IsaacsT ASTA General Meeting Kathryn FauselWhat’s New in Finale 2014 Tom Johnson, Make MusicNew Standards Conversation/Grab and Go Lunch Michael Mances, Moderator

Honors Groups Performances: Ridgefield High School Orchestra, Michael McNamara, Director

Redding Elementary Grade 4 String Quartet, Mary Jane Rodgers, Director


Teacher Leaders in Music Education Demaris Hansen/Angela D. GriffinThe 21st Century Music Classroom: Flipping Guitar And Digital Audio Jeremiah CrowleyTop Five Finale 2014 Time-Savers for Band, Choir and Orchestra Directors Tom JohnsonSmartMusic Anywhere, Anytime, on iPad Leigh Kallestadf You Program It, They Will Come: Strategies for Audience Development

& Positive Community Relationships for the Artistic Ensemble Reginald M. HouzeAssessment: A Partnership Between Students and Teacher James HilbieiPads in the Classroom Karla McClainBuilding Your Instrumental Program in Urban and Rural Schools Kevin MixonHow to Advocate for Your Arts Program John J. GallagherUniversity Supervisors Gathering Moderator TBACT ASTA Reading Session Kathryn FauselUsing SmartMusic and Finale Together Leigh Kallestad, Tom JohnsonMusic Therapy: An Introduction and Overview of the Profession Bryan HunterCT ASTA Board Meeting Kathryn Fausel

Friday, April 4

New Directions in EWI/Wind Controller Programming Wayne PierceComposing with your Ensemble Matt DeLassus/Glen AdsitSuccessful Strategies for Exceptional Learners in Instrumental Music Kevin MixonSEED Success with SmartMusic Leigh Kallestad, Make MusicWhat’s New in Finale 2014 Tom JohnsonInstrumental Music Literacy: 3 Keys to Reaching your

SLOs and Building Superior Ensembles Stephen Zimmerman/Jim LesieurBeyond the Beat: Gesture and Technique Lauren ReynoldsAlternate Rehearsal Techniques for Beginners Kevin MixonSmartMusic Anywhere, Anytime, on iPad Leigh KallestadTeaching Music in the Cloud James Frankel

Honors Groups Performances: New Milford High School Wind Ensemble, David Syzdek, Director

Darien High School Wind Ensemble, Jonathan Grauer, Director

New Standards Conversation/Grab and Go Lunch John Kuhner, ModeratorUnderstanding the Bassoon Brian KershnerBrass Pedagogy Refresher Daniel D’Addio/Justin CarlinBuilding A Better Percussionist: Mixing Technique,

Movement, and Ear Training for Optimal Learning Rob SanderiScore Study on a Budget Timothy WigginsTop Five Finale 2014 Time-Savers for Band, Choir and Orchestra Directors Tom JohnsonRehearsal Techniques: Tips and Strategies to Maximize Your Rehearsal Efficiency Lauren ReynoldsCCSU Wind Ensemble Performance Lauren ReynoldsUsing SmartMusic and Finale Together Leigh Kallestad/Tom Johnson


Saturday, April 5

Double Duty: Warm ups that build choral tone and teach the music! Joy HirokowaPutting On The Show: musical theatre for the music educator Tyler A. BoyleVocal Technique in the Choral Rehearsal Ethan NashCreating, Performing and Responding to the Blues Ruth DeBrotUsing the CT Common Arts Assessments for Middle School Singers Carolyn Bennett/Steven BaranskiChoral Reading Session/MS, HS Ellen Gilson VothAccompanist workshop TBDDoing School Musicals Arthur FinsteinFolk Tune Versatility Beyond Elementary School Donna A. MenhartCreative Listening Reveals Challenge and Complexity in Pop Music Matthew F. FinneganStorytelling and Improvisation in the Elementary Music Classroom Greg WilfridBlending Pedagogy: Incorporating General Music Methods in Children’s Choir Vanessa L. BondLinks to Common Core Literacy: Music IS the Answer Demaris HansenChoral Reading Session/ES Ellen Gilson VothPerforming Settings of Poetic Texts for Chorus: An Interdisciplinary Approach Drew CollinsA Music Story Time Steve DamonSecondary General Music: Think Out of the Box and Connect David KramerImprovisation is Elementary Elizabeth Morris/Koryn SoboleskyCommon Core Standards in Music Class!? It’s Just Good Teaching! Warren HastonCommon Arts Assessments: Grade 3 & 4 Solo Singing Rebecca Fay SquireNew Standards Conversation/Grab and Go Lunch Scott Shuler, Moderator

