CBDA Bulletin Fall 2023

Volume: 64 • Issue: 3

CALIFORNIA BAND DIRECTORS ASSOCIATION BOARD OF DIRECTORS

CBDA is a nonprofit association consisting of band directors from all levels of music education. CBDA provides the AllState Jr. and High School honor groups for students and a state convention each February for directors. Join or renew CBDA membership here.

The CBDA Bulletin is the official publication of the California Band Directors Association, Inc. Published three times a year: Spring, Fall, and Winter.

Subscription price is included in the CBDA annual dues. The opinions expressed in the magazine are those of the author(s) and do not necessarily represent an official position of the Association. CBDA does not necessarily endorse any product or service advertised in this magazine. Access emails at cbda.org

Dan Bryan President

Ryan Dirlam CASMEC Coordinator

Trish Adams Executive Administrator

Patrick Dandrea Secretary

Amy Villanova CBDA Ensemble Host

Katie Gilchrist All-State Coordinator

Susan Willmering Vice President

Ashley Shine-Dirlam Treasurer

Jeanne Christensen President Elect

Cathy Olinger SCSBOA Rep

Michael Tackett Exhibit Host

Ashley Crow CBDA Logistics Coordinator

Yasmine Brackens Student Host

Dr. Kaitlin Bove DEIA Rep

Jazareth Valencia NCBA Rep

Casson Scowcroft NCBCDA Rep

David Green Director of Communications

Jeff Detlefsen Past President

Katie Carbajal CBDA Logistics Coordinator

PRESIDENT’S MESSAGE

Greetings!

I hope this message finds you at the start of another productive year. For many of you, marching band seasons are about to start; for the rest of us, preparations for the fall performances are well under way. In the midst of all of this, CBDA has been busy with a number of activities for you and your programs, and with this in mind, I want to share a few celebrations and reminders with you:

• CBDA SUPER SATURDAY! We launched this program at four sites statewide on September 9th, and we couldn’t have asked for a better start to this program! Dozens of clinicians served nearly 600 students across the state as students of all experience levels learned from some of the best educators from around California. Students delved into instrument techniques, music theory, and of course, our all state scales and etudes for junior high and high school. The response from this year’s event was tremendous, and we’re already working on next year. We hope to see you there!

• CBDA Social Impact Consortium! This program returns for a third year with new compositions by Indian composers Aakash Mittal and Shruthi Rajasekar. These works will be premiered at the 2024 CASMEC Conference, and will be spectacular additions to your library. You can become a member of the consortiums for just $150 per composition, and I can’t encourage you enough to support this

Dan Bryan

project and these up-and-coming composers. CBDA is building a library of socially conscious and ethnically diverse works to enhance your curriculum, encourage engaging conversations with your students, and of course, offer great music for them to play.

• REMINDER: new audition deadline for all-state bands: NOVEMBER 1! With the conference earlier this year (and again in 2025), all of our deadlines have been moved up, so I encourage you to remind your students as often as possible that November 1 will be here before they know it!

I’m pleased to say that it’s been a busy school year for CBDA – and it’s barely October! New programs and new music are just a few of the things that we are working on to expand the scope of services that are offered to you and your students, and I encourage you to take advantage of ALL of them.

CASMEC 2024 IN SACRAMENTO will be here before we know it, and I can’t wait to see you there! In the meantime, have a great fall, and I look forward to seeing you and your programs somewhere on the road…

President, California Band Directors Association

CASMEC Preview

by Ryan Dirlam

CASMEC Coordinator

Once again, we are so excited for another California All-State Music Education Conference to listen to stellar music, learn from passionate educators, and fill our cups with our colleagues. February 2024 is shaping up to be the start of an exciting new chapter as we relocate to Downtown Sacramento! As always, California Alliance for Jazz (CAJ), California Band Directors Association (CBDA), California Choral Directors Association (CCDA), California Music Educators Association (CMEA), and California Orchestra Directors Association (CODA), the collaborating organizations of CASMEC, have been working hard to prepare an educational and uplifting conference, as well as a memorable and rewarding All-State experience.

Registration will be open soon! The cost is $220 for organization members, $30 for college student members, $35 for retired members and $365 for non-member attendees. Be sure to get registered with CAJ, CBDA, CCDA, CMEA, and/or CODA to access the member rate.

This year, we are excited to host some wonderful sessions including presentations on quick fixes for our ensembles, engaging our low brass sections, starting our beginning bands successfully, repertoire selection, building consistency, band director’s guide to elementary music, musicianship through movement, beginning trumpet solutions, score study, being present, movement theory for conductors, and retention. Our CBDA presenters include Dr. Peter Boonshaft, Ken Nakamoto, Jason Borris, Jeanne Christensen, Dr. Phil Vallejo, Kim Meider, Dr. Joseph Roach, Dr. Zach Buie, Andy Collinsworth, Jason Caslor, Dustin Barr, and Marcia Neal.

Hopefully, most of you attended the premieres of the Social Impact Consortium pieces at the All-State concerts over the past two years. We are so excited to be continuing this new tradition with two new pieces of music for Band by

composers Aakash Mittal (Grade 2.5) and Shruthi Rajasekar (Grade 4). These pieces will focus on the music and culture from the different regions and styles of India. We hope you will join us for the World Premieres performed by our AllState Bands.

After an exciting inaugural year for the Golden State Band, we are excited to continue to offer this honor ensemble to give all students the chance at participation in All-State. We encourage all of our Directors to visit our CBDA website and read about the qualifiers that would make a school eligible to audition. Please reach out to our small school directors, who may not even be members, to encourage them to have some students audition with the Golden State Band cuts to the audition music.

Our housing link for conference attendees will also be available on our registration page. Rooms will fill up quickly, so please do not wait to book your stay. Discounted rates are locked in for a short time only.

As we begin our next chapter in our conference’s history, I do hope that you take advantage of all that CASMEC and Sacramento have to offer. We hope you will join us Thursday night for our CASMEC Kick-Off Social and Awards event that will feature all organizations in a night of recognition and fun; tickets will be available at registration. Please make sure to drop by and say hello during the Director Social at the top floor of the Hyatt on Friday Night after the Jazz Concert for some food and drinks as well.

Our CASMEC Team is hopeful that the 2024 Conference, filled with educational sessions and inspirational musical performances, will provide you with a safe space to refresh and sharpen your skill sets as an educator. We are looking forward to seeing you all this February! Have a wonderful and safe Fall semester!

ALL-STATE BAND CONDUCTORS

High School Wind Symphony

Dr. Paula Crider

Retired

High School Symphonic Band

Julie Giroux

Composer

High School Concert Band

Dr. Shelley Jagow

Wright State University

High School Golden State Band

Dr. Christopher Cicconi

Towson University

Jr. High School Symphonic Band

Meryl Wamhoff

Delta College

Jr. High School Concert Band

Dr. Adam Wilke

James Logan High School

JANUARY 31 - FEBRUARY 4, 2024

SACRAMENTO, CA

Proposition 28 Brings Arts Education Renaissance to California Schools!

by Michael D. Stone

Visual and Performing Arts Department Coordinator, Bakersfield City School District

Renaissance: a revival of or renewed interest in something. California was once believed to have had the finest schools in America, ranking in the top 5% in the nation prior to the 1970s. Then came Proposition 13 in 1978, rolling back property tax values, thus resulting in public school funding being drastically cut. Hence, arts education classes were eliminated or scaled back across the state. Today, in 2023, California is poised to address the negative ramifications of Proposition 13, and then some!

