2016-2017 Georgia Music News | Fall

GeorgIa music news VETERAN 10

DIVISION NEWS

ASSOCIATION NEWS

Action Research Dr. Audrey Cardany

ESSA:

What It Is, What It Means, and What’s Next

NAfME

Prime

Remembering Yesterday for A Better Tomorrow

DEEPENING CONNECTIONS IN SYMPHONIC MUSIC THROUGH

EDUCATION

photo provided by Jeff Roffman

VOLUME 77

NUMBER 1

FALL 2016

fall 2016 // georgia music news

1

TABLE OF CONTENTS

GMEA BOARD OF DIRECTORS President Dr. John Odom

District Chairs 1 - Kenza Murray 2 - Andrew C. Bell 3 - Jonathan Carmack 4 - D. Alan Fowler 5 - Stephen Lawrence 6 - Samuel Miller 7 - Blair Callaway 8 - Alan Carter 9 - Pat Gallagher 10 - Gene Hundley 11 - Todd Howell 12 - Paula Krupiczewicz 13 - Erik Mason 14 - Dion Muldrow

President-Elect Evelyn Champion Vice-President for All State Events Tracy Wright Vice-President for Performance Evaluation Events Richard Prouty Past Presidents’ Representative Dr. Bernadette Scruggs

30

Deepening Connections

for Symphonic Music Through Education

Band Division Chair Neil Ruby

photo provided by Jeff Roffman

Choral Division Chair Wes Stoner

Tammy Hawk, Atlanta Symphony Orchestra

For the complete list of Board Members please visit:

GMEA Staff Aleta Womack Brandie Barbee Ryan Barbee

College Division Chair Dr. Laura Stambaugh

2016 GMEA Board Meeting Minutes and Budget

Elementary Division Chair Vicky Knowles GMN Advertising/Exhibitors Cindy Reed Orchestra Division Chair Sarah Black

6

Piano Division Chair Dr. Joanna Kim

-ADVERTISER INDEX-

Action Research

ARMSTRONG STATE UNIVERSITY PAGE 33

ESSA

34

PRIME

Veteran 10

41 4

Association News

16

Division News

georgia music news // fall 2016

MERCER UNIVERSITY PAGE 15 PANAMA CITY BEACH PAGE 25

FRANKLIN POND CHAMBER MUSIC PAGE 24

PIEDMONT COLLEGE PAGE 24

GEORGIA SOUTHERN UNIVERSITY PAGE 21

SHORTER UNIVERSITY PAGE 19

GEORGIA STATE UNIVERSITY BACK COVER

42

PRIME

LOUISIANA STATE UNIVERSITY PAGE 3

COLUMBUS STATE UNIVERSITY PAGE 3

26

2

Editor, Georgia Music News Victoria Enloe

Executive Director Cecil Wilder

KENNESAW STATE UNIVERSITY PAGE 19

22

Around the State

LEE UNIVERSITY PAGE 29

UNIVERSITY OF WEST GEORGIA PAGES 14, 33, 40 & 44

YAMAHA PAGE 20 YOUNG HARRIS COLLEGE PAGE 40

To advertise please visit: http://www.gmea.org/georgia-music-news/ © Copyright 2016 by the Georgia Music Educators Association All pieces reproduced in this issue are under prior copyright of the creators and publisher by the contractual arrangements. Nothing shown may be reproduced in any form without obtaining the permission of the publisher and any other person or company who may have copyright ownership.

Photos provided by Andy Edwards of Ace of Photos Visit aceofphotos.smugmug.com

SCHWOB SCHOOL OF MUSIC | COLUMBUS STATE UNIVERSITY (GA)

19th Annual Conductors Workshop November 18 & 19, 2016 Begins Friday afternoon and continues through Saturday evening Mallory Thompson

Damon Talley

Large and Chamber Ensemble Conducting Sessions Lectures and Panel Discussions Conductor ($225) | Auditor ($75) | SDU (add $10) Click “2016 Conductors Workshop” at music.columbusstate.edu/windensemble Workshop details, downloadable brochure, and on-line registration available For questions, email Jamie Nix at nix_jamie@columbusstate.edu or call 706-649-7252

www.ColumbusState.edu/Music Jamie Nix

Think creatively.

Collaborate meaningfully.

Bachelor of Music Bachelor of Music Education Bachelor of Arts Minor in Music

Master in Music Master in Music Education Doctor of Musical Arts Doctor of Philosophy in Music

Application Deadlines Undergraduates: November 15 Graduates: December 1

225-578-9291 • music.lsu.edu/admissions

3

ASSOCIATION NEWS THE PRESIDENT SPEAKS DR. JOHN ODOM, GMEA PRESIDENT

As all of us have returned from the summer (some earlier than others), I want to say a hearty “Welcome Back” to all of GMEA as we draw on that excitement, enthusiasm and expectation of a new year in which to teach that most amazing and wonderful subject of music to an extremely wide range of personalities, talents, and skill levels. This is our challenge each and every year, to begin planting that seed (remember summer’s article!) that will germinate, although, many times, at different speeds, within those students who have been entrusted to us. To help us do just that, I have drawn from a 1999 article in Teaching Music… “The Habits of Highly Effective Music Educators”. This is based on Stephen Covey’s book, “The Seven Habits of Highly Effective People” (1989). Whether a young teacher in the profession or a seasoned veteran, I believe that these “habits” can serve us well in lesson planning, student assessment, classroom management, discipline, and practically every area of bringing our students to a place of appreciation, of performance, of understanding, and the orchestrating of success in music.

Habit # 1 – Be Proactive Solve problems before they happen Anticipate problem areas in the music before rehearsal Have an attractive and functional learning environment for students Post a rehearsal order for the day on the board (or screen) Post objectives for the day’s rehearsal Make sure the rehearsal room is set a head of time so learning begins immediately

Habit # 2 – Begin With the End in Mind Begin the rehearsal with the finished p oduct in mind Allocate the amount of time needed to achieve this product Plan activities/exercises to develop the desired sound Engage your students in things that will build skills necessary for success Assess the amount of progress made each day and re-plan

4

georgia music news // fall 2016

Habit # 3 – Put First Things First Create a list of priorities based on the assessments from Habit #2 Begin rehearsals with a skill the students have mastered to build confidenc Be sure students understand proper breathing, tone production, tuning, articulation, and blend Teach fundamentals as a part of every rehearsal Be sure you have the skills and information to teach the skills to your students

Habit # 4 – Think Win/Win Everyone involved receives a positive result (not to be confused with the “everyone gets a trophy” philosophy) Be sure students receive the finest music educ tion possible Establish positive relationships among the students and with the teacher Give positive reinforcement often

Habit # 5 – Seek First to Understand, Then to Be Understood Identify different learning styles of your students Prepare more than one way to teach a concept or skill Think about how your rehearsal process works for your students Be sure to model accurately, especially in the first few minutes Consider the following plan for maximizing learning

First 10 minutes – Your own personal preference of

warm-up/rehearsal prep

Next 20 minutes – address the highest learning

objective of the day

Next 10 minutes – take care of announcements/

administrative duties; students can relax briefl

Last 10 minutes – review learned concepts/sections

of music Don’t take things students do or don’t do personally

Habit # 6 – Synergize The effect is greater than the sum of its parts The conductor and ensemble perform as one Everyone takes ownership of the music and their role in a successful performance Students feel comfortable in making suggestions to improve performance Students are free to discuss artistic choices

Habit # 7 – Sharpen the Saw If what you are doing isn’t working, do something different Consider different seating arrangements Re-evaluate choices of literature Bring in a clinician or veteran teacher for another perspective Have section rehearsals Record your ensemble (audio and video) and evaluate with your students Review fundamentals as often as needed (Self-evaluation) Attend your state’s In-Service Conference! (and, if possible, a national in-service conference) Read and implement articles from professional journals Take a class, go to a workshop, or ask colleagues for help

These Seven Habits are full of ideas and suggestions that can lead to positive results as you plan your rehearsals and as you interact with your students. Your efforts will result in well-managed rehearsals with your students making significant progress in becoming better learners and better musicians. I wish you all the best in the coming year and never hesitate to take advantage of contacting me, any division chair or officer with questions and concerns.

HISTORIAN DERIK CLACKUM, GMEA HISTORIAN

THE GMEA STATE FESTIVAL

From time to time I get inquiries about the subject of the GMEA state festival, so I thought I might pass on some information about this era of our history. Our first GMEA state festival was held in Savannah, on April 14-17, 1937, in conjunction with the Georgia Education Association Convention. This was indeed a historic event and meant that music in our schools was coming of age. After that first year, the state festival was moved to Milledgeville, our old state capital, and it remained there until the final state festival in 1953, with the exception that, due to WWII, no festivals were held during 1943-45.

Instrumental music in the schools began after WWI, when the very popular town band supporters sensed the need for trained musicians and began to ask the schools to set up school band groups.

Many of the early school bands met after school and were taught by local performers in the town band. These instructors were usually good players, but lacked formal college degrees.

In the late 30’s, under the leadership of GMEA President Anne Grace O’Callaghan and Vice President Dr. Max Noah, GMEA came up with a plan to increase the excitement about music in our schools and to get music into the school curriculum. The plan called for the state to be divided into 10 districts, with each district to have a district manager and a district supervisor. In order to include more administrators into this plan, the district managers were school superintendents and the district supervisors were music teachers. The idea of including superintendents was an obvious ploy to get their support for music to be included in the school’s curriculum.