Honors Groups Performances: Voices of Bristow, Karla McClain, Director

Primi Voci, Stuart Younse, Director

The Thinking Rehearsal:Creating Independent Musicians in the Choral Setting Joy HirokowaHow to Host a Family Folk Dance Lille H. FeierabendTake a Drum Ride Bob Bloom

See you at the conference!


SUMMERTERM 2014

SESSION 1 JUNE 30 – JULY 4INSTRUMENTAL Baroque and Before— Teaching Early Music for Strings Emlyn Ngai Teaching Beginning Strings & Band Matt Aubin Enhance your Teaching through Keyboard Harmony Pete Woodard Exploring Jazz Improvisation Kris Allen ALL DISCIPLINES AND LEVELSAn Introduction to Orff Penny Mahoney NEW!TECHNOLOGYTeaching Composition to Middle and High School Students Ken SteenVOCALInspiring Good Vocal Technique Cherie Caluda

SESSION 2 JULY 7 – JULY 11INSTRUMENTALHartt Guitar Festival: Christopher Ladd, Richard Provost, Jason VieuxBrass Refreshe Matthew AubinRhythmic Workout for Music Educators Rogério Boccato School String Fleet Maintenance for the String Educator Glen Grigel TECHNOLOGYIntroduction to Music Recording Justin KurtzALL-DISCIPLINES AND LEVELSConnections, Creativity, and Expressiveness through Music Janet Barrett NEW!Rich Traditions and New Creations: Dance, Song, Storytelling and Literature in the Music Classroom Peter and Mary Alice Amidon

SESSION 3 JULY 14 – JULY 18INSTRUMENTALConcert Percussion Ben TothFolk Instrument Performance Jeff Rhone Piano Tuning I & II Ken Lawhorn ALL DISCIPLINES AND LEVELSBlending Pedagogy: Incorporating General Music Methods in Children’s Choir Vanessa Bond NEW!TECHNOLOGYPro Tools I Gabe Herman

SESSION 4 JULY 21 – JULY 25CONDUCTING /COMPOSITIONLearn to Teach Composition and Refine Your Conducting Through Graphic Notation Soundscapes Glen Adsit and Michael Colgrass INSTRUMENTALBand Instrument Maintenance for Wind Educators Glen Grigel Percussion Know-How for Music Educators Ben TothALL DISCIPLINES AND LEVELSGordon’s Music Learning Theory Clark Saunders and Ken TrappMusic and Movement: Partners in Education Lillie Feierabend and Patti MascettiSpecial Learners in the Music Classroom Heather WagnerTECHNOLOGY Finale and SmartBoard: Partners in a 21st C. Music Classroom Ken Steen and Miriam Schreiber NEW!VOCAL/CHORALJump Start Your Choir Edward Bolkovac and Stuart Younse

SESSION 5 JULY 28 – AUGUST 1CONDUCTINGInstrumental Conducting Clinic: Glen Adsit and Edward CummingINSTRUMENTAL World Percussion and Drum Set Survey for Music Educators Ben Toth Woodwind Refresher Dan Higgins ALL DISCIPLINES AND LEVELSBody Mapping for Music Education Kay Hooper Folk Dance Around the World Lillie FeierabendGuitar for the Classroom Teacher Chris Ladd NEW!