Passed by voters in November of 2022, Proposition 28, also known as the Arts and Music in Schools Funding Guarantee and Accountability Act, requires the state to establish the first-ever discrete funding of Arts Education in our State’s history. All public schools will benefit!

The amount of funds provided each fiscal year (i.e., July 1-June 30) is in an amount equal to 1% of current education spending in California; but, taxes are not raised, and current education spending is not cut. The State of California simply carves out the amount from the other “non-education” side of the State Budget. Those dollars are added in addition to current Proposition 98 guaranteed funding for schools. Furthermore, these new funds cannot supplant

existing spending for education, and 80% of said funds must go directly to employ people who will implement arts education. Only 1% of funding can go to administrative costs, and principals are responsible for working with their school community to develop a plan for expanding arts education in their schools. The District and Governing Board must post an annual plan on the District’s Website demonstrating how funds are used. That plan will also be posted on the California Department of Education Website. Lastly, all spending is subject to audit at any time.

Former Los Angeles Unified School District Superintendent Austin Beutner is the man behind Proposition 28. He envisioned expanding access to arts education in all California Schools, where only 1 in 5 schools had a full-time arts teacher in 2022.

So, what do music educators need to know about ensujring their school(s) get their share of the funding? Perhaps more importantly, how do we know those funds are lawfully and wisely spent to serve the purpose for which they were provided: expanding arts education access to students in the schools?

Getting Basic Information on Proposition 28?

The California Department of Education has created a landing page where anyone may access basic information about Proposition 28, including a Question and Answer (Q&A) document. Go to: https://www.cde.ca.gov/eo/in/ prop28artsandmusicedfunding.asp.

Creating a Plan

Most school site principals have limited understanding of arts education, with many inexperienced in the realm of music and arts education. The post-Prop 13 generations have not experienced arts education on a whole. It is imperative that you, the Band Director, work with your arts educator colleagues at the school site, developing a Strategic Arts Plan for your school district. Getting the team in a room together for a full day to discuss where you want to go is a good start! Strategic arts planning helps teams of teachers and others develop Values, Vision, and Mission for the Arts Education Program. Collaborative discussions around what the strengths, weaknesses, opportunities, and challenges are in your existing program are the foundation upon which goal creation takes place. It’s important to involve all of your colleagues, not just those who are music teachers. Bring everyone to the table, including teachers in other arts disciplines. Administrators, and even community arts supporters, can be part of the discussion. Working together to create a strategic arts plan will identify ways in which these new Prop 28 funds can best impact your students.

80% - 19% - 1%

Remember, the new Proposition 28 funds must be spent with 80% of dollars going towards the hiring of arts teachers and instructional assistants who work in the classroom. 19% can be used for supplies and equipment, professional development, curriculum materials, and even arts education partnerships like field trips to the symphony. Only 1% can be used to administer the expanded programs. Think globally in the Arts. You may have Music instruction in all of your schools, but, do you have Dance, Theatre, and Visual Arts Education? Now is the time to create a comprehensive and expanded program of Arts Education. Act now!

Share Your Plan with Administration Now

Once a plan is created, set a time to meet with your principal(s) to present your faculty’s collective goals for Proposition 28 implementation. The sky is the limit. Think big. What do you envision your students receiving in their education as a result of Prop 28?

BCSD’s Story on Proposition 28

Initial Planning

Creating change within a school district bureaucracy is a heavy lift with high stakes, especially when there is

new opportunity. Challenge is sure to follow, even with the best made plans. Such has been the past 10 months for arts educators and citizens ready to go with Proposition 28 implementation. In Bakersfield, the morning after Proposition 28 was passed by voters, our plan was ready to be vetted. As the district administrator responsible for arts education, I had led stakeholders in creating a draft plan prior to November of 2022. Now that plan could be shared with those who would need to approve how we would expand arts education access in our schools. About a month later, I had the opportunity to share an initial report about Proposition 28. Our team of music teachers had created the groundwork for our District’s Strategic Arts Plan during most of 2022, so we had many ideas ready to pursue. We wanted all students to receive foundation education in all the Arts, Dance, Media Arts, Music, Theatre, and Visual Arts. What a time of opportunity! My personal inclination was to create an Arts Integration Model for primary students so that all children would be given opportunity to learn and experience arts and music instruction as required under Education Code. Then, there was the opportunity to bring back Visual Arts class electives at the Junior High/Middle School Level, along with new Theatre classes. Mariachi and Folklorico could be new course offerings, as well as Modern Band. The term “Arts Innovations Teacher” became the overarching job title for what would be these new innovative ways to teach the Arts. Lastly, it was important to gather principal input and support.

Job Descriptions and Flying of Jobs

By late November, I had written job descriptions for the Arts Integration Teacher positions and the new Arts Innovations Teacher positions. These were approved by the Board of Education in December. When it became apparent that there might be delays in getting information out about Proposition 28 implementation, I was advised to sit and wait until more details were known. Of course, being the impatient man I am, this was challenging. Finally, in late January of this year, the Human Resources Department got the okay to advertise for our new teacher positions planned using Proposition 28 funding. We did not know how many teachers could be hired at this point, but we started seeking applications nevertheless. Around this time, it was determined that we would hold off on our Strategic Arts Plan adoption and extend that process into the 20232024 school year with the goal of including Proposition 28 opportunities in our plan. In March, a Board Presentation was planned to give the Board of Education and community members basic information about the District Vision for Proposition 28. While the music education program in the District had been nationally recognized for many years, our current arts education model had serious gaps in student access to Dance, Theatre, and Visual Arts education. These areas would be prioritized in our Plan. Also, there was some interest in the District having “non-certificated” employees hired to assist with arts education. I stood strong on the fact that “non-certificated” employees should come after the teacher positions were created and curriculum/

scope and sequence documents could be built. The point of instructional assistants, accompanists, etc., all those important classified positions, was to “support” instruction. Teachers would be our purposeful, first priority in hiring. Classified positions would follow.

Delays at California Department of Education

As we all know, the California Department of Education did not release any significant information about Proposition 28 even as late as May of this year. So, our plan sat dormant until around mid-May when I got the call from my boss that I had the green light to individually meet with all principals in the District to determine specific needs moving forward. Once those discussions took place, the initial plan was adjusted. We could proceed with creating personnel requisitions to fill half of the proposed new teacher positions. Instead of twenty-six (26) new positions, we would begin vetting applications for a total of thirteen (13) new positions for 2023-2024. These newly-approved teacher positions included five (5) primary arts integration teacher jobs, three (3) additional music teacher positions, three (3) new visual arts teacher jobs at the middle school level, and one (1) new theatre teacher job at the middle school level. Lastly, one (1) arts innovations teacher position was approved. The District was willing to invest for the 20232024 school year, knowing that funding would follow during the 2023-2024 school year.

Filling Teacher Positions and Teacher Shortage

Now the fun began! Multiple interviews took place all summer, and by August 14, 2023, all of the new Proposition 28 teacher positions were filled. We have just finished the first three days of school as I write this article!