The GMEA plan was to have each district organize its own music festival, which would include venues for both school vocal and instrumental performance in February or March. The specific categories in which we would offer performance evaluation were: vocal and instrumental solos and small ensembles, as well as large group performances. Any soloists, ensembles, and large groups that received superior ratings at their district festivals would have the option to perform at the state festival.

The entrants at the first state festival included: six bands (performing marching drills and concert programs), fi e orchestras, seven mixed choruses, nine boys glee clubs, and six girls glee clubs, plus numerous solos and small ensembles. Also included was the grand nale event, a massed band performance.

After the success of the first state festival, Dr. Max Noah, GMEA Vice President, and Miss Maggie Jenkins, GMEA Treasurer, offered to host the state festival at Georgia Women’s College (Now Georgia College & State University) in Milledgeville. Since a trip to Milledgeville usually entailed many students staying overnight, GWC Dorms, as well as private homes were utilized for housing the entrants. Each following year, the GMEA State Music Festival was an even bigger success. Dr. Noah and Miss Maggie continued hosting the annual event through 1953, when participation in the event surpassed the maximum number of students GWC could house.

After 1953, with no one able to take on the hosting task, GMEA decided to divide the state into fi e regions (each region combined two districts) and each region hosted their own festival. As the individual districts grew stronger and music programs more numerous, GMEA dissolved the region format and returned to the original 10 district format, with each district hosting its own festival. As music participation continued to grow in Georgia schools, GMEA expanded to 11 districts, then 12, then 13, and finally to the p esent 14 districts.

I would like to express my appreciation to Bill Fry for his research into this era.

In the early formative years of GMEA, music in the schools was not a given thing. As a matter of fact, during the first half of the 20th century (1900-1950), many schools lacked any type of music program, and those who did have music did not provide it for all children. During those formative years, school music usually meant a few students taking private piano lessons at school or singing in choirs directed by their classroom teacher.

fall 2016 // georgia music news

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GMEA

BOARD MEETING MINUTES SATURDAY : MAY 14, 2016 1.

The meeting was called to order at 10:05 AM by president John Odom. The following members were present:

2.

John Odom, president; Frank Folds, immediate past president; Bernadette Scruggs, past presidents’ council representative; Richard Prouty, vice president for performance evaluations; Tracy Wright, vice president for all state events; Cecil Wilder, executive director; Neil Ruby, band division chair; Wes Stoner, choral division chair; Laura Stambaugh, college division chair; Victoria Knowles, elementary division chair; Sarah Black, orchestra division chair; Joanna Kim, piano division chair; Kenza Murray, district one chair; Andrew Bell, district two chair; Jonathan Carmack, district three chair; Alan Fowler, district four chair; Carolyn Landreau, district five chair; Samuel Miller, district six chair; Bob Steelnack, district seven chair; Steve Myers, district eight chair; Pat Gallagher, district nine chair; Gene Hundley, district ten chair; Lloyd McDonald, district eleven chair; Paula Krupicewicz, district twelve chair; Lee Newman, district thirteen chair; Dion Muldrow, district fourteen chair; Sue McDonald, member at large; Victoria Enloe, Georgia Music News editor; Mary Land, state CNAfME advisor; Lulia Bernath, GSBA representative; Robert Trocina, GASMD representative.

3.

b. Proposal

from the Executive Committee that it become standard board procedure that all action items (other than routine matters) involving a policy or procedural change be automatically reviewed the following year and re-approved or reversed at that time based on the success or failure of the policy to achieve the intended purpose. The motion was approved unanimously.

c.

d. Proposal

from the Executive Committee regarding establishment of a policy, to be included in the handbook, concerning member complaints from members about LGPE adjudicator behaviors and/ or comments as follows:

i.

Evelyn Champion, president-elect was present as an observer.

4. The

minutes from the meeting of May 16, 2015 were approved as emailed to members and published in the Georgia Music News.

5.

The following action items were discussed and voted on.

a.

6

As called for at last year’s meeting, the following proposal was revisited after a year to be affirmed after being in place for one year.

i.

If all or part of an event is cancelled after the judge arrives on site they will be paid full pay for all groups judged and ½ pay for all groups that were cancelled due to weather. In cases where the entire event is cancelled and the judge has not yet arrived on site no payment will be due them.

ii.

Judges will no longer be paid on site at the conclusion of the event. Their honorarium will be mailed to them along with their expense reimbursement. The reimbursement will still be paid with a separate check for tax reasons. The policy was permanently approved by a vote of 22-3.

georgia music news // fall 2016

Proposal from the Executive Committee to change the 30-day grace period for late applications to 15 days, no exceptions. All State acceptance deadlines would continue to be firm with no grace period. The reason for this change is that the 30-day grace period runs into some of the actual events.

The motion was approved unanimously.

“Directors with a concern over an adjudicator, whether it be with the head adjudicator not notifying them at least two weeks prior to the event of any issues concerning their selections to be performed at their LGPE, or any adjudicator who makes comments, either written or recorded, that are not consistent with policies and guidelines as spelled out in the GMEA adjudicators’ manual may submit those concerns to the vice president for performance evaluations for review. The vice president may shall then refer those concerns to the appropriate division chair who may refer them to that division’s adjudication standing committee for action.

This action might involve a letter to the adjudicator in question listing the causes for concern, or, in cases deemed to be of a serious enough nature, removal from either the adjudicators list or the certified adjudicators list or both. The burden of proof in all these matters shall lie with the director lodging the complaint and the ultimate decision of the division chair and/ or adjudication committee shall be final and not subject to review.

The motion, as amended, was passed unanimously.

e.

Beginning in 2017-18, with the endorsement of the board, GMEA will present a new award. It will be called the “Music Program of the Year Award” and will be presented at the middle school and high school levels. This will be a singular award (one per year at each level) and will be selected by a com-

mittee made up of the Chair-Elects of the Band, Choral and Orchestra Divisions and the chair of the committee that selects the Exemplary Performance Awards. This will be in addition to the Exemplary Performance Awards, not to replace them.

i.

ii.

iii.

iv.

The award is designed to recognize school music programs that offer programs of excellence in a wide variety of course offerings and student music experiences. In order to be eligible a school must have participated in all GMEA events and activities available to them including LGPE, Solo Ensemble, All State auditions, and district honor ensembles in all areas where they offer these events for at least the past five consecutive years.

Schools submitting an application will do so via a portfolio of information and data documenting the level of student participation (as a percentage of overall student population) and achievement in all areas of music offered within the school. In addition to these things schools may submit evidence of honors received and guest performances given outside the realm of the school and GMEA. Examples of these would be performances at music clinics such as the Mid West Band and Orchestra Clinic, ASTA ACDA, etc. and at venues such as Carnegie Hall. A recording of a live performance given by each of the ensemble areas listed on the application (concert band, jazz ensemble, orchestra, chorus, etc.) These recordings must have made within twelve months of the date of the application and must be in digital format (mp3, wav, aiff, etc.) Each recording must contain only one selection and may not exceed five minutes of actual music.

The awards will be presented each year during the general session of the In Service Conference along with all other GMEA awards. At the request of the music faculty of the school a second presentation can be arranged during a concert or assembly program at the school or at a local school board meeting. This presentation will be made by a state officer of GMEA. The award winners will also be featured in an issue of the Georgia Music New Applications will be submitted by the use of a jot form which they can access online.

Each school’s principal will be given email access to the completed application. The decision of the committee is final and the committee may decide in any given year to not present one or both of the awards if it is their judgment that no applicants are deserving of such a high honor.

After a lengthy discussion the proposal, with amendments, was approved by a vote of 17-10.

f.

Proposal from the Executive Committee to amend the GMEA Constitution as follows:

1.

Article VI – State Government

2.

The State Board of Directors shall consist of the following:

a. Band Division Chair b. Choral Division Chair c. College Division Chair d. Collegiate NAFME Advisor e. District Chairs f. Editor, Georgia Music News g. Elementary Division Chair h. Executive Committee i. Multi-Cultural Awareness Chair j. Orchestra Division Chair k. Two Members-at-Large – appointed by the President 3.

Appointments and Recommendations

4. The President shall appoint chairs for each of

the following interest areas. These interest area chairs shall perform the following duties:

a.

serve as members of the In-Service Conference Planning Committee and plan and administer sessions and workshops for these interest areas as deemed needed by the chairs and the President.

b.

Contribute articles to the Georgia Music News.

c.

Recommend and oversee activities and events in their area as needed.

5.

Collegiate NAfME

6.

Guitar

7.

Multi-Cultural Awareness

8.

Piano

9.

Research

10. Retired Members 11. Technology 12. The President shall appoint chairs for each of the following areas of responsibility.

i. ii. iii. iv. v.

Awards Ethics and Professional Standards Government Relations Historian MIOSM

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7

GMEA

BOARD MEETING MINUTES (CONTINUED) SATURDAY : MAY 14, 2016

The proposal was approved unanimously and a ballot will be emailed to the general membership at the beginning of the 2016-17 school year for ratification.

The change being made here is to change the status of the Piano Division to that of an “interest area” the same as research, technology, and guitar. The reasons for this change have to do with a drop in recent years in participation in events, especially solo and ensemble and In Service Conference, and the fact that the last two Piano Division Chairs have had to be appointed rather than elected due to no candidates being nominated. This is being done to facilitate the operating of piano events. Note: GMEA seems to be the only NAfME state affiliate that includes piano events in its programs.

g.

h.

iii.