SESSION 4 & 5 JULY 21 – AUGUST 1THE HARTT CHORAL CONDUCTING INSTITUTE Ed Bolkovac and Stuart Younse THE HARTT KODÁLY CERTIFICATION PROGRAM John Feierabend, Jeff Rhone, Ed Bolkovac, Gabor ViraghTHE FEIERABEND ASSOCIATION FOR MUSIC EDUCATION (FAME)First Steps in Music® John FeierabendConversational Solfege™ Beginning: John FeierabendConversational Solfege™ Advanced: John Feierabend

www.hartford.edu/hartt/summertermHartt Summerterm Office | The Hartt School | University of Hartford | 200 Bloomfield Avenue | West Hartford, CT 06117

Dee Hansen, Director | 860.768.4128 | [email protected]

The Hartt School Summerterm is recognized as one of the finest summer programs in the country. Hartt’s nationally and internationally acclaimed faculty provides students with a diverse and innovative curriculum.

Summers-only Master of Music Education/ Graduate Professional Development Credits Earn your MMusEd over the Summer! Hartt’s 37 – 42 credit graduate Music Education program can be completed in three summers with emphases in Kodály, Pedagogy, Choral or Instrumental Conducting. Flexible course requirements to meet your professional development needs and goals.


READY when the winds blow

When kids can’t a� ord instruments or lessons, they miss out on an opportunity to discover untapped talent. Using my music education degree from Ithaca College, I get to � nd the hidden stars of Brooklyn.

– Jeff Ball ´03, M.M. ´08(Music Education)

Summer Graduate Studies in Music EducationJuly 7–August 8, 2014

Experience the breadth and depth of the academic year curriculum by completing this acclaimed, a� ordable graduate degree in three beautiful Ithaca summers.

USE YOUR SUMMERS TO GET AHEADExpand your skills and grow your career during summer break. In just three summers, you can earn your master’s degree in music education from Ithaca College.

EXPERIENCE THE ADVANTAGE OF OUR ON-CAMPUS COMMUNITYYou’ll learn from experts in the � eld, get one-on-one mentoring from respected professionals, and become an integral part of our broad network of accomplished musicians and educators.

BENEFIT FROM EXCEPTIONAL VALUEGraduate assistantships can o� set a portion of our already a� ordable graduate tuition. � ese renewable awards are competitive and based on experience, audi-tion results, and undergraduate academics.

LET IC’S REPUTATION OPEN DOORSGraduates from our music education program are highly sought a� er by schools and doctoral programs across the country—and around the world.

APPLICATION DEADLINEApril 1, 2014

Learn more at ithaca.edu/gradmusicsummer


lovE YoUr CHroMATIC SCAlES EvErY DAY!

By Joan Winters

Are you constantly trying to find ways to improve your group’s intonation or perhaps their

knowledge of the fingerboard? Well now you can do both at once and enjoy great results!

The earlier you do this in the year, the more rewards you reap as the rehearsals pass.

Students need to understand how the

chromatic scale plays its way up and down

the fingerboard with verbal and visual

demonstrations from you. I find writing

all this in front of them on the Promethean

board, as well as individual student writings

on staff paper are recommended. Lessons

regarding the rules of ascending notes using

the # sign, while descending notes using

the flat sign need to be discussed. In your

lessons with students it is also important

to discuss the “enharmonic” concept so all

of the above is clear.

You can start with any one chromatic

scale, but for the first time around I

suggest “G” so all strings can be safe in

first position with no shifting. I have

students play the TONIC and then HIGH

TONIC, that way they can hear where they

start and where they end at the top. It is

also important for students to LOOK at

what they’re doing in the left hand so they

do not go beyond the high tonic, which

usually happens the first time around.

Using the 3 senses of listening, seeing, and

feeling their way around the fingerboard

are most helpful.

Students should be given direction

in fingerings used for chromatics. I find

that descending chromatic intonation

is usually better than the ascending,

intonation. However, that all improves

with more verbal and visual instruction by

you. As your students get used to playing

chromatics, you can challenge them by

asking them to recite the names of the

notes as they play them. One additional

experience is to have some students start

at the top of the chromatic with high

tonic while the other students begin at the

bottom of the chromatic, and then begin

playing. This creates a cool and unique

sound that gets the kids talking!