Future

I currently serve on the Proposition 28 Implementation Advisory Committee, chaired by Mr. Austin Beutner, author of the initiative. As that group of arts education advocates and citizens looks at the implementation of Prop 28, it will serve as a check and balance on our collective work to see the Arts Education Renaissance happen in California. We must all work to educate our administrators, community members, and citizens. We can together ensure a bright future for California’s Creative Economy! State Superintendent Tony Thurmond has been quoted this summer stating that Prop 28 funds will be released to school districts this fall. Will we be ready?

In the Bakersfield City School District, thirteen (13) new teacher positions is just the start. Although exact amounts of funding coming to the school district is unknown, we have a good idea of what the figures will be, based upon the size of the State Budget. We could be in a position of adding another fifteen (15) or twenty (20) new teacher positions for the 2024-2025 school year. Much collaboration will take place before any decisions are made. The future is bright!

New Bakersfield City School District Arts Educators for the 2023-2024 school year!

The New Bakersfield City School District Arts Integration Teacher Team who will provide students with foundational learning in the Arts at primary grades beginning this fall.

Social Impact Consortium

by Dr. Kaitlin Bove

DEIA Representative

Now in its third year, the CBDA Social Impact Consortium is proud to be hosting an affordable access point for state band programs to diversify our libraries with music that is topical and relevant to stakeholders of the California band community. In addition to commissioning new musical works, our consortium also partners with curriculum developers to create age-appropriate lessons and activities to accompany the new piece. This companion document will offer band programs a venue to learn about and discuss the topics the music represents. Our 2022 project brought forth Kevin Day’s Requiem for the Unarmed as well as Katahj Copley’s When Heaven Cries with a curated set of lessons and discussion points on honoring race. Our 2023 work by Marie Douglas, I Am Enough, included an expansive curriculum on mental health from the angle of music therapy. This year’s mission is to expand the available concert band repertoire by composers of Indian heritage.

The 4-minute, grade 2.5 piece will be composed by Aakash Mittal and is suitable for middle school and junior high bands as well as high school and community groups. Aakash is a saxophonist and composer of Northern Indian heritage based in Brooklyn, New York. His piece, Sandhya, evokes the evening and nightlife of Kolkata. In his own words, the composer writes: “Sandhya will explore the sounds of the Hindustani (North Indian) raga Poorvi with the colors and instrumentation of the concert band. Rather than imitate the traditional performance format of a Hindustani raga, the piece will incorporate sounds of modern Indian life. The soft ringing textures of bells in Pushkar, Rajasthan and the rhythmic backbeats omnipresent in Kolkata’s night clubs will be interwoven with melodic and harmonic material seeded by raga Poorvi. Sandhya will celebrate the many ways we greet the sunset ranging from Indian pooja rituals, to all night music festivals and the meditative pathos of the evening raga.” Sandhya will be offered along with an introductory curriculum to Hindustani music theory and its use of ragas. Sandhya will be premiered by the California All-State Junior High Symphonic Band conducted by Professor MJ Wamhoff.

Our 5-minute, grade 4 piece will be composed by Shruthi Rajasekar and is suitable for high school and beyond. Currently residing in Minneapolis, Shruthi is a member of the Tamil ethnic community of southern India, and has chosen to base her work on a fusion of Carnatic (South Indian) musical practices as well as her Tamil culture. The currently untitled piece will focus programmatically on the historical figure V.O. Chidambaram Pillai. In her words, Shruthi shares: “V.O.C, as he was known, was an important contributor to the Indian freedom movement from Tamil Nadu. But I actually wasn’t particularly familiar with his story until I was doing research for this project! I was reading about some of his more famous/better-remembered compatriots when I came across this individual’s incredible contributions — so that’s another reason I am excited about this topic ... One of his popular nicknames translates as ‘Helmsman of the Sea,’ which alludes to his work in creating a native shipping company to compete with the British economic monopoly and their overall hegemony in British-ruled India. This will definitely be a big aspect of the piece.” The companion curriculum for this work will delve into the fight for Indian freedom as well as Tamil culture. Ms. Rajasekar’s piece will be premiered by Dr. Shelly Jagow and the California All-State High School Concert Band.

Both pieces are available for consortium buy-in through the CBDA website at www.cbda.org/social-impactconsortium. The buy-in fee is $150 per piece ($300 for both) and consortium members will receive PDF copies of the works and the companion curricula following the world premieres at CASMEC 2024, as well as the name of the supporting institution and director in the prescore information. Don’t miss the opportunity to hear the commissioned pieces rehearsed with the composers in attendance at CASMEC, as well as a panel discussion on the pieces and curriculum that will take place during the conference.

Questions about the project can be directed to Kaitlin Bove

A Kodály-Inspired Approach to Band: Practical Ways to Integrate

by Nico Salum, Highland High School

Sequencing, Singing, Solfège

As a Kodály-trained teacher, here are some ways that I have used these key elements to guide my approach to teaching my instrumental groups. This is a non-exhaustive list. My hope for you as an educator is to take what you need for your groups and to reach out to other Kodálytrained or inspired educators as resources.

Sequencing

One of the first things you learn in Kodály training is that the approach is intentionally sequenced. Teaching any musical concept, rhythmic or melodic, follows what we call the “Three Ps” - prepare, present, practice. This sequence ensures that our students experience and understand a new musical concept before they actually know the name or label.

The aspects of the preparation stage that I think are the most important are

1. Guiding the students in discovering a new concept and how it relates to what they already know.

2. Using a variety of physical, aural, and visual student activities to deepen understanding and reinforcement.

During my time teaching elementary, fifth graders going into beginning band would come in, even before touching an instrument, with all the rhythmic and melodic concepts that we have already learned during their time with me in third and fourth grade general music. These concepts include steady beat, simple meter, quarter, eighth, half, whole notes/rests, and do to sol. I acknowledge that students all have a variety of experiences in general music and I’ll outline strategies in both elementary and high school band knowing that some of your students may not have had a Kodály-guided general music experience.

Elementary/Beginners

Let’s say you’re introducing sixteenth notes. Before even seeing the notation for sixteenth notes, here’s one way that your beginners can experience it. With you and the students on mouthpieces/headjoints/practice pads, challenge them to echo you on simple four-beat patterns that use only eighth notes for quarter notes. Eventually, introduce one beat of sixteenth notes into the pattern. Have the students echo that same pattern three to four more

times, then ask them, “Did you hear a rhythm that sounded like it was faster than a quarter note and an eighth note?” To assess whether students actually hear the sixteenth note, have them listen to you play that same pattern while their eyes are closed. While keeping their eyes closed, ask them to raise their hand when they hear that new/different rhythm. Once most of the class can hear the sixteenth note, you’ll guide them in discovering that that new sound is four sounds evenly divided on one beat. A prerequisite to this discovery is that your students understand that in simple meters, a quarter note (ta) is one long sound on the beat and an eighth note (ti-ti) is two short sounds. After establishing how many sounds on a beat the new rhythm is, then you can show and label the notation as sixteenth notes. Use the rhythm vocalization that you use in your groups accordingly.

If your students have had experience with folk songs/ Kodály in the general music classroom, one great song you can use to present the sixteenth note is Tideo, as the sixteenth note can be heard twice in the same context.