Proposal from the Choral Division to amend the procedure for region all state auditions to eliminate the theory/aural assessment and leaving the solo, scales, and sight reading components in place. This would still still allow a student’s skill set to be assessed, while cutting down on both the length and cost of the audition. The proposal passed unanimously.

3.

Out of state adjudicators listed on the BDAL will be moved to a separate tab on the worksheet.

4.

The motion was withdrawn due to the fact that this project is already underway in the GMEA office and does not require a board vote.

Marching Competition Bad Weather Proposal

1.

To be placed at the bottom of the GMEA Marching Band Event Registration Form (and possibly handbook?)

2.

The Georgia Music Educators Association strongly encourages all marching contest and competition directors to address weather contingency plans in their official contest rule book and also in the communication with directors of participating schools ahead of the event they are hosting. Furthermore, GMEA strongly encourages that any event moved indoors due to weather or field concerns should not be numerically evaluated, and instead be treated as a “comments only” performance for participating ensembles.

3.

The proposal passed by a vote of 20-5 with 3 abstentions.

Proposals from the Band Division as follows:

i.

Rotation of LGPE Judges

1.

It is strongly recommended that districts not allow the same judges in consecutive years.

2.

Purpose: This recommendation will further increase the impartiality of judges and insure that every band gets a fair and fresh read each year.

3.

4. ii.

8

if they wish to remain active on the list. If they are unable to be contacted or choose, they will be moved to an inactive status tab on the sheet.

Students and teachers will have the preconceptions of their performance decreased and will hear new feedback from new voices each year.

The proposal was defeated by a vote of 2-26.

LGPE Judges List Management

1.

A column would be added to the Division Adjudicators List to reflect the most recent year an adjudicator judged a LGPE event.

At the conclusion of the LGPE season, the DAL will be updated by a GMEA Staff Member using information from OPUS to reflect the most current year judged, as well as to verify address and contact information.

2.

If an adjudicator is inactive for five years, they will be contacted by the GMEA Division Adjudication Chair. They will be asked

georgia music news // fall 2016

6.

Approval of the 2016-2017 statewide calendar.

7.

Information items.

a.

Interim financial report from Cecil Wilder

b.

Changes in compensation amounts and methods for all state clinicians as follows:

i.

Currently the office staff buys the plane tickets and makes the ground transportation arrangements. This has led to an increasingly heavy work load for them and becomes unnecessarily complicated when clinicians do not let them know about their travel needs until it is too late to get a reasonably priced plane ticket. Going forward clinicians will be given a standard travel allotment of $500 based on the average cost for travel over the past two years and the cost

of ground transportation via Groome Shuttle Service from the Atlanta airport to Athens and back which is currently $75. Clinicians will also be compensated for their meals at the current rate of $50 per day, prorated. These funds will be included in the honorarium checks and IRS 1099 forms sent to the clinicians will reflect the entire amount with clinicians being responsible for documenting their own expenses for tax deduction purposes. This is in keeping with current IRS tax laws.

ii.

All State event clinician honoraria will be increased from the current $500 per day to $600 per day. We are currently nearer the bottom of the average clinician pay for state MEA associations than we have been in the past and this will bring us nearer to that average.

iii.

One positive consequence of these changes will be that it will be easier to predict and budget for these expenses. Given a travel allotment of $500 the new amounts for all state events will be as follows:

1.

2.

c.

GMEA events for a period of three years. If the person or persons violating this policy are GMEA members the act will be considered a breach of professional ethics and will be reported to their school supervisor as such.”

8.

a.

All State Band, Chorus and Orchestra; All State Sight Reading Chorus, All State Jazz Ensemble and All College Chorus:

a.

Honorarium: $1,800

b.

Travel allotment: $500

c.

Meal allotment: $180

d.

Total: $2,450

e.

Grand Total: $51,450

Statewide Honor Chorus:

a.

Honorarium: $1,200

b.

Travel allotment: $500

c.

Meal allotment: $135

d.

Total: $1,835

e.

Grand Total: $7,340

Items for discussion.

9.

Our system of ratings for LGPE performances has been in place without significant change for more than 60 years. There has been discussion of the fact that both the language and the five level system might be reviewed to make it more in keeping with current educational evaluation jargon that might be more easily understood by students, parents and school administrators. One suggestion has been that we use three levels of achievement, namely “exceeds expectations”, “meets expectations” and “does not (or fails to) meet expectations. The Executive Committee has recommended that we discuss any possible revisions or changes as a full board. This will be strictly a preliminary step to see if there seems to be any interest in going further with it prior to coming up with final recommendations. To stimulate the conversation, a copy of a recent article from the Georgia Music News entitled (The Ratings Game) has been included with this emailed agenda. After a lengthy discussion it was the consensus of the board that the current ratings system should be kept but that consideration should be given to how it is being utilized and with possible revisions in the descriptors applied to each level of scoring. No action was taken.

Discussion of whether or not to allow absentee voting in district elections in future years (beginning in 2018).

There was no action taken and it was decided that at this time that decision would be left to the individual districts.

10. Reports, both written and spoken, were given by those wishing to do so. Written reports are on file in the office.

11. Certificates

of appreciation and lapel pins were presented to outgoing board members.

The meeting was adjourned at 2:15 P M.

Respectfully submitted, Cecil Wilder Executive Director

We will reinstate the table exhibits at the all state band, chorus and orchestra events beginning in 2017. The Atrium of the Classic Center will be used to house these exhibits and they will be open on Friday morning and afternoon and Saturday morning only.

This is while Chick-fila is selling lunches and there will be good traffic in that area. The cost will be $400 per table per event. As a part of this change we will add a statement in the handbook and on the application for table space that states:

i.

“Distribution of any materials from commercial interests, colleges and universities, music camps, military music organizations, or any other non-GMEA entities at GMEA events is strictly prohibited other than space designated for this purpose for which the appropriate rental fee has been paid. Any person or group not abiding by this policy will not be allowed to exhibit at any

fall 2016 // georgia music news

9

GMEA

ANNUAL BUDGET FY 2017 REVENUE PROJECTIONS AND FINAL FY 2016 REVENUE AMOUNTS % of Total Budget

NON-PROGRAM REVENUE

Membership Dues revenue Interest revenue Awards revenue Non GMEA event Appliciations

FY2017

Royalties Plaque and Medal revenue Georgia Music News revenue MIOSM REVENUE

Total 200 non-program revenue

ALL STATE REVENUE

All State Band All State Jazz Ensemble All State Chorus

59,000.00 2,750.00 700.00 5,200.00

3.89% 0.18% 0.05% 0.34%

2,000.00 100,000.00 14,000.00 280.00

0.13% 6.59% 0.92% 0.02%

$ 183,930.00

FY2017

250,000.00 7,200.00 158,000.00

0.31% 0.44%

Statewide Elementary Honor Chorus Statewide Sixth Grade Honor Chorus All State Orch