Before you know it your group will

be able to play many 1-octave chromatic

scales, eventually moving on to 2-octave

chromatics, including chromatic scales

that require shifting! Not only will they

sound better, but they will become pros on

the names of notes they use when playing

scales.

Hear’s to better ensemble playing!

Joan Winters is the Orchestra Director

at Clark Lane Middle School and Waterford

High School, and serves as the conductor

and musical director of the New London

Community Orchestra. Mrs. Winters

plays Principal 2nd Violin with the Eastern

Connecticut Symphony Orchestra in New

London and also performs with the Con

Brio Orchestra and New Haven Symphony

Orchestra. Joan has been a guest conductor

for several music festivals in CT, MA, and RI,

and is involved with CMEA and CT ASTA.


WINDSor STUDENTS SPrEAD HolIDAY CHEEr IN HoNor of SANDY Hook vICTIMS

By Benjamin Mueller

On Monday, December 16, Windsor High School’s Jazz Quartet played holiday jazz at Bradley International Airport

in Windsor Locks. The group, which includes saxophonist David Jardim, 17, guitarist Ryan Munasinghe, 15, bassist Ryan Crisanti, 15, drummer Ben Mueller, 17, and director Steven Ortiz, dedicated their performance to the victims of the Sandy Hook Elementary tragedy. Friends of the students handed out green ribbons to travelers in honor of the victims.

“As part of the 26 days of kindness, we felt that honoring all involved in Sandy Hook through music was the right thing to do”, said Ortiz. “A lot of people appreciated the fact that we handed

out ribbons and dedicated our performance to the memory of the victims”, said Ortiz.

The students received a surprise visit from Senator Richard Blumenthal (D-CT). “This is a great thing the kids are doing”, said Blumenthal, as he donned one of the green ribbons being handed out.

“We always have a great time when we play - we wanted to play some feel-good music for a good cause, and the fact that so many people enjoyed it makes the experience even more rewarding”, said Mueller.

Ryan Crisanti attests to the feel-good atmosphere they create through their music: “My parents both travel a lot so I know how important it is to have a welcoming experience when you come home. I think we contributed to that today.”

The group plans to play at the airport again in the near future.

Senator Richard Blumenthal (D-CT) stops by to recognize students.

Alia Michaud, Sarah Martino, and Elizabeth Norcross, 16, hand out green ribbons in honor of Sandy Hook victims.

Alia Michaud, Sarah Martino, and Elizabeth Norcross, 16, prepare ribbons to distribute at Bradley International Airport.

Photographer: Elizabeth Norcross


305 N. Service Road Dix Hills, New York 11746 www.ftc.edu 631.656.2110

Bachelor Degree Programs• Jazz/Commercial Music Mus.B.

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When You’re Serious About Music, Media, Education & the Performing Arts

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Open HouseSaturday,

March 15 at 1 pm

One of the Top 35 Music Business Programs

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BErklEE WorlD STrINgS WorkSHoP/CoNCErT IN WATErforD

By Joan R. Winters

Waterford High School will be the site for the upcoming workshop and

performance by the famous BERKLEE WORLD STRINGS on Saturday, April 26th.

This elite ensemble performed in the opening of the 2013 National ASTA convention and is scheduled to be part of the 2014 National ASTA convention in Kentucky.

The Berklee World Strings are devoted to the art of ensemble playing and the development of new music that features improvisation and the rhythmic capabilities of string instruments and players. Drawing from Celtic, bluegrass, jazz, rock, and classical styles, the ensemble presents original programs that include new compositions and arrangements from a wide variety of the world’s music.

A FREE workshop will be presented for all string students from 3:00-5:00 PM, with the first hour focusing on free improvisation. The second hour will feature BSW student demonstrations and teachings. BSW welcomes all students with little or no background on improvisation or alternative styles to participate in the workshop.

Directed by cellist and four time Grammy Award-winner Eugene Friesen, BWS features an international collection of Berklee’s most accomplished and promising soloists, chamber players and fiddlers selected by audition.