High School - Marching Band

The use of connecting physical activities to deepen musical understanding in the Kodály approach lends itself well in marching band, where we literally take music in motion. Even without playing on their instruments or being on the field, you can have students practicing their music and their drill together. You can use this activity in sectionals or in ensemble. First, have students mark time with the steady beat while inner hearing their own parts. Then, students mark time their drill accordingly, moves, halts, with step-outs and all, while inner hearing their own part. Next, have the students clap or chant their parts on a neutral syllable while marking time drill. Even without being on their instruments or on the field, this strategy is a simple and effective way to reinforce and connect music with motion.

Solfège and Singing

At the heart of Kodály’s approach and philosophy is singing. The human voice, our first instrument, best develops our musical ear and therefore should precede any training on an instrument. This isn’t always the case, though, in our instrumental music education sequence.

Elementary/Beginners

Right from the get-go, we can use solfège and singing when we introduce our beginner instrumentalists to their first five notes even if they’ve never had exposure to a Kodály inspired education before.

In my time teaching fifth grade band, I had to use solfège due to necessity. Due to scheduling, I had to combine different sections into the same sectional time. I combined alto saxophones with clarinets and trumpets with trombones. In order to be more efficient in these combined sectionals and not have to deal with explaining transposing to fifth graders, I would often use solfège to get them to play the same concert pitch as needed. Instead of having to always say, “Alto saxophones play your G and clarinets play your C,” I can just say, “everyone play your do.”

In the first month or so, I would also have a table up on the board during sectionals that looked something like this to help out students.

Clarinets

C D E F G do re mi fa sol

When teaching these solfège syllables, I always accompany it with the corresponding Curwen hand signs so that students are always connected to the music physically.

High School

There are a few ways I have incorporated singing and the use of solfège in my high school instrumental groups. For concert band and marching band, I like to do the following warm-up exercise sequence. We start by playing any major or minor scale in unison, ascending then

descending, on half notes. Once we go back down to do, I’ll then show the do hand sign on both hands. For my groups, I have woodwinds follow my right hand and brass follow my left hand. Students then follow the hands and sustain that pitch as they show different solfège (this does not have to be in time/rhythm). In the beginning I usually have one section just sustaining on do while the other section moves up and down stepwise. The next level of this would be moving to and exploring different intervals, especially ones that appear in your repertoire/program.

Elementary, middle, and high school

Once they are comfortable with using, singing, and hearing solfège, we then use it in the context of the repertoire we are playing. One application of this is improving intonation in various contexts. Much like some of our choral counterparts, if a student or section is having trouble with keeping the melody in tune, I’ll guide them in identifying the solfège for it. Once they have the solfège for their line, in rehearsal you can ask them to sing and sign their melody while the rest of the band sustains whatever the appropriate tonal center is for that passage. Having them sing tunefully and really feel the relationship between their line versus the tonal center hopefully promotes more in-tune playing.

Another way you can incorporate singing and solfegè while practicing sight-reading skills is through Kodály’s 333 Reading Exercises. The exercises are short enough to incorporate into your warmup routine. First have your students sing and sign on solfege an exercise, then have them play it on their instruments.

I hope this has sparked some ideas on how to use Kodály-inspired strategies to strengthen your instrumental teaching. Even as instrumental teachers, we can incorporate so much of the different concepts that Kodály championed in his approach and pedagogy to improve both ourselves and our students’ musicianship. If you are looking to go deeper into the Kodály concept, I encourage you all to consider investing some of your time in a Kodálycertification/training program. To get connected and for more information on certification programs please visit OAKE.org.

About the Author

Nico Salum is the Choral and Assistant Instrumental Director at Highland High School in Bakersfield, CA. In his third year of teaching, Nico directs the Mixed Choir, Concert Band, Jazz Band, and assists in directing the Highland High School Black Watch Brigade. Prior to his current position, Nico taught 3rd-4th general music and 5th grade beginning band for two years in the Greenfield Union School District.

Nico completed his Bachelor of Arts in Music - Music Education Emphasis from California State University, Bakersfield. He earned his full Kodály Certification from the California State University, Bakersfield Kodály Institute.

The Kodály concept is one of many approaches to music education. The preceding are just a few of the key elements of the Kodály concept.

Super RecapSaturday

by David Green

The inaugural CBDA All-State Super Saturday, held on September 9, 2023, was an extraordinary success, marking a pivotal moment in the history of music education in California, with participation from over 500 students and educators held on the campuses of Will C. Wood HS in Vacaville, Diablo Valley College in Pleasant Hill, Fresno City College, and Woodbridge High School in Irvine. As CBDA seeks to find new ways to connect and serve educators and students alike, this event demonstrated CBDA’s unwavering commitment to expanding its offerings and reaching new heights in support of both teachers and students.

Here are some quotes from students and educators who attended different locations:

Lianna, High School Student: “I loved the atmosphere and encouragement from every participant. The clinic has helped me develop my musicianship and provides guidance on how to approach the audition material. The information I learned at the clinic will propel my skills and musicianship as I continue playing. This was an enjoyable experience.”

Kaveh, Middle School Student: “I really enjoyed getting to meet and rehearse with other percussionists. It was a great way to make new friends and get new perspectives. I think that this clinic will help me to improve my skills as a musician, while also deepening my knowledge of music in general. I believe that this clinic helped me to improve some of my rudimental skills and teamwork qualities, both of which helped a lot in my school ensemble. I really enjoyed the Super Saturday, and I would love to attend next year.”

Emily, High School Director: “As a high school director, I couldn’t be more thrilled with the outcomes of the CBDA All-State Super Saturday. My students came back with newfound confidence and skills, thanks to the exceptional instruction they received at Diablo Valley College. It’s heartening to see such a diverse group of students from different schools come together for a shared musical purpose. This event exemplifies the spirit of collaboration and growth that lies at the core of music education. I look forward to continuing this tradition and witnessing even more success in the years to come.”

CBDA Director of Communications

Sarah, Middle School Director: “Our middle school students were positively impacted by the CBDA All-State Super Saturday at Fresno City College. It’s incredible to see them learn from top-notch instructors and interact with high school peers. This experience has not only improved their musicianship but also their motivation and confidence. We’ll certainly be back next year!”

The clinicians were fantastic, and I came away with a whole new level of confidence in my abilities. Can’t wait for the next one!”

Daniel, High School Student: “The experience of playing alongside fellow musicians and receiving expert guidance at Woodbridge HS was invaluable. It not only enhanced my audition skills but also gave me a fresh perspective on music. I’m grateful for this opportunity.”

The positive energy and passion displayed by these students and educators alike are a testament to the success of this statewide initiative, which unfolded across four different campuses. As we look ahead, we eagerly anticipate the continuation of this remarkable tradition. CBDA remains committed to nurturing musical talent across the state of California, and this event exemplifies our unwavering dedication to that mission.

CBDA would like to thank the following people for their help in running the clinic sites:

Bay Area: Dr. Kaitlin Bove, Patrick Dandrea

Northern California: Daniel Sedgwick, Casson

Lucas, Middle School Student: “I enjoyed every bit of this event, from the insightful clinics to meeting new friends who share my passion at Fresno City College. It’s inspiring to see high school students excel and set the bar high. I can’t wait to join them in the future.”

Olivia, High School Student: “The clinic at Diablo Valley College was like a musical journey where I learned so much about my instrument and the audition material.