15,750.00 19,000.00 48,000.00

1.04% 1.25% 3.16%

All State Piano/Piano Concerto All State booth space revenue

5,400.00 8,000.00

0.36% 0.53%

ISC Registration revenue ISC Exhibit revenue

185,000.00 124,500.00

iSC Program ad revenue

10,000.00

Total ISC Revenue $

LGPE REVENUE

FY2017

47.82% 1.38% 30.22% 0.89% 1.29% 3.01% 3.63% 9.18% 1.03% 1.53%

12.2% 11.6%

LGPE Orchestra revenue $

69,500.00

4.6%

FY2016

6.88% 0.86% 0.02%

12%

% OF LGPE BUDGET 43% 41% 16.1%

28.4%

0.32% 0.46%

17,392.25 17,692.25 47,811.17

1.18% 1.20% 3.24%

5,400.00

0.37%

34.84% % of Total 12.53% 6.29%

64.36% 32.32%

0.65%

3.32%

287,585.63 19%

% of Total Budget

FY2016 $ $

185,363.24 175,498.00

$

69,500.00

$ % of S&E revenue

48.37% 1.43% 30.83% 0.91% 1.31% 3.38% 3.44% 9.29% 1.05%

16.85% 0.50% 10.74%

4,675.00 6,745.36

185,100.71 92,934.92

0% % OF ALL STATE BUDGET

% of Total Budget

9,550.00

$

% of Total Budget

FY2017

249,045.06 7,344.16 158,740.42

514,845.67

0.66%

185,360.00 175,525.00

3.99% 0.20% 0.05% 0.35% 0.11%

184,071.28

FY2016

$

12.19% 8.21%

LGPE Band revenue $ LGPE Choral revenue $

SOLO ENSEMBLE REVENUE

$ % OF ALL STATE BUDGET

34.45% % of Total

% of Total Budget

58,997.33 2,949.68 675.00 5,110.00 1,696.25 101,612.17 12,750.00 280.85

319,500.00 21.06%

GRAND TOTAL LGPE REVENUE $ 430,385.00

% OF LGPE BUDGET

12.54% 11.9%

TRUE 4.7%

430,361.24

29.1% % of Total Budget

FY2016

% of S&E revenue

S&E WIND and PERCUSSION REVENUE $

44,050.00

2.9%

72.5% $

44,226.50

S&E JAZZ ENSEMBLE REVENUE $

4,680.00

0%

8% $

4,605.00

S&E STRINGS REVENUE $

9,250.00

0.61%

15.23% $

9,236.50

0.63%

15.16%

S&E Vocal Revenue $

1,775.00

0%

3% $

1,848.00

-2%

3%

0%

2%

0%

2%

S&E Piano Revenue $

GRAND TOTAL S&E REVENUE GRAND TOTAL REVENUE

10

16.48% 0.47% 10.41%

4,650.00 6,750.00

IN SERVICE CONFERENCE REVENUE FY2017

FY2016

12.12% % of Total Budget

All College Chorus All State Sight Reading Chorus

GRAND TOTAL ALL STATE REVENUE $ 522,750.00

% of Total Budget

georgia music news // fall 2016

1,000.00

$

60,755.00

$1,517,320.00

$

1,008.00

$

60,924.00

$

1,477,787.82

3.0% $

0.003

72.6% 8%

FY 2017 PROJECTIONS AND FINAL BUDGET AMOUNTS FY 2016 NON PROGRAM EXPENDITURES

130.1 Payroll Expenses 130.7 Retirement 130.3 taxes 130.4 Wages

FY2017 $ $ $

TOTAL PAYROLL EXPENSE

$

401 Awards expense OFFICE EXPENSE

$

% of Total Budget

4,864.00 0.32% 20,065.00 1.33% 227,311.00 15.10% 252,240.00 16.76%

14,000.00

Bank Charges credit card charges Computer exp On-line App Proj

16,000.00 6,600.00 9,000.00 45,000.00

Donations & Contributions Insurance-General

100.00 5,100.00

Insurance-workmans Comp Dues & Subscriptions Outside Services

750.00 500.00 2,600.00

Operating exp Postage

5,000.00 6,000.00

Taxes & Licenses Rent Repairs & Maintenance

150.00 38,400.00 100.00

Staff Development Telephone

1,500.00 2,600.00

Utilities nternet Svc/Tech Support

3,500.00 18,000.00

Copier Lease and Supplies

7,000.00

misc

$ $

Advocacy Exec Dir travel exp lodging/meals Exec Dir travel exp travel

$ $ $

% of Total Budget

FY2016

0.30% 24% $ 4,657.00 1.27% 8% $ 19,431.36 14.28% 90% $ 218,569.00 $ 242,657.36 15.85%

600.00 0.04%

accounting & Legal

TOTAL OFFICE EXPENSE Leadership Training

% of sub category

% of sub category

$ 589.25 0.04%

0.92% 1.05% 0.43% 0.59% 2.97% 0.01% 0.34% 0.05% 0.03% 0.17% 0.33% 0.40% 0.01% 2.53% 0.01% 0.10% 0.17% 0.23% 1.19% 0.46% 0.00%

181,900.00 11.99% 3,000.00

7.70% 8.80% 3.63% 4.95% 24.74% 0.05% 2.80% 0.41% 0.27% 1.43% 2.75% 3.30% 0.08% 21.11% 0.05% 0.82% 1.43% 1.92% 9.90% 4%

$

14,926.71

$ $ $ $

15,922.62 6,377.99 9,192.86 37,252.23

$

5,082.00

$ $ $

722.00 495.00 2,580.00

$ $

5,153.47 6,254.53

$ $ $

146.06 39,975.00 9.65

$ $

1,730.90 4,794.59

$ $

3,713.06 21,134.10

$ $

6,833.55 336.17

1.01% 1.08% 0.43% 0.62% 2.52% 0.00% 0.34% 0.05% 0.03% 0.17% 0.35% 0.42% 0.01% 2.71% 0.00% 0.12% 0.32% 0.25% 1.43% 0.46% 0.02%

$182,632.49

12.36%

7,000.00 500.00 500.00

$8,496.45 $16.80 $32.00

0.56% 0.00% 0.00%

100%

8.17% 8.72% 3.49% 5.03% 20.40% 0.00% 2.78% 0.40% 0.27% 1.41% 2.82% 3.42% 0.08% 21.89% 0.01% 0.95% 2.63% 2.03% 11.57% 3.74% 100%

BOARD EXPENSE Board lodging/meals

1,600.00

$

1,533.72

Board travel $ Board misc $ $

2,500.00 250.00 4,350.00 0.00%

$ $ $

1,842.72 231.81 3,376.44 0.22%

Exec Comm lodging/meals $ Exec Comm travel $ Exec Comm misc $ TOTAL EXECUTIVE COMMITTEE EXPENSE $

7,000.00 2,000.00 500.00 9,500.00 0.00%

9,392.76

250.00 750.00 1,000.00 0.07%

$ $ $

TOTAL BOARD EXPENSE EXECUTIVE COMMITTEE EXPENSE

$

6,558.25 1,681.44 1,153.07 0.61%

DIVISION COUNCIL EXPENSE Division Council lodging/meals $ Division Council exp Div travel TOTAL DIVISION COUNCIL EXPENSE $ PLAQUE AND MEDAL EXPENSE GMN EXPENSE

$

63,000.00

4.15%

GMN editor honorarium GMN advertising exp GMN printing exp

$ $ $

GMN postage exp GMN internet exp TOTAL GMN EXPENSE ARCHIVES AND HISTORIAN EXPENSE

$ $ $ $

GRAND TOTAL NON PROGRAM EXPENSE

$ 553,315.05 36.47%

6,000.00 1,225.05 16,000.00 4,500.00 500.00 28,225.05 0.00% 1,500.00 0.10%

165.56 680.08 845.64 0.06%

$ 63,221.00 $ $ $ $ $ $ $

$

6,000.00 1,225.05 31,194.27 4,381.63 420.00 43,220.95 2.82% 1,611.39 0.11%

556,092.53 37.63%

fall 2016 // georgia music news

11

GMEA

ANNUAL BUDGET (CONTINUED) FY 2017 PROJECTIONS AND FINAL BUDGET AMOUNTS FY 2016 PROGRAM EXPENDITURES AND GRAND TOTAL REVENUE AND EXPENSES % of Total % of All State Budget Budget

ALL STATE EXPENSES TOTAL ALL STATE BAND EXPENSE $ TOTAL ALL STATE JAZZ ENSEMBLE EXPENSE $ TOTAL ALL STATE CHORUS EXPENSES $

117,600.00 8,300.00 132,750.00

7.81% 0.55% 8.82%

31.23% 2.20% 35.25%

$ $ $

111,184.56 5,641.65 134,252.73

7.26% 0.37% 8.77%

29.88% 1.52% 36.08%

TOTAL ALL STATE SIGHT READING CHORUS EXPENSES $ TOTAL SEHC EXPENSES $

9,750.00 26,350.00

0.65% 1.75%

2.59% 7.00%

$ $

4,508.33 33,405.89

0.29% 2.18%

1.21% 8.98%

$ $ $ $

26,350.00 5,950.00 54,850.00 4,449.68

1.75% 0.40% 3.64% 0.30%

7.00% 1.58% 14.56% 1.18%

$ $ $ $

26,775.30 4,181.56 52,432.08 4,234.82

1.75% 0.27% 3.43% 0.28%

7.20% 1.12% 14.09% 1.14%

$

376,599.68

TOTAL 6THGSHC EXPENSES TOTAL ALL COLLEGE CHORUS EXPENSES TOTAL ALL STATE ORCHESTRA EXPENSES TOTAL ALL STATE PIANO EXPENSES

GRAND TOTAL ALL STATE EXPENSES

IN SERVICE CONFERENCE EXPENSES ISC EXPENSES

ISC Facilities exp ISC piano rentals audio/visual exp ISC Facilities exp ISC program printing exp ISC lodging/meals exp ISC travel exp ISC honorarium exp ISC exhibit exp ISC registration exp ISC General Session exp ISC catering 802 ISC advertising exp ISC Planning exp ISC misc.

FY 2017 $ $ $ $ $ $ $ $ $ $ $ $ $ $

$

LGPE EXPENSES

$

% of ISC Budget 41.65% 1.27% 9.92% 52.84% 3.57% 15.07% 1.39% 1.59% 10.71% 2.58% 0.00% 9.92% 0.26% 0.10% 1.98%

16.75%

372,108.59 24.31%

% of Total Budget

FY 2016 $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

108,413.78 7.34% 3,646.99 0.25% 24,012.00 1.62% 136,072.77 9.21% 14,239.29 0.96% 36,963.71 $ 0.03 3,448.55 0.23% 4,000.00 0.27% 24,217.00 1.64% 6,275.80 0.42% 16,584.67 1.12% 24,805.06 1.68% 645.00 0.04% 3,820.06 0.26% 8,883.83 0.60%

$

279,955.74

% OF TOTAL % OF LGPE BUDGET EXPENSES

LGPE BAND EXPENSES TOTAL LGPE BAND EXPENSES $ LGPE CHORAL EXPENSES TOTAL LGPE CHORAL EXPENSES $

TOTAL LGPE ORCHESTRA EXPENSES

$

9.98%

52.05%

$

151,370.83

81,163.63

5%

28.11%

$

82,837.83

GRAND TOTAL LGPE EXPENSES

$

57,276.66

3.81%

19.84%

288,690.29 19.18%

$ $ TOTAL S&E STRING EXPENSE $ TOTAL S&E VOCAL EXPENSES $ TOTAL S&E PIANO EXPENSES $

23,319.12 3,275.20 5,530.39 1,063.94 1,164.76

TOTAL S&E BAND EXPENSES

TOTAL S&E JAZZ EXPENSES

GRAND TOTAL S&E EXPENSES GRAND TOTAL PROGRAM EXPENSE

1.55% 0.22% 0.37% 0.07% 0.08%

9.89%

52.45%

5%

28.70%

% OF TOTAL % OF LGPE BUDGET EXPENSES

FY 2016 $

54,391.52

3.55%

18.85%

67.88% 9.53% 16.10% 3.10% 3.39%

% OF TOTAL % OF S&E BUDGET EXPENSES

FY 2016 $ $ $ $ $

23,117.61 3,206.28 5,325.04 1,044.64 1,158.53

1.51% 0.21% 0.35% 0.07% 0.08%

2.28%

33,852.10

2.21%

951,738.38

62.72%

974,516.61

65.94%

GRAND TOTAL EXPENSES

$1,505,053.43

$

1,530,609.14

GRAND TOTAL REVENUE

$1,517,320.00

$

1,477,787.82

NET REVENUE

$

georgia music news // fall 2016

18.29%

34,353.41

12,266.57

38.73% 1.30% 8.58% 48.61% 5.09% 13.20% 1.23% 1.43% 8.65% 2.24% 5.92% 8.86% 0.23% 1.36% 3.17%