The BWS repertoire is created by a vibrant community of composers and arrangers at Berklee-students and faculty alike-under Eugene Friesen’s direction. While the ensemble provides an opportunity for soloists within the group, BSW has also appeared in concert with a variety of international stars in jazz, pop, classical, bluegrass and Latin styles: Ron Carter, Joe Lovano, Kirill Gerstein, Mili Bermejk , Jorge Drexler, Jetro da Silva, Leo Blanco, Mark O’Connor, Darol Anger, Bruce Molsky and many others have

been featured in concerts at the Berklee Performance Center in Boston.

In 2012, BSW was featured in concert at the John F. Kennedy Center for the Performing Arts in Washington D.C. on The Conservatory Project services webcast globally.

We are thankful to CMEA for their support and assistance in funding this event! If your student is interested in attending the workshop, or if you have any questions about the concert, please contact Joan Winters at [email protected] or at 860-514-5750.

Berklee World StringsThe Berklee World Strings are devoted to the art of ensemble playing and the

development of new music that features improvisation and the rhythmic capabilities of string instruments and players. Drawing from Celtic, bluegrass, jazz, rock, and classical styles, the ensemble presents original programs that include new compositions and arrangements from a wide variety of the world’s music.

Directed by cellist Eugene Friesen, BWS features an international collection of Berklee’s most accomplished and promising soloists, chamber players and fiddlers selected by audition.

The BWS repertoire is created by a vibrant community of composers and arrangers at Berklee - students and faculty alike - under Eugene Friesen’s direction. While the ensemble provides ample opportunity for soloists within the group, BWS has also appeared in concert with a variety of international stars in jazz, pop, classical, bluegrass and Latin styles: Ron Carter, Joe Lovano, Kirill Gerstein, Mili Bermejo, Jorge Drexler, Jetro da Silva, Leo Blanco, Mark O’Connor, Darol Anger, Bruce Molsky and many others have been featured in concerts at the Berklee Performance Center in Boston.

In 2010, BWS was featured in concert at the John F. Kennedy Center for the Performing Arts in Washington D.C. on the Conservatory Project series webcast globally.

Alumnae of BWS include Mads Tolling, violinist in the Turtle Island Quartet; Hanneke Cassell, renowned Scottish fiddler; Rushad Eggleston, rock/pop cellist,;Robert Thompson, Cirque du Soleil violinist; Echae Kang, gypsy jazz violin virtuoso; and many, many other creative and collaborative string players.

Four-time Grammy Award-winner Eugene Friesen is active internationally as a cellist, composer, conductor and teacher. He has been featured in concerts all over the world with the Paul Winter Consort, with Trio Globo (Friesen, Howard Levy and Glen Velez), and in his popular CelloMan performances for children and families. A pioneer in the teaching of improvisation to classically trained musicians, Eugene has led workshops throughout North America and around the world. His book, Improvisation for Classically Trained Musicians (Berklee Press/Hal Leonard) was released in 2012. He is an artist-in-residence at the Cathedral of St. John the Divine in New York City, and is a Professor in the String Department at Berklee. More information on Eugene can be found online at: www.eugenefriesenmusic.com.


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ACTIvE MUSIC lISTENINg ACTIvITY

by Lynne Kearney

When I taught e lementary music the students would start

“listening” as soon as they walked in the door. I played the same music for all classes. I put on a recording as they walked in the door. Generally I chose a short composition. When it finished they would raise their hands and share what they had heard; i.e. was it instrumental or vocal? If instrumental, what instruments did they hear and what kind of ensemble played the music. Older students might listen to hear a specific form, such as rondo. If it was vocal, was there accompaniment and what kinds of voices did they hear? Could they understand the words? Was it in English? What was the tempo? Style?

We spent no more than a few minutes on this, but it was great way to get them involved in music immediately and to use their music vocabulary. If possible, it related specifically to one lesson plan for the day. It also kept them from talking as they came in. However, the main goal was active music listening and immediate engagement in the music class. It worked and they really seemed to enjoy this.

Lynne Kearne is a retired music teacher who taught in Danbury and Woodbury.