Scowcroft, Eric Robers

Central California: Trish Adams, Tara Adams, Elisha

Wells

Southern California: Jeanne Christensen, Susan Willmering, Cathy Olinger

California All-State Audition Tips

by Susan Willmering

CBDA Vice President

This article is an ‘updated’ version of my fall of 2020 article. Especially after the last two years, I feel we all could use a refresher and these tips I had provided back then still stand strong with a few tweaks. One band director friend told me he printed out the original article for his students and handed it out to each of them so that they could benefit from these tips. I thought that was a great idea especially since sometimes the students are left to prepare and record themselves on their own. I hope this gives everyone a little insight and a few good ideas.

Here are some tips coming from the lens of a Judge and Music Teacher:

Start Yesterday!!

The saying “failure to prepare is preparing to fail” holds true. The solo lists have been out since April, so what are you waiting for? Anyone who procrastinates and tries to learn the All-State rep in the last few weeks risks running out of time at truly detailing their music.

Checking In

As teachers, we can help by checking in on students auditioning, even during class. From the start of the fall semester, I randomly listen to different students play parts of

their solos or scales and give them quick feedback in class in front of their peers. Of course, I always keep it positive. That way students can all learn from each other, build their confidence in short spurts, and I can check that they are progressing successfully. This also sets a precedent to the rest of the ensemble that we value seeing students strive for the All-State Honor Groups.

Listen

Listen to each recording track once uploaded to the CBDA Digital Audition System. This is an EASY task which allows for one to listen to each track, even on top of each other to save time. This would eliminate many auditions from being disqualified due to simple accidents such as: missing a track, uploading the same scale twice, playing the wrong scale (ex. natural minor instead of melodic), and playing the wrong excerpt in the music. If the audition is incomplete for any of these reasons, it is then marked “disqualified” and taken out of the judging cycle no matter how great the player is.

Microphones

When it comes to microphones, you don’t have to break the bank. Yes, having a decent mic or two to record students

is great. But if that is not an option, that should not stop anyone from auditioning for All-State. Smartphones these days have decent mics which do a great job when recording most instruments. I would recommend using a smartphone over a computer mic, unless you have an external mic to plug into it. Also, there are some superb affordable mics that can plug into the phone such as the Shure MOTIV MV88.

The instruments which I think require the most attention when it comes to microphones are usually the tubas and timpani. Clarity on these low instruments is usually an issue. I use a ribbon microphone for both. It has made a world of difference in the clarity of my students’ recordings.

Be mindful of mic placement and distance from the performer. Each instrument has its own needs. Experiment with this to find what sounds most authentic.

Recording

Recording takes patience. Plan that it may take more than once. Students who have never recorded often are too nervous the first time to truly perform at their best. Also, young brass players usually do not last long. Think about breaking it up and maybe record scales on one day and the solo on another.

Percussion has a lot of different instruments to record. I suggest focusing on recording one instrument a week leading up to the deadline. I have found recording percussion in one sitting for JH and even HS is not ideal.

No one said recording for All-State has to be done in one session. But, I suggest notating mic placement and levels to make sure recording on multiple days sounds as if it were done in one session.

Recording Space

Try and find a quiet space that has some resonance to it. If recording from home, try a variety of locations. An open living room might work better than a small bedroom, which might be too dry.

Judging Categories

It isn’t just about correct notes and rhythms… Each scale and excerpt is broken down and judged by four categories: Tone & Intonation, Accuracy, Articulation, and Musicality. Listen to each scale and excerpt with separate ears and address each of these areas. Note that Tone & Intonation is worth more than the other categories. So, showing a level of mastery in technique and tone, having quality equipment and reeds, understanding the intonation issues of the instrument and how to control it (such as third valve slides and alternate fingerings), are important.

Professional Feedback

We are in an era of Zoom lessons and online learning. This is a great opportunity for students to utilize these online resources, such as SmartMusic and MusicFirst, or to reach out to professional musicians across the nation for help. Many professional musicians have all adapted to using Zoom and would definitely love to give masterclasses, lessons or just feedback on a recording.

Scales

• Should be fluent. Need I say, practice with a metronome (slow at first) to help with this. Tempos should be competitive but should not exceed the ability to have clarity and to demonstrate musicality. It is better to be accurate, smooth and musical, than fast.

• Record all scales in a similar tempo. Playing one extremely fast and the next 20 beats slower doesn’t have a flow to it and looks as if there is a technical problem to a listener or judge. Pick a tempo all scales can be played at and stick to it.

• Play the correct articulations that are asked for, no exceptions!

• Watch that slurs are performed without rushing through the notes around them…. This is often an issue for wind players.

• The last note should be held out with a great/ strong tone for two full counts. Brass players, do not release with your tongue, and flutes, keep your chin up when releasing the note. Add vibrato if it is appropriate for that instrument and if the performer has control over their vibrato. When a student doesn’t have a strong tone at the end, it is usually because they have run out of air. With all scale recordings, I make my students take in a 2-4 count breath instead of a 1 count breath. You want to sound strong from beginning to end.

• No accents or staccatos… there are none written. Don’t anchor on to the beats with added accents or staccatos. It should sound smooth overall and flowing.

• Before starting the scale, place the fingers down on the first note before the breath is taken. This can eliminate a lot of problems for young musicians and their struggle to get a clean attack…. (ex: saxophonists on the chromatic scale, pressing the keys down before the breath will eliminate the sound of the pads smacking on the attack)

• Only record the range asked for. Unfortunately, “extra credit” is not part of the scoring, so playing extra octaves only opens the audition up to having points taken off from one of the four judging categories.

Solos

• Check the Errata list on the CBDA website for updates before recording. We do not take off points if someone does not follow the Errata, but why would one want to perform a piece with wrong notes and such?

• Make sure the performer has taken time to define each word written in the solo. If it says “con sord” and the performer does not use a mute, that doesn’t sit well. Take time to thoroughly define and learn everything about the piece. Part of the fun of learning a piece isn’t just about playing the notes and rhythms, it’s about truly delving into it and knowing it inside and out.

• Play the correct notes and rhythms. This is All-State. It should be assumed that this is the bare minimum to the solos. BUT, if a high note cracks, that is not a deal breaker.

• Listen to professional recordings of the piece to help develop musical concepts and ideas. If it is a transcription, listen to the original version to make sense of the phrasing. If there is text, learn it. This will help with the ideas of articulation and musicality.

• STYLE: Play the All-State solos using the appropriate practices for that style of music. If ornamentation is usually placed on a note, then by all means, add it. (ex. Trills, mordents, etc.) Most Judges used for All-State will know each of these solos because they have in the past performed them and will know the appropriate practices.

• TEMPO: The solo tempos should be as close as possible to what is asked. BUT, if there is a tempo which the performer sounds more clear and musical on, then use your best musical judgment. Clarity and details over rushed sloppiness will get a higher score.

• DYNAMICS: Observe them!!

• PHRASING: Teachers, if a student does not have a private teacher, write this in for them on their music. Write in breath marks for them too.

Percussion

• All parts must be submitted to be considered.

• Chromatic Scales- Consider where you are hitting the keys. Stay away from the nodes (where the string goes through the keys). Also, the Judge should not be able to tell if you are right-handed or left-handed. Play evenly between hands.

• Snare Roll and Timpani Roll- Don’t worry so much about the length and time of the roll but rather attaining a smoothness and strong dynamic range.

• HS Cym & Tambourine Excerpts- Spend some time learning the technique and tone of these orchestral instruments. There are plenty of Youtube videos on how to play concert crash cymbals and tambourines; watch them.