$ 288,600.18 ##########

% OF TOTAL % OF S&E BUDGET EXPENSES

FY 2017

% of ISC Budget

% OF TOTAL % OF LGPE BUDGET EXPENSES

150,250.00

% OF TOTAL % OF LGPE FY 2017 BUDGET EXPENSES

LGPE ORCHESTRA EXPENSES

S&E EXPENSES

25.02%

% of Total Budget

105,000.00 6.92% 3,200.00 0.21% 25,000.00 1.65% 133,200.00 8.78% 9,000.00 0.59% 38,000.00 $ 0.03 3,500.00 0.23% 4,000.00 0.26% 27,000.00 1.78% 6,500.00 0.43% 0.00% 25,000.00 1.65% 645.00 0.04% 250.00 0.02% 5,000.00 0.33%

Total ISC Total Expenses $ 252,095.00

12

% of Total % of All Budget State Budget

-$ 52,821.32

68.29% 9.47% 15.73% 3.09% 3.42%

IN MEMORIUM SANDY CAMPBELL

Sanford (Sandy) Bailey Campbell, Jr., 87, of Valdosta passed away at his residence in Valdosta, on Friday, August 5, 2016. Sandy was best known in his early career as a band director in South Georgia. Later on, he became well known as the owner of Sandy Campbell’s Music Center in Valdosta.

Sandy was born on May 11, 1929 in McCormick, South Carolina, but his family moved to Waycross Georgia when he was a young boy. He developed his love of God and music attending First United Methodist Church and while participating in Guyton McLendon’s famous Waycross High School Band Program. Sandy was a veteran of the United States Air Force and a member of the United States Air Force 545 Band.

Mr. Campbell received his Bachelor Degree from Georgia Teachers College (now Georgia Southern University), completed his Masters Degree in Instrumental Music at Vandercook University, and studied at Florida State University in the Doctorate Program.

Sandy arrived in Valdosta in 1966 after 18 years as a band director at Quitman High School, Brooks County High School, and Cairo High School. His move to Valdosta was to develop an instrumental program in the music department at Valdosta State College (Now Valdosta State University) that resulted in the firs Valdosta State College Band. Another of the many highlights of Sandy’s career was helping establish the Governors Honors Music Program. Upon leaving VSC, he opened Sandy Campbell Music Center, serving the musical community throughout South Georgia for 26 years. He was an active member of Valdosta First United Methodist Church for 50 years and served many of his churches through the years as director of their choir programs.

Sandy was an original member of The Singing Americans and Botie Chitty’s Traveling Dance Band in the 60s & 70s.

He was a member of Phi Mu Alpha Sinfonia Music Fraternity, and he served the Georgia Music Educators Association as State Instrumental Chairman from 1963-1965.

Sandy was also the First Chairman of the Georgia College Music Education Association and the Georgia and National Music Dealers Association. He was a member of the Valdosta Chamber of Commerce and had served as Chairman of the Valdosta Downtown Association. Sandy was a Rotary Club member for 59 years, was a Paul Harris Fellow, and was awarded the Will Watts Fellow Award.

After Sandy retired, he turned his interests toward hybridizing daylilies. He was a member of the Georgia and National American Hemerocallis Society, receiving the Tom Wise Service Award. Sandy was active as a Georgia Daylily Flower Show and Garden Judge, a Judging Instructor, and a member of the Valdosta Daylily Club. Sandy was an ardent supporter of The Azalea Winds Community Band. He will be greatly missed by his family, friends, and community.

LARGE GROUP

PERFORMANCE EVALUATION register today on

OPUS

fall 2016 // georgia music news

13

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fall 2016 // georgia music news

15

DIVISION NEWS BAND DIVISION Neil Ruby Colleagues,

I hope everyone had a restful summer and that you are ready for a great year of music education in Georgia! It seems like we just finished the 2015-2016 year and it’s already time to head back to the classrooms, concert stages, and marching band fields. Last spring I encouraged everyone to take some time to focus on those things that went well during the school year. The start of a new school year means a fresh start and new beginnings. I like to take some time to think about the things I would do differently this year and set goals for my students, programs, and myself. This is our opportunity to improve and learn from the things that didn’t go as well the previous year, and to build on those things that did go well. Both experiences can serve a great purpose in our development as successful music educators. Confucius said, “If I am walking with two other men, each of them will serve as my teacher. I will pick out the good points of the one and imitate them, and the bad points of the other and correct them in myself.”

Plans have been taking place for many months preparing for our annual In-Service Conference and All-State Band weekends.

I am so excited about both events and know that they will be educationally rewarding for our teachers and students! The 2017 ISC will offer even more band division clinics and performing groups than last year, with 12 performances and 26 clinics! I am also very excited to announce that Loras Schissel will be joining us this year to present a session, “Secrets to Successful Sousa”. Mr. Schissel is the Senior Musicologist at the Library of Congress in Washington DC. He, along with John Phillip Sousa IV (great-grandson of the composer), recently co-authored a book titled The Star and Stripes Forever.

I believe we have an incredible line up of conductors joining us for this year’s All-State Band. Our middle school conductors will be Chip De Stefano (McCrackin Middle School-Skokie, Illinois) and Cynthia Lansford (North Ridge Middle School -North Richland Hills, TX). Our 9/10 Concert Band conductors are Dr. Matthew McInturf (Sam Houston State Univ.) and Dr. Beth Peterson (Univ. of Illinois at Urbana-Champaign). Our 11/12 Symphonic Band conductors are Dr. Rodney Dorsey (Univ. of Oregon) and Dr. Myron Welch (Univ. of Iowa). I know we are going to have an outstanding All-State weekend with these magnificent music educ tors!

16

georgia music news // fall 2016

I strongly encourage everyone to take a few minutes TODAY to update their GMEA membership and register for In-Service Conference. Please also register for All-State, Solo and Ensemble, and LGPE as soon as possible. Every year, we have members who fail to do this by the published deadlines and are not able to attend these important events. We owe it to our students to make sure the registrations and fees are filed correctly and by the due date so they have the opportunity to participate. The GMEA office is here to help you with any problems you have with OPUS or the registration process. With LGPE, you can always go back and edit your performance selections at a later date.

Marching Band directors, please take the time to contact the directors of schools visiting your campus this fall and give them the information the director and students need to have a positive experience. Information should include game time, directions, chaperone/equipment crew ticket information, seating location, and any special events that might be taking place at the game that would affect their performance (homecoming, senior night, etc).

Veteran teachers, please reach out to new teachers in your area and offer your help now and during the course of the season. Education has taken many twists and turns in recent years and teacher burnout is at an all time high. We are all in this together and must continue to help each other and fight for the Fine Arts to be a mainstay in our schools. I encourage you to actively involve your programs in your schools and community. Remind your parents, administrators, and elected officials often of the importance of music education in the lives of our students. This can be done through performance, community outreach, and simply communicating with others about your programs. We have a tough job, but I can think of nothing more satisfying than teaching music to others.

Mike Krzyzewski said, “The thing I loved the most - and still love the most about teaching - is that you can connect with an individual or a group, and see that individual or group exceed their limits.” God has blessed us with the incredible gift of music and the challenge to share that gift with others. Music simply makes our world better, and I believe the world could certainly use more music.

I wish each of you the very best for a successful and inspiring school year. If I can ever be of assistance, please do not hesitate to contact me. Thank you for all you do for your students and music education in Georgia!

Sincerely,

Neil Ruby State Band Chair

CHORAL DIVISION Wes Stoner

Welcome back, Choral Division! I hope that you have had a restful and rejuvenating summer break. Many of our division members have spent their summers taking part in course work toward an advanced degree, participating in conducting institutes and workshops, leading local and out of town music camps, spending time in the mountains, the beach, and abroad, and catching those pesky Pokemon! I trust that however you spent your summer, you’re excited to see what you and your singers can achieve this year!

Much work has already gone into preparing for this year’s choral events, including All-State Reading Chorus, All-State Chorus, Statewide Sixth Grade Honor Chorus, and the performances and sessions at the 2017 In-Service Conference in Athens.

As you get your year started, check OPUS to identify deadlines and other important dates. Don’t forget, you can pay all fees via credit card, if that is easier for you. Also, one thing that tends to slip many of our minds is remembering to renew our membership on time.

This can cause headaches for everyone, so stay on top of it.

The big change that our division will see this year is the elimination of the aural/written theory portion of the first AllState Chorus audition. With that elimination, the first audition will consist of scales, solo, and sight-reading only, totaling 66 possible points. Feel free to pass any questions along to your district choral chair. They are your best and most direct resource for queries that you might have regarding the choral division.

Also, and I know you are told every year, but it’s so important…Read your handbook. Make sure you familiarize yourself (again) with the All-State Chorus audition rules and regulations, LGPE rules and regulations, and any changes that have been made.