For further information, contact the Rhode Island College Department of Music, Theatre and Dance

(401) 456-9883 | [email protected] | www.ric.edu/mtd | www.facebook.com/ricmusic

2014 AUDITION

DATESAuditions required for entrance into all music programs.February 1, 15March 1, 8

• Extensive chamber ensemble o� erings

• Exceptional facilities in the John Nazarian Center for the Performing Arts

• Outstanding artist/teacher faculty

• A� ordable tuition

• Rigorous programs for the Bachelor of Music in Performance, Bachelor of Music in Music Education and Bachelor of Arts in Music

• Full range of scholarships available

• First-class symphony orchestra, wind ensemble, chorus, jazz band

DEPARTMENT OF MUSIC , THEATRE AND DANCE


The 68th Annual CMEA In-Service Conference April 3-5, 2014 Crowne Plaza Hotel, Cromwell CT

Pre-Registration Please print or type. First Name ______________________Last Name_____________________________________ NAfME ID# ____________________ E-mail_________________________________________ Badge Preference:

_______________________________________________ First Name City

REGISTRATION

Included is admission to all presentations, exhibits, concert hours and All-State rehearsals. All State Concert tickets are sold separately at the bottom of this form.

1. NAfME/CMEA Member

Option A. Full Conference (3 days) $115.00 $______ Option B. One day only. Indicate which day. $75.00 $______ ___Thurs 4/3 ___ Fri 4/4 ___Sat 4/5

2. Collegiate Chapter NAfME/CMEA Member (3 days) $30.00 $______

3. Retired NAfME/CMEA Member please check ___ no fee $ 0.00

4. Guest of CMEA (non-music teacher) $50.00 $______ Guest’s Name for Badge: __________________________ ALL STATE CONCERT TICKETS 3 p.m. Saturday April 5 Bushnell Center for the Performing Arts Hartford Pre-Order All-State Concert ticket(s) # ____ @ $25.00 = $______

GRAND TOTAL ENCLOSED $______

Pre-Registration forms must be postmarked no later than March 24, 2014

Make checks payable to CMEA and return with the pre-registration form to:

CMEA Conference PO Box 174

Cromwell, CT 06416-0174


(Share this application with non-NAfME member colleagues and tell them the benefits of joining NAfME.)

For today’s students to succeed tomorrow, they need a comprehensive education that includes music taught by exemplary music educators.

When your colleagues join the National Association for Music Education, they automatically become a member of Connecticut Music Educators Association. From local activities to national issues, NAfME and CMEA offer the combination of services and benefits music educators need!

Advocacy—NAfME informs legislators of the importance of an education that includes music, supports National Standards for Music Education, and sponsors programs such as Music In Our Schools Month® and Advocacy Groundswell.Music Educators Journal—Articles on teaching approaches, current issues, classroom techniques, and products and services. Teaching Music—Practical teaching ideas for all specialty areas. Discounts on Resources—25% off all NAfME publications, videos, and specialty items. In-Service Conferences and Meetings—Opportunities to exchange ideas with colleagues; member discounts on registration fees. Leadership Opportunities—Participation on NAfME task forces and committees; sponsorship of collegiate and Tri-M® Music Honor Society chapters. Automatic State Association Membership—All the benefits offered at the state level, including the state journal and access to local meetings, festivals, and more!

General Music Today—Dealing specifically with the concerns of the general music educator.Journal of Music Teacher Education—Focusing on issues of importance to the music teacher educator.UPDATE: Applications of Research in Music Education—Practical applications for music education research findings.

Journal of Research in Music Education—�e latest findings in music education research.

Additional Features —NAfME credit card, professional liability insurance, medical protection program, and more.

Take the NAfME Membership Tour at www.nafme.org

Yes, I want to join NAfME and Connecticut MEA. I understand that membership extends for one year from the date dues are received. Credit card holders may join by calling NAfME Member Services 1-800-828-0229, Monday-Friday, 8:00 a.m. - 4:30 p.m., Eastern Time.

Please contact NAfME Member Services for spousal or retired dues. Rates expire 5-31-2012.