• Marimba Solo- If dynamics and/or phrasing is lacking, don’t be afraid to add some. This is especially true for the JH marimba solos.

• Snare- Record with a metronome in your ear. As long as the Judges can’t hear it, there is nothing wrong with it.

• Timpani- Listen to yourself. Do your hands SOUND even?? Often the lower drums are not played strong enough to balance evenly to the upper drums that project easier. It isn’t about playing even, it is about sounding even.

Is It Inspiring?

This is the number one thing I ask myself when recording my students. Top chairs at All-State have the “It Factor” and are breathtaking to listen to. If my students’ recordings are not inspiring, we talk about it and come up

with ideas to make the music come alive. I have learned that even a twelve-year-old can be inspiring on a solo piece. If they can record an inspirational excerpt, there is a good chance that it will be to the level of All-State.

Final Thought

Earning a spot in one of the California All-State Honor Groups is a prestigious honor and a great experience for our students. This is something which students can have pride in and is a great reward for their strong musical work ethic. It also helps to show their peers that there IS a tangible reward for all those hours of practicing scales and excerpts. I wish you and your students the best of luck with the All-State audition process and hope my tips are helpful.

Effective Use of Simple Technology:

Video and Collaborative Note Taking to Enhance Performance and Assessment in Your Music Classroom

by Dr. Christopher M. Marra

Seton Hill University

Note: This article was adapted from a similar article written for music teacher educators published in the Summer 2022 issue of PMEA News.

During the early months of the COVID-19 pandemic, many music teachers adapted their teaching practices to remote and hybrid environments. While some of these adjustments involved incorporating video conferencing and socially distanced music making, other changes included adjusting how students demonstrated knowledge within music classes. As we embark on a new academic year (one where we can most likely count on a “normal” teaching environment), it seems appropriate to reflect on the work we accomplished during those difficult teaching years in order to support our students in today’s environment. It is likely that many of the curricular changes and adaptations made during the course of the pandemic were thought to be “necessary evils” and a means of reaching the other side to “return to normal.” However, it may also be possible that alterations made during those years remain useful in more traditional teaching settings.

The purpose of this article is to present expanded uses of practice videos, example performance videos, and collaborative note taking approaches my colleagues and I implemented into our teaching over the past ten years. The article is organized into three sections to provide context and recommendations for music teachers developing assessments and assignments for this upcoming academic year. Even though the tools described in this paper were necessary during the remote and hybrid teaching, many of these resources continue to enhance assessment and provide more comprehensive opportunities for student learning.

Maximizing Simple-to-Access Video

Video recall as a means of self-assessment is not a new idea. In music education research, Després (2021) refers to this process as Retrospective verbal protocol with subjective aided recall (RVPwSAR) where an individual uses video reflection to analyze and self-reflect on problemsolving processes during a real-time task. This tool is frequently used to analyze skill and technique in sports, evaluate emergency responses, and examine consumer behaviors. However, in music learning and education, RVPwSAR is commonly employed for reflecting on music performances, improvisation, and teaching effectiveness. These experiences allow the performer or teacher to see the experience from the audience or students’ perspective. With proper guidance, RVPwSAR can be a more effective reflection tool than memory alone.

During the height of the pandemic, I used these practices within music teacher education. Specifically, music education majors and conducting students at our university used synchronous and asynchronous video to create teaching environments and simulated ensemble performances. While this was not an ideal setting, it did provide a more concrete opportunity to reflect on effectiveness through self-reflection. Both the instructor and the student reviewed the same video, dissected it with specific timings, replayed it again if needed, and used this experience as a reference point for ongoing growth.

Since returning to traditional formats, our classes continued to incorporate RVPwSAR in ways that go beyond what is possible with real-time feedback alone. For example, conducting students are asked to submit pre-performance rehearsal videos. This captured our students’ work during the development process and allowed the instructor to provide pointed feedback before the student is asked

to demonstrate the skill with a live ensemble. With every performance, students are required to record, watch, and reflect on their conducting with specific prompts. Both of these video recall assessments helped reconcile the similarities and differences between the conductor’s realtime cataloging of events and offered a window into the lived experiences felt by members of their ensemble. Engaging in basic RVPwSAR during the development and performance stage of conducting experiences can provide both internal and external viewpoints which enhanced our conductor’s musicianship skill development on the podium.

In instrumental band teaching settings, these simple tools may be beneficial to music teacher reflection and professional development. For instance, during a marching band basics block, a tablet or cell phone can be used to record novice students during movement and basics exercises. Instead of relying on verbal explanation about technique issues, reviewing the short video collaboratively with students may help highlight areas needing improvement or refinement. Slow motion features may assist further in supporting visual assessment of posture, breath, embouchure and other vital technical skills necessary to master in instrumental band settings. For indoor ensembles, students have likely become accustomed to submitting short playing videos during the pandemic. Music teachers might consider continuing this practice while also incorporating a short video self-reflection. Students may even submit a compare-and-contrast between earlier and later performance submissions.

Analyzing Example Videos

The use of pre-recorded teaching examples in preservice music teacher education has been examined prior to the pandemic. West (2013) suggested the process of reviewing teaching videos may help preservice music teachers reflect upon their prior beliefs about teaching. The author added the use of video-cases in the classroom could also help transform the focus of preservice music teachers towards the student experience. In my teaching setting, it was common to incorporate an occasional video clip from time to time into lessons targeting particular topics such as improvisation in the beginning band and orchestra curricula. However, the review of longer teaching video examples only became commonplace during the shift to virtual teaching models.

One of the most challenging pandemic-related obstacles to overcome in our music teacher education curriculum was the absence of real in-person fieldwork experiences. Like many programs, Seton Hill University students observe music teachers and students within fieldwork opportunities during the first semester within the degree and continue with a consistent progression of content specificity each term. In many ways, we rely on real-life experiences as a means of actualizing classroom discussions and concepts. One way we compensated for these missed opportunities was to analyze exemplar classroom teaching videos as a full class (as if we were attending a fieldwork placement). After much vetting, we identified video teaching examples that demonstrated

excellent teaching as well as provided camera angles that allowed our students to observe a large part of the virtual classroom and the music teacher.

Once we re-integrated in-person fieldwork experiences, we realized the use of video review in combination with in-person observation provided a unique opportunity to see great teaching, pause and discuss, or even act as introductory models before unpacking a music teaching concept. Reviewing full-length teaching episodes continues to be useful for teacher self-reflection at the in-service level.

While playing recordings for ensemble classes as a model of sound is not a novel idea, these recordings are often well-polished studio recordings. In addition to these great resources, music educators may consider having your class carefully analyze a live performance video of an ensemble that is similar to their skill level. As students review this type of performance, they may notice similar challenges, different approaches, and other nuances that are not often present in produced recordings. Additionally, the teacher could take the opportunity to pause and discuss key points in the video. This could lead to a conversation about setting short-term and long-term goals within the ensemble and increase the level of student ownership within the process of preparing the music for a performance. Though this type of observation, self-reflection, and discussion may be impactful, it is vital for music teachers to craft questions and sentence starter prompts to help students have a dialogue focused on professional review and not judgement.