All changes will be in red print in the handbook. The newest adjustment to the LGPE rules is the expansion to allow middle school choirs the ability to perform a split program. Beginning this year, all MS and HS choirs will have the same rules for declaring a classific tion at LGPE. Once again, the explanation of this is in the handbook and I encourage you to contact your district choral chair if you have any questions.

Finally, I wish you all the best as you begin this new school year. Let’s rally behind each other to make the best art we can, and show our students how powerful and wonderful music really is.

COLLEGE DIVISION Dr. Laura Stambaugh

In the Fall 2015 column I raised the topic of the two roles we play on our campuses: preparing future music teachers and serving as faculty members in the discipline of music. Having discussed the former in that column, I will raise some ideas about the many facets of engaging as a ‘music’ colleague.

I love the fact that I go to work everyday in a music building! Music buildings are among the most lively spaces on a campus.

Our students see our spaces as a first or second home, practicing their sightsinging in the stairwells and warming-up on mouthpieces in the elevator (not that I endorse that: too much potential for dental accidents). When I walk into other academic buildings, I see and hear quiet hallways and lots of closed doors. When non-music guests visit me in my office, they often remark about the positive energy in our building. Although sometimes the business of the building is a distraction, overall, I appreciate the musical activity that surrounds my work.

While we may be considered music education specialists, there are many ways we participate in the larger scope of music.

A colleague is running a sound check for an upcoming recital, and she needs another pair of ears. Our students come into our classes having just taken a monumental music history exam, so we spend a few minutes chatting about Palestrina and Ockeghem. We attend recitals and concerts given by our colleagues, students, and guest artists. Hopefully, our students have the opportunity to see us performing in ensembles or recitals, or conducting ensembles. Since we are lucky to have our students for more than a year, even if we perform every two or three years, students will still have the experience of seeing us as musicians who are not confined to the classroom. Finally, I know many university faculty participate in the musical fabric of their communities: conducting or singing in church ensembles and professional ensembles, singing folk songs at a booth in the farmers market, and gigging in a variety of chamber groups.

I hope your summer brought you the opportunity to hear some fabulous live music, or to check out a style you were less familiar with. My most recent find was at the Savannah Music Festival- the Brooklyn based band Red Baraat, a fusion of North Indian Bhangra, rock, jazz, and funk. If some strong rhythms will help you work back into school-mode, you might want to check them out. Have a good year!

ALL-STATE register today on

OPUS

fall 2016 // georgia music news

17

DIVISION NEWS

ELEMENTARY DIVISION Victoria Knowles

The sights and sounds of a new school year are bound to bring smiles and the collective teacher battle cry “let the planning begin!”

We have some wonderful sessions planned for the In-Service Conference in January. I am excited to announce that we have James Harding presenting several sessions this year. Mr. Harding teaches at the San Francisco School, which is well known for its Orff leadership. Mr. Harding will present, “From Wibbleton to Wobbleton,” as well as sessions using props and the music of the spheres.

I am also excited to announce that Lilly Feierabend will be presenting several sessions. Luchette (Jazz Kitten) and perennial favorites Andy Beck, Jim Tinter, and Quaver will also return. As always, we have excellent sessions presented by our own membership as well as presenters from Kentucky and Florida.

The learning and collaboration continues in Athens in February. The Statewide Elementary Honor Chorus is scheduled for February 17 and 18. Our clinicians this year are Jeff Kriske (co writer of the GamePlan curriculum) and Emily Ellsworth (artistic director of the Young Singers of Greater Chicago). Both have extensive accolades in choral conducting and I am looking forward to stealing ideas from both.

Hope to see you in January and February!

ORCHESTRA DIVISION Sarah Black

Welcome back! It is hard to believe that another summer has gone in the blink of an eye and a new, exciting school year has started. We are so fortunate as teachers to be able to experience the 3 R’s over the summer: relax, recharge, and refle t. Although, the first two might be difficult for us during the school year, I think taking time to refle t as often as possible is so important. What did you do in your classroom last year that was worth repeating? What did you do last year that you would rather forget? We all have both of these experiences, and a lot that fall in between those, as well. I encourage you to always embrace new ideas and change as that is where a huge amount of personal and professional growth occurs. Have you ever heard the question “Do you want to teach thirty years or the same year thirty times?”

Since I am on the topic of change, the standing committee and I have revised the LGPE list to (hopefully) eliminate any duplicates or confusing listings. We have tweaked the district all-state audition etudes, and all-state might see some big changes this year, too. All of the changes are for the good of the students and will continue to move string playing forward in the state of Georgia. I have had the good fortune to be a clinician and adjudicator in many states, and I can honestly say that Georgia is incredibly fortunate to have string educators that are second to none.

18

georgia music news // fall 2016

As I am beginning my second year as the division chair for orchestra, I want to to take a moment to thank the standing committee for their expertise, guidance, and time. The members of the committee are: Corie Benton, Pope High School, Amy Clement, North Gwinnett Middle School, Carolyn Landreau, Centennial High School, and Carl Rieke, Osborne Middle School. Looking ahead to the big GMEA events of the year, In –Service Conference and AllState, I am filled with excitement and anticipation about presenters and performing groups. I am truly humbled by the knowledge, passion, and talent we have in the state of Georgia. All-State promises to be another awe-inspiring event with six orchestras performing at levels that make it hard to remember that most of the performers on the stage cannot drive or vote! And speaking of voting…..apparently, there is an election this year. I am not going to get into any political debates or discussions with you, but I will encourage you to do your research on all topics, especially those that involve education at the local, state, and national levels. Do your research and vote with your teacher heart that has guided and will guide you through tough decisions. It is an honor to represent the orchestra division.

Please feel free to contact me any time with questions, concerns, or ideas!

PIANO DIVISION Dr. Joanna Kim The piano division had quite a summer! The piano council members and I have been working hard over the summer with some big changes to be implemented in the upcoming academic year. As many of you might know, membership in the piano division has been diminishing and the piano division has been experiencing many difficulties. After several lengthy discussions with the GMEA executive board members, I would like to make piano members aware of the following changes that will take place in the upcoming year.

The biggest change in the upcoming year concerns the In-Service State Conference which takes place the last weekend of January every year. Due to the low participation rate, we have made the decision to offer a ONE-DAY event instead of the three-day event.

All piano related events during the In-Service State Conference will take place at The University of Georgia, Hodgson School of Music.

UGA has graciously offered us use of Edge Recital Hall for the event.

All the other conference activities will take place at The Classic Center. Instead of offering research and pedagogical sessions, this oneday event will focus mainly on student master class presentations.

I have already lined up top Georgia piano teachers from around the state. Unlike the master classes in previous years, each participating students will at least receive a twenty-fi e-minute lesson from the master teacher. All the performed repertoire scores will be projected onto a large screen so the attendees can follow along. These master classes will also be designed to benefit not only the students but also the piano teachers. I am still in the process of working out the details with the GMEA office regarding the reduced conference fees. As from year 2016 on, all the winners’ recitals and the master classes will be ticketed and will no longer be offered as free public concerts.

This decision has been made to keep the piano division financially strong as a part of GMEA.

The next announcement is that we finally have a chair-elect!

Typically, the division chair is elected by the members. Unfortunately, we have not had any nominees for the chair position for last few years. The piano council, however, recently approved my recommendation of Dr. Kris Carlisle from Berry College for this important leadership role and Dr. Carlisle has accepted the position. His term will begin in May of 2017.

The next announcement might come to some of you as a shock.

At the May GMEA board meeting, there was a recommendation by the executive committee that the piano division to be changed into an interest area, like the areas of music technology, research, and guitar. This recommendation was voted and approved by the GMEA board members. The next step is for members at large to vote on this recommendation. This proposal was mainly due to the small number of piano members compared to other divisions and also due to the low In-Service Conference participation rate. Georgia is one of the few states where piano is included as a part of NAFME. I am proud that we Georgia piano teachers have the opportunity for our piano students to participate in All-State and to be called All-State pianists! This is unique and valuable opportunity for our piano students, and I wish our piano membership to move forward to keep the GMEA piano division strong!

Lastly, I want to remind you that sight-reading requirement are to be implemented as a part of the All-State Piano Competition event which will take place on November 19th, 2016, at Clayton State University.

The recommended sight-reading practice materials have been uploaded to the GMEA website. I hope to upload practice exam samples soon.

As you can see, it has been quite a summer! It fl w by really fast, but I hope all of you had a wonderful summer and are ready for to kick-off the new school year!

SAY Something BE Heard SUBMIT YOUR ARTICLE TO THE

Georgia Music News

WWW.GMEA.ORG/GEORGIA-MUSIC-NEWS/

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georgia music news // fall 2016

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21

AROUND THE STATE New and Transferring Teachers: • Federico Foster, Band Director, Savannah High School • Bryan Teddy Mack, Band Director, New Hampstead High School • Lia Patterson, Band Director, Windsor Forest High School • Michael Simmons, Band Director, Jenkins High School • Alan Weathers, Band Director, Bradwell Institute • Kayla Berrie, Chorus Director & Assistant Band Director, Long County High School • Sarah Fender, Choral Director, West Chatham Middle School • Bakara Nkenge-Hinds, Choral Director, Islands High School • Kaitlyn Baxter, Music Teacher, Pulaski Elementary School • Chreanna Byrd, Music Teacher, Gadsden Elementary School • Susan Gordon, Music Teacher, Thunderbolt Elementary School • Jasmine Hill, Music Teacher, Butler Elementary School • Andrew Medley, Music Teacher, Windsor Forest Elementary School • Lisa Muldrew, Music Teacher, Mattie Lively Elementary School • Kristine O’Malley, Music Teacher, Port Wentworth Elementary School • Sun Min, Piano Teacher, Savannah Arts Academy • The Effingham County Middle School Symphonic Winds has been selected to perform for the 3rd annual Southeastern United States Music for All Regional Concert Festival at Georgia State University in March 2017. The ensemble is comprised of 7th and 8th grade musicians and is under the direction of Tony Murray and Linsday Sandberg.