New or Renewal NAfME ID# _______________________________________ Membership

Active membership dues (national and state) $ ____ Options Society for Research in Music Education $37 $ ____ (includes subscription to Journal of Research in Music Education) NAfME membership is a prerequisite.

Tax deductible contribution to support (select one): $ ____

TOTAL AMOUNT DUE $ ____ Payment: Check enclosed, payable to NAfME Charge: VISA MasterCard AmEx Discover Name of Cardholder: _________________________________ Card No. _________________________________________ Exp. Date _________________________________________ Signature __________________________________________ *Includes $10 each for Music Educators Journal and Teaching Music.

Name: ____________________________________________________

Home Address ______________________________________________

City/State/Zip ______________________________________________

Phone/E-mail ______________________________________________

School Name _______________________________________________

School Address _____________________________________________

City/State/Zip ______________________________________________

Phone/E-mail ______________________________________________

Preferred? Address: Home Work E-mail: Home Work

Professional Areas

Teaching Level Teaching Area

Preschool Choral/Voice Teacher EducationElementary Band JazzJunior/Middle School Orchestra Technology/Senior High School Show Choir �eory/College/University Guitar Composition/Administrator/ General Music HistorySupervisor Special Learners Marching BandPrivate/Studio Research Mariachi

*

Give A Note FoundationMusic in Our Schools Month® Advocacy Student ProgramsTeacher Recruitment and Retention Wherever it’s most needed!

Rates expire 5-31-2014.


CMEA Executive Board 2013-2014

PRESIDENTSTEPHANIE ZAK [email protected]

IMMEDIATE PAST PRESIDENTDALE D. GRIFFA [email protected] [email protected] Phone 203-801-4847 Fax (w) 203-972-3450

PRESIDENT ELECTmIcHAEL ANcES [email protected]

EXECUTIVE DIRECTORBARBARA SKREBuTENAS [email protected] Phone 860-632-1847Fax 860-632-1853

NORTHERN REGION DIRECTORwALTER cuLuP [email protected]

SOUTHERN REGION DIRECTORTHERESA VOSS [email protected]

WESTERN REGION DIRECTOR NIcK ALBANO [email protected]

EASTERN REGION DIRECTORTONYA LAYmON [email protected]

STUDENT AFFAIRS COMMISSION CHAIRNED SmITH [email protected]

STATE ARTS CONSULTANTScOTT SHuLER (w) [email protected] Fax (w) 860-713-7081 860-713-6746

PUBLICATIONS EDITORBRucE cONNERY [email protected]

COLLEGIATE CNAfME STATE COUNCILSARAH PETERSEN [email protected]

PROFESSIONAL DEVELOPMENT CHAIRKIm YANNON [email protected] Phone 203-982-1537 Fax (w) 203-250-7614

CMEA is a non-profit organization. Active CMEA/CNAfME membership is open to all persons engaged in music teaching or other music education work. The CMEA News is published four times a year in September, December, March and June. The CMEA Handbook is available online at the CMEA website (www.cmea.org). Opinions expressed are those of the author and do not represent an official position of CMEA.

Manuscripts should be sent directly to Bruce Conner y, CMEA News Editor. Copy deadlines are August 1, November 1, February 1, and May 1 for the Fall, Winter/Conference, Spring, and Summer issues respectively. Material should be submitted on computer disk or via email.

Subscription rate is included in annual membership fee.

Advertiser Index

Bucknell ......................... 7

CCSU Summer................... 2

Connecticut College ..........12

Five Towns College ............22

Gordon College ................20

Hartt Summer .................17

Ithaca ...........................18

Manchester High School ....... 6

Quaver ....... inside front cover

Rhode Island College .........25

UCONN ........................... 4

UMASS Amherst ................. 8

WCSU............................10

Yamaha .........................24

CMEAPO Box 174 367 Main Street Cromwell, CT 06416-0174

NON PROFIT ORGUS POSTAGE PAIDWILLIMANTIC, CTPERMIT NO.69

cmea news spring_conference 2014.pdf

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