Real-time Collaborative Notetaking

During the observation phase of fieldwork experiences, preservice teachers are often asked to take some type of observation notes. These notes can range from openended commentary to prompted analysis of the classroom experience. The process of reflection in fieldwork is thought to be one of the most vital elements. Powell (2020) suggested proper reflection can contextualize teaching concepts and build a sense of community. Yet, adequate dialogue about classroom observations is challenging to achieve during simultaneous observation. And within an in-person setting, discussion is typically delayed until well after the event. As the time between observation, reflection, and discussion grows, so does the likelihood of omitting key details of the experience.

When public schools returned to in-person instructional models, many districts in our area continued to limit visitors on campuses. As a result, some of our fieldwork experiences continued through video conference observations where Seton Hill University students “Zoomed” into music classrooms across our area. When working through this less-than-ideal format, we identified that the chat feature within video-conferencing software functioned as a tool to prompt preservice music teachers for “in-the-moment” reactions and questions during the video observation. This welcomed an ongoing dialogue while actively observing. With this example in mind, we devised a system to continue a similar dialogue process once inperson observation and fieldwork experiences returned.

In-service instrumental music educators may be able to utilize similar tools for students to contribute in real time. For instance, by using any type of web-based simultaneous response program, students in an ensemble might be able to provide feedback to a section of the ensemble when they are not playing. With careful teacher-led prompts, you could ask the brass section to use their phones or tablets to contribute responses about an excerpt of the music where you are rehearsing with only the woodwinds and percussion. After that section is complete, you might be able to glance over to your screen and share a few useful items with the ensemble. Another possible scenario where tools like this could be of great use is when a student forgets their instrument. Employing web-based simultaneous response programs could provide a more meaningful way to keep students engaged when they are not actively performing. It may also provide you an additional set of ears.

Conclusion

As the 2023-24 academic year gets underway, most music teachers are eager to refine and enhance their classroom experiences. Additionally, after years of “pivoting” and innovating new ways to keep music students engaged, it is helpful to take inventory of the modifications that worked well during this time. At Seton Hill, we discovered that several simple technology-based tools developed during remote and hybrid teaching could be repurposed to enhance our traditional classroom experiences. Expanding the use of video recall, example videos, and collaborative note taking approaches all transitioned easily and effectively into post-remote learning assignments and projects. I encourage music teachers to try some of the ideas provided in this article or resurrect some of your own adaptations that may surprisingly work well in a variety of teaching settings.

References

Després, J. P. (2021). First-person, video-stimulated recall method for studying musical improvisation strategies. Research Studies in Music Education, 44(1), 34–51. https://doi.org/10.1177/1321103X20974803

Powell, S. R. (2020). Field experience. In C. Conway, K. Pellegrino, A.M. Stanley, & C. West (Eds.), The Oxford handbook of preservice music teacher education in the United States. Oxford University Press.

West, C. (2013). Developing reflective practitioners: Using video-Cases in music teacher education. Journal of Music Teacher Education, 22(2), 11–19. https://doi.org/10.1177/1057083712437041

About the Author

Dr. Christopher M. Marra is an Associate Professor of Music and the Director of Instrumental Activities at Seton Hill University. As a part of his duties, Dr. Marra conducts the Westmoreland Symphonic Winds and teaches courses in music education, conducting, and brass. He holds a B.S. in Music Education from Duquesne University, a MM in Music Education with an emphasis in wind band conducting from Northwestern University, and a Ph.D. in Music Education with an emphasis in wind band conducting from the University of Michigan. Prior to his university teaching, Dr. Marra taught high school band and orchestra for 10 years in San Jose, CA, where he held board positions with the CMEA Bay Section and the California Band Directors Association. He is an active member and presenter at a variety of state, national, and international education organizations including: National Association for Music Educators (NAfME), the Midwest Band and Orchestra Clinic, Pennsylvania Music Educators Association (PMEA), Michigan Music Educators Association (MMEA), Indiana Music Educators Association (IMEA), California Band Directors Association (CBDA), and American Educational Research Association (AERA). Dr. Marra authored and co-authored several articles in the field of music education and has been published in the Journal of Research in Music Education (JRME), the Journal of Music Teacher Education (JMTE), and the Music Educator’s Journal (MEJ). He is a contributing author in The Oxford Handbook of Preservice Music Teacher Education and Critical Issues in Music Education: Contemporary Theory and Practice both published by Oxford University Press. Dr. Marra is an active guest conductor, clinician, and adjudicator for several state and national organizations including Drum Corps International (DCI). His research interests include: social influence in music education, music teacher retention, and undergraduate teacher preparation.

Maintaining the Immeasurable

by Dr. Craig McKenzie

Introduction

In the current public education system here in the US, the focus on measurable data has affected the aims of education, shifting from idealistic to quantifiable objectives. This trend poses challenges for creative and artistic classes, like public school band, which prioritize subjective experiences over measurable outcomes. Funding and accountability are driven by test scores, graduation rates, and enrollment numbers in advanced courses, often neglecting the intangible aspects of education.

The misalignment between the aims of music education and the broader education system is evident. Philosophers like David Elliott and Bennett Reimer emphasize the artistic and emotional aspects of music, which clash with the measurable goals proposed by educators like Robert M. Thorndike and his family.

Later here, I’ll present three hypothetical scenarios to illustrate this misalignment: a band program solely focused on its own music philosophy, neglecting broader educational aims; a program overwhelmed by data generation, compromising artistic expression; and a program seeking a balance between accountability and artistic exploration.

To find a compromise, music educators should consider incorporating both assessments and aesthetic, artistic, and emotional approaches in their teaching. While school accountability is essential, educators must also preserve the intrinsic, spiritual, and transcendent aspects of music that

are immeasurable. That “magical” aspect of music making that attracted all of us to this profession in the first place.

Considering the continued importance of data-driven policies in education, it becomes crucial for public school band programs to generate data that supports their existence without undermining the immeasurable values of music education. By striking this balance, music educators can ensure the continued funding and offerings of music in schools while preserving the essence of artistic and creative experiences.

The Aims of Music Education in Public Schools

Music educators face conflicting messages about the goals of music education. Some emphasize the aesthetic experience, creating artistry through sound to touch lives uniquely. Others stress praxial music education, connecting students to culture and society while fostering holistic development. On the contrary, administrators and school boards focus on music’s benefits in boosting academic performance and attendance, often evaluating teachers based on student achievements. Parents and students may prioritize winning trophies and showcasing performances over other learning aspects.

The challenge for educators is striking a balance between these aims while preserving the uniqueness of music education. This calls for consistent self-evaluation and adapting to individual circumstances. The ultimate focus

Teaching Band in a World of Standardized Tests, Accountability, and Competition While Making Room for Beauty

San José State Univeristy

should be on providing students with a comprehensive music experience that encompasses artistry, cultural connections, and personal growth.

Conflicting Trends in Public Education

Current trends in public education heavily emphasize standardized testing, measurement, and accountability. The system seeks to evaluate the quality of education and students’ progress through uniform assessments. This approach dates back to the early 20th century and evolved through various periods of criticism and reform.

The Elementary and Secondary Education Act (ESEA) of 1965 and No Child Left Behind (NCLB) act of 2002 ushered in an era of accountability, aiming to ensure equal education for all students. The Every Student Succeeds Act (ESSA) of 2015 continued this focus on accountability while highlighting equity and college readiness.