• The Savannah Arts Academy Wind Ensemble has been selected to perform at the 2017 Kennesaw State University Concert Invitational. The group, under the direction of Michael A. Nestor, will perform at KSU’s Bailey Performance Center in February 2017.

• In 2013, NAfME and the Grammy Foundation developed the Grammy Education Award to recognize significant contributions of music educators to the music profession.

Three district four band directors have been named Grammy Education Award Quarter Finalists. These directors are: David High – Lithonia High School Jason Smith – Newton High School Don Lee - DeKalb Academy of Technology and Environment • Southwest DeKalb High School Wind Symphony, under the direction of James O Seda, has been selected to play at the 2017 January Festival at the University of Georgia.

• The Decatur HS Wind Ensemble, under the direction of Robert Truan, was selected to play at the MFA Southeastern Regional Concert Band Festival at Georgia State University.

• The St Pius X Symphonic Band, directed by Chad Paetznick, traveled to Ireland April 2-9, 2016 during their spring break. The band performed four concerts: Mon April 4th in Galway at St Patrick’s Brass Band Hall (with the St Patrick’s Brass Band), Tuesday April 5th in Limerick at St Mary’s Cathedral (with the Limerick School of Music Orchestra), Thursday April 7th in Cork at the C.I.T. School of Music, and Friday April 8th in Dublin at the Artane School of Music (with the Artane Concert Band). The band also toured many important religious and other historic sites, such as Balintubber Abbey, Holy Cross Abbey, Trinity College (Book of Kells), Knock Shrine, St Patrick’s Cathedral, Blarney Castle (home of the Blarney Stone), and Cliffs of Moher.

• St Pius X Symphonic Band is commissioning a modern band work from famed rock guitarist/ film composer Page Hamilton to be premiered in early 2017.

New to District Four: • Michelle Gibson will be teaching Band and Chorus at Chamblee Middle School. She is a graduate of UGA with clarinet as her major instrument. She previously taught general music and chorus in Fayette County.

•Calvin Morris is joining Stephenson High School as the new Assistant Band Director.

• District 7 would like to welcome the following directors: Todd Corley at Coosa Middle, Mike Bright at Pepperell High, Rosemary Dixon at Dobbins Middle, Geana Gault at Hiram High, Aaron Toft at Paulding County High, and Aaron Garland at Ringgold Middle.

• The South Central Middle School Honor Band will be one of the guest performing bands at the South Eastern United States Honor Band Festival held at Troy University on December 2, 2016

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georgia music news // fall 2016

South Central Middle School

Honor Band In Houston County, the following teachers have had position changes: • Brad Weaver, coming from Lamar county, joins David Perdue Elementary as music specialist.

• Savannah River Winds, conducted by Richard D. Brasco, will be presenting the annual PRISM concert on Monday, September 26, 2016. The performance will be held in the sanctuary of First Baptist Church of North Augusta. The time of the concert is 7:30 PM, and is free to the public.

PRISM features the small chambers groups that make up the full ensemble of Savannah River Winds. Chamber ensembles such as flute choir, woodwind quintet, tuba choir, saxophone quartet, and many others are positioned throughout the sanctuary. Each chamber ensemble will perform, one after the other, in a “theater in the round” atmosphere. This type of performance gives the audience an opportunity to hear the individual sections of the wind ensemble and the “colors” the chamber group adds to the full ensemble when they perform as one.

After the chamber ensembles complete their portion of the concert, they will come together on the main staging area and perform a few selections together as the full ensemble. This portion of the performance shows the audience the different color of the full ensemble as the small chamber ensembles are combined and their voices are blended to form the sound of the wind ensemble.

This year, Savannah River Winds has commissioned a British choral composer, Paul Ayres, to compose an original work for SATB choir and wind ensemble. The title of this original composition is; “O laud the Lord”. The piece is based on sections of Psalm 150, and a poem by Mary Sidney Herbert , Countess of Pembroke - 1561-1621. Members of the choir are made up of members of various choral societies and church choirs from the CSRA. The collegiate choirs of Augusta University, conduct by Dr. William Hobbins; and the University of South Carolina - Aiken, conducted by Dr. Joel Scraper also make up this 150 voice choir. The joint choir will join with Savannah River Winds under the baton of the composer to premiere this original composition.

In addition to conducting the premiere of “O laud the Lord” on September 26th, Mr. Ayres will conduct choral and organ clinics at Augusta University and the University of South Carolina - Aiken on Tuesday, September 27 at the University of South Carolina - Aiken; and on Wednesday at Augusta University. These clinics are opened and free to the public.

The commissioning of “O laud the Lord”, and the guest appearance of composer Paul Ayres from London, England was made possible by a grant from the Cleon W. Mauldin Foundation Trust.

PRISM is sponsored and hosted by the North Augusta Cultural Arts Council.

• Juliet Brown, coming from Bibb county, joins Feagin Mill Middle School as the choral director.

• Rick Gonzalez is moving from music specialist at Matt Arthur Elementary to Choral/Drama/Asst. Band Director at Perry High School.

• Jeremy Fermin, coming from Liberty county, is the new band director at Veterans High School.

• Rebekah Daniel is joining Houston county High as the assistant band director after completing her masters studies at Georgia Southern.

• Deanna Ricketson is the new music specialist at Russell Elementary.

• Heidi Woloszczak is the new music specialist at Eagle Springs Elementary.

• In Jones county, Ashley Godbee is the new band director at Gray Station Middle School, having previously taught at Perry High School.

• James McMillen is the new band director at Baldwin High School in Milledgeville, having taught previously in Jefferson county. Tim Pietofere, coming from Butts county, will be joining him as the assistant band director.

Bibb County has the following additions to their music staff: • Taylor Clayborn comes to the Bibb County School District as a graduate from Tennessee State University. He will be the Band Director at Ballard-Hudson Middle School.

• James (Trey) English III comes to the Bibb County School District as a graduate from Baylor University. He will be the Band Director at Howard Middle School.

• Joseph Martin comes to the Bibb County School District from Dougherty County School System. He will be the Band Director at Westside High School.

• Charles Bailey comes to the Bibb County School District from Atlanta Heights Charter School. He will be the General Music/ Chorus Teacher at Heritage Elementary School.

• Lacey Barnes comes to the Bibb County School District as a graduate from University of North Alabama. She will be the General Music/Chorus Teacher at Riley and Williams Elementary Schools.

• Zachary Speer comes to the Bibb County School District from Butts County School System. He will be the General Music/Chorus Teacher at Bernd Elementary School.

• Melissa Sullivan comes to the Bibb County School District from Houston County Board of Education. She will be the General Music/Chorus Teacher at Springdale Elementary School.

• Susan Van Wick comes to the Bibb County School District from Lake Bridge Behavioral Health. She will be the General Music/ Chorus Teacher at Skyview Elementary School.

fall 2016 // georgia music news

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A C T I O N RESEARCH

IN MUSIC EDUCATION -WRITTEN BY DR. AUDREY CARDANYFrom RIMER Journal (Rhode Island Music Educators Journal), Fall 2015. Reprinted with permission.

Action research is systematic inquiry conducted by teachers to affect change in their schools. A teacher who engages in action research purposefully seeks to transform personal or institutional teaching practices. A distinguishing and essential feature of action research is the interaction of teaching practice, educational theory, and changes in practice. Central concerns include: curriculum, instruction, and assessment, policy, parent involvement and community relationships, organizational functions, resource allocation, and program evaluation.

Like other kinds of research, action research employs a rigor that withstands scrutiny within the research community. Action research may draw from a quantitative paradigm using quantifiable data and analyzing that data with statistics and tables. Even so, three important characteristics establish its alignment with the qualitative paradigm: a) multiple sources of data are used, b) results are not generalizable, and c) the teacher occupies dual roles of primary investigator and study participant. The focus of action research on changing the practice within the study’s setting further distinguishes it from other types of qualitative research such as case study, phenomenology, and ethnography. Furthermore, the most important constituents are the researcher, collaborators, and students involved in the study.

Action research may also serve the greater scholarly community when published for consumption by the field. Although the results are not generalizable to other settings, they may inform practice by addressing central concerns and gaps in music education understanding and practice. For example, Kimble’s (2015) publication in this journal represents using action research to explore the effect of pull-out schedules on middle school string students’ academic scores. Kimble noted through literature review that scheduling was not addressed in related literature.

To affect change in her schools’ decision-making regarding string instruction scheduling, Kimble selected a quantitative approach. Her research highlighted an important gap in the study of this topic; she found that the type of scheduling had no effect on students’ academic scores. In addition to addressing a central concern for her district, Kimble’s report contributes to knowledge in the music education field.

The pragmatic, practice-oriented emphasis of action research is a primary motivation for teachers to venture into the research process. Many music 26

georgia music news // fall 2016

educators engage in reflective practice – an activity that may lead to change in the classroom, and for some an inevitable collision of the roles of teacher and researcher. Mohr (2005) described how journaling observations of the teaching and learning process in her writing classes led naturally to action research.