However, the standardized testing approach poses challenges for music education. Music classes, being elective, cater to students of varying abilities and experience levels. One-size-fits-all testing cannot accurately measure artistic growth or creativity. Educators face the dilemma of generating measurable data while preserving the artistic and creative aspects unique to music education.

The Conflict with High School Band

Measuring creative output in an artistic setting proves difficult but not impossible. Music teachers can create assignments to capture some aspects of creative development. However, focusing solely on provable data might lead to neglecting essential aspects of music education, such as artistic experiences and aesthetic value.

One common approach for generating measurable results is attending festivals and competitions, where trained judges evaluate ensembles based on predetermined criteria. However, this can diminish the significance of other vital elements that are challenging to measure.

Someone once asked me, “What’s more important: love or money?” to which I think most people would answer “love.” The follow-up question was, “Which is easier to measure?” Things that are quantifiable are inherently easier to measure and generate data from. The aesthetic nature of art—and specifically music—is significantly harder to quantify, but no less important in the lives of our students.

In conclusion, music education faces a challenge in aligning with prevailing trends in public education. Striking a balance between measurable outcomes and preserving artistic expression is crucial for nurturing well-rounded individuals through the unique experience of music education.

Three Scenarios: Finding Balance in Music Education

In this section, we explore three fictionalized scenarios of public school band directors, each representing different approaches to the misaligned aims of music education. These extremes aim to shed light on the challenges faced by educators and the need to strike a balance.

Scenario One – Ms. Matkovich and the Ideal Music:

Ms. Matkovich is a band director at a suburban high school who places great emphasis on her own aesthetic music philosophy. She doesn’t prioritize competitive marching band or festival performances, believing them to be limiting and costly. Instead, she focuses on carefully selecting beautiful and artistically significant music for her concert bands. However, she struggles with student motivation and attendance at concerts due to the lack of external measurement and accountability. She feels isolated in her artistic pursuits and wishes for more recognition.

Scenario Two – Mr. Gomez and the Band that Wins:

Mr. Gomez is an enthusiastic director who prioritizes competitive marching band and festival performances. He believes in the value of competition and how it instills important life skills in his students. While his bands achieve high scores and win trophies, Mr. Gomez begins to feel unfulfilled musically. He finds himself restricted by a limited repertoire of approved music for competitions and longs for more artistic expression in his program.

Scenario Three – Mrs. Lee and the Compromise:

Mrs. Lee represents a balanced approach, striving to combine artistic education and accountability. She participates in festivals and competitions to gauge progress and improvement, but she doesn’t focus solely on winning or achieving “Superior” ratings.

She doesn’t like how the focus on “winning” at a competition can have a limiting effect on the quality of the process her students participate in every day and that it can limit the scope of what students think is important in preparing materials for performance, but she sees the motivation that setting a goal and performing for a panel of judges giving critical feedback can provide.

She wants to make sure her students aren’t just performing the highest caliber and quality of music; she also wants to make sure that they are getting creative and artistic opportunities outside of the large ensemble performances. She does projects with her students in which they present findings on different composers and their place in history and culture, she has them compose short works for themselves and their peers to perform, she includes students in the picking of some of the works they play and even has some students participate by arranging and orchestrating the music they like for the bands to perform.

Mrs. Lee believes in the value of self-evaluation and growth, finding ways to strike a balance between the measurable and immeasurable aspects of music education.

The Compromise

As the scenarios illustrate, both extreme approaches have merits and shortcomings. Ms. Matkovich neglects measurement and accountability to provide a more deeply aesthetic and artistic experience, but potentially limits her program’s recognition and resources. On the other hand, Mr. Gomez relies heavily on external measures and competitions, potentially sacrificing artistic exploration.

Mrs. Lee demonstrates the ideal compromise, valuing both the intrinsic and extrinsic aspects of music education. She focuses on continual improvement while providing opportunities for creativity and personal growth.

This compromise does require just that: compromise. I’m sure many of you are immediately responding with, “But who has time to do all that?!?” In most cases, the only way is to pull back on some of the expectations and resources (most specifically TIME) spent on the extrinsic rewards. I promise that time invested in exploring the intrinsic value of music making will pay dividends in the end!

Conclusion

In music education, the challenge lies in balancing the ideals of artistic expression (intrinsic value) with the expectations of standardized measures and accountability (extrinsic). While educators aim to create meaningful and emotionally impactful experiences, they must also meet governmental guidelines and prove the program’s worth. Striking a balance is crucial. Participating in adjudicated assessments is valuable, but the emphasis should be on growth and improvement rather than winning. By doing so, music educators can maintain the importance of the musicmaking process while meeting external requirements and supporting the longevity of music programs.

About the Author

Craig McKenzie is the Assistant Director of Bands and Director of Athletic Bands at San José State University. His responsibilities at SJSU include directing the Spartan Marching Band and Spartan Basketball Band, working with the Symphonic Band, teaching within the Music Education

department, and supervising student teachers.

Dr. McKenzie is currently completing a D.M.A. at the University of Miami, Frost School of Music where he studies instrumental conducting with Robert M. Carnochan. He holds a Bachelor of Music Education from the University of Colorado at Boulder and a Master of Music with an emphasis in conducting from San José State University. During his time at San José State as a student, Dr. McKenzie also taught conducting classes and directed the Symphonic Band.

With sixteen years of middle school, high school, and college teaching experience, Dr. McKenzie most recently taught at Abraham Lincoln High School, a visual and performing arts school in San José, CA. His teaching duties included Beginning, Intermediate, and Advanced Concert Band ensembles, Mariachi, the Lion Pride Band, and two Jazz Bands. In addition, he directed the pit orchestra for each of the two musicals produced by Lincoln High School every year.

Dr. McKenzie is a long-standing member of the California Music Educators Association, the California Band Directors Association, the National Association for Music Education, and the College Music Society. He was honored with the Outstanding Teaching Award from the Lincoln High School Foundation in 2012 and was recognized as Teacher of the Year by Lincoln High School in 2013.

Dr. McKenzie enjoys returning to the San Bernardino mountains of California each summer to visit Arrowbear Music Camp where he has directed the Intermediate Session Band every year since 2002. He credits Arrowbear Music Camp with an influential portion of his musical education and attended as a camper in his childhood.

When not on the podium, Craig resides in San José, CA ,with his wife Andrea and their dog Freya. He enjoys traveling, exploring new cities via their restaurants, and searching for lost retro, vintage, and Polynesian Pop artwork to add to his collection.

Dr. McKenzie believes that music and the arts are an integral part of a well-rounded education and that training the next generation of music teachers is of paramount importance.

All-State Auditions

California currently offers the opportunity to audition and participate in 16 All-State ensembles.

Collaboratively, CBDA, CODA, and CAJ offer a junior high (Grades 7-8) All-State Honor String Orchestra, two junior high (Grades 7-8) All-State Honor Bands, a junior high (Grades 7-8) All-State Jazz Band, four high school (Grades 9-12) All-State Honor Bands, a high school (Grades 9-12) All-State Jazz Band, a high school (grades 9-12) All-State Honor String Orchestra, and a high school (Grades 9-12) All-State Honor Full Orchestra. CAJ also offers a high school (Grades 9-12) All-State Jazz Choir. CCDA offers four All-State Choirs. All of these ensembles will rehearse and perform at the California All-State Music Education Conference in January 2024.

High School Scales

Junior High School Scales

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