“Keeping a journal of the context and discoveries of my teaching days,” she writes, “has helped me to learn from my experiences and observations” (p. 6).

Journaling alone, however, does not constitute action research. In fact, other research activities may be confused with action research. For example, the typical library project that involves doing research on or about people or discovering available information on a topic is not action research. Although problem-solving is part of the action research process, this alone is not enough to warrant the label of action research.

Engaging in Action Research

Like other approaches, action research follows the same general procedures. The teacher/researcher 1) identifies a problem specific to his or her setting, 2) conducts a literature review to understand the problem and aid in developing formal research questions, 3) determines the research design including what and how data will be collected and analyzed, 4) collects and analyzes data, 5) implements change as a result of the study, and 6) evaluates implemented changes. Ferrance (2000) recommends the teacher select research questions that are open-ended, avoid yes/no options, and address in concise and jargon-free language a topic over which the teacher has influence. A quality action research design includes more than one type of data. Data categories include journals, interviews, field notes, audio and video recordings, photographs, student work and records, surveys, checklists, and questionnaires. The data are analyzed, from which recommendations for change emerge. Once action has been implemented as a result of data analysis, the teacher/researcher continues to document and collect data to evaluate the success of the research.

Although the individual teacher may engage in action research, collaboration is typical. The teacher may work with other teachers, administrators, or informed outsiders such as university faculty to aid in data collection, analysis, and implementation and as-

sessment of changes. Bresler (1995) noted the value of collaborating with others: “Because the act of teaching is intense, energy consuming, and oriented toward doing as opposed to reflecting, the perspective of an outsider often proves extremely helpful” (p. 19). Borst (Conway & Borst, 2001) noted that action research generated new ideas and stimulated dialogue among colleagues, students, and their parents. “By systematically investigating pertinent questions in my particular music education setting,” Borst stated, “I understood more deeply what influences my daily teaching. By example, music educators should take up the same challenge” (Conway & Borst, 2001, p. 8). For many teachers collaboration comes naturally, and embarking on research with others strengthens the outcome.

Human Subjects Review

Rhode Island music educators are already engaged in action research activities through their assessment projects within their classrooms. Developing and articulating Student Learning Objectives (SLOs), followed by implementation of instruction to meet those SLOS, and assessing and determining next steps for improvement follow the action research cycle. When action research is part of standard educational practice an ethics review is unnecessary. Sigler (2009) explains, “The Federal Regulations for Protection of Human Subjects makes clear that normal educational practice is exempt from consideration and does not constitute human subjects research” (p. 17). However, if the teacher/ researcher intends to publish in an academic journal, or conducts the research in affiliation with an institution that requires ethics review, then a human subjects ethics review should be conducted. A human subjects review ascertains if research subjects’ rights are protected and weighs the risks and benefits to determine if the research may go forward. Sigler also recommends that the teacher/researcher seek a school-based review if the research triggers other legal issues such as privacy and medical records. The U.S. Federal Education Rights and Privacy Act (FERPA) and the health Insurance Portability and Accountability Act (HIPAA) may come into play with more complex research designs or when the

data may be shared with individuals outside of school officials and teachers who access the data as part of their work.

Conclusion

Many educators avoid reading research in their field because they have little time or are discouraged by jargon-filled pages and controlled experiments with little application to their particular classrooms. The advantage of action research is that the results are grounded in practice and do not remain theoretical. Action research is work in which the investigation is not separated from the action required to solve the problem, thereby becoming a tool for professional development, school reform, and educational change in the classroom.

References Bresler, L. (1995). Ethnography, phenomenology, and

action research in music education. The

Quarterly Journal of Music, 6(3), 4-16.

Conway, C. M. & Borst, J. (2001). Action research in

music education. Update, 19(2), 3-8.

Ferrance, E. (2000). Themes in Education: Action

Research [e-book], Brown University, US.

Retrieved on July 10, 2015.

Kimble, K. (2015). Relationship of instrumental music

instruction schedule and student achievement.

The Rhode Island Music Educators’ Review,

57(3), 10-14.

Mohr, M. M. (2005). The teacher as researcher.

Quarterly-National Writing Project, 27(3/4), 8.

Sigler, E. (2009). Action research in public schools: Is it

research? Should it be reviewed? Journal of

Empirical Research on Human Research

Ethics, 4(2), 17-25.

ABOUT THE AUTHOR: Audrey Berger Cardany is Assistant Professor of Music at the University of Rhode Island, Kingston, RI. She teaches undergraduate and graduate courses in music and music education. Email: Audrey.Cardany@uri.edu

fall 2016 // georgia music news

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䜀刀䄀䐀唀䄀吀䔀 䐀䔀䜀刀䔀䔀匀 䴀愀猀琀攀爀 漀昀 䴀甀猀椀挀 ⴀ 䔀搀甀挀愀琀椀漀渀 ∠ 䴀愀猀琀攀爀 漀昀 䴀甀猀椀挀 ⴀ 倀攀爀昀漀爀洀愀渀挀攀 䴀愀猀琀攀爀 漀昀 䴀甀猀椀挀 ⴀ 䌀漀渀搀甀挀琀椀渀最 ∠ 䴀愀猀琀攀爀 漀昀 䌀栀甀爀挀栀 䴀甀猀椀挀

䰀䔀䔀唀一䤀嘀䔀刀匀䤀吀夀⸀攀搀甀⼀洀甀猀椀挀 fall 2016 // georgia music news

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DEEPENING

CONNECTIONS TO SYMPHONIC MUSIC THROUGH EDUCATION written by Tammy Hawk

The Atlanta Symphony Orchestra’s (ASO) 2016-17 season is built around the Orchestra’s commitment to artistic and musical excellence through a diverse array of programming that connects people of all ages to high quality symphonic music. The Orchestra’s music education initiatives are an integral part of achieving this mission and creating a community where the next generation of musicians and music lovers can learn and grow.

The Atlanta Symphony Youth Orchestra (ASYO) and the nationally acclaimed Talent Development Program (TDP) are the cornerstones of the Atlanta Symphony Orchestra music education program. Each year more than 300 instrumentalists from all over the Southeast, rising eighth to twelfth grade students, audition for one of 120 seats in the Atlanta Symphony Youth Orchestra. Under the baton of ASO Assistant Conductor and ASYO Music Director Joseph Young, the ASYO performs three concerts each year in Atlanta Symphony Hall and members receive exclusive invitations to participate in reading and master classes with top artists in the instrumental music industry.

For more than 20 years, the Atlanta Symphony Orchestra’s Talent Development Program has identified and supported talented, young African American and Latino students of every orchestral instrument to prepare them for acceptance into top music programs.

Each year, up to 25 students receive intensive year-round instruction, mentoring, performance opportunities, bi-annual progress reviews, as well as access to exclusive Atlanta Symphony Orchestra resources.

TDP students also participate in the Atlanta Symphony Youth Orchestra, with many holding principal chairs.

The 2015-16 TDP graduating class will be going on to pursue degrees in music at Manhattan School of Music, Indiana University, Columbus State and Royal College of Music in London.

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georgia music news // fall 2016

The Talent Development Program Musicale and Aspire Awards will be held on November 13, 2016, in Atlanta Symphony Hall. The concert will feature a performance from TDP alum as well as this year’s Aspire Award winner and Metropolitan Opera Orchestra trombone Weston Sprott. TDP students will also perform at the annual Recitals on April 29 and 30, 2017, in the Rich Theatre at the Woodruff Arts Center.

The inspiration for the program came from Mrs. Azira G. Hill, who remains active in the Talent Development Program today. To honor her contributions, the Azira G. Hill Scholarship was established in 1999. The scholarship provides financial assistance to TDP students, enabling them to attend intensive summer music study programs, including Boston University Tanglewood Institute, Heifetz International Music Institute and Interlochen Center for the Arts, among others. More than 200 scholarships have been awarded to TDP students to date.

For both participants and patrons, the Atlanta Symphony Youth Orchestra concerts are a wonderful way to experience and enjoy classical music. This year, the ASYO Overture Concert will be performed on November 6, 2016, and will feature Elgar’s Enigma Variations. The Cre-

photo provided by Chris Lee

photo provided by Jeff Roffman

scendo Concert will be performed on March 19, 2017, and will feature Mussorgsky’s Pictures at an Exhibition, orchestrated by Ravel. On March 29, 2017 the ASYO will have the opportunity to sit alongside and learn from Atlanta Symphony Orchestra members at the Side-By-Side concert.

Lastly, the students will perform the Finale Concert on May 14, 2017, featuring Respighi’s Pines of Rome. Since its conception in 1974, the ASYO has collaborated with the Founder and Artistic Director of the New World Symphony, Michael Tilson Thomas, in Miami, and has performed in the Concert Hall at the John F. Kennedy Center for the Performing Arts in Washington, DC. Tickets to all the youth performances can be found on the aso.org calendar.

In addition to training programs, the Atlanta Symphony Orchestra also offers free tickets for teenagers to attend ASO performances, called Teen Nights @ the ASO, through the Wells Fargo ArtsVibe Teen Program. ArtsVibe is a collaborative program with the Alliance Theatre and High Museum, offering teens opportunities to engage in and explore all the Woodruff Arts Center has to offer. ArtsVibe also provides platforms for teens to share their works, including art exhibitions, talent showcases, film festivals and more.

To learn more about ArtsVibe, visit artsvibe.com.

The Atlanta Symphony Orchestra also offers a strings program designed for all levels, from the complete novice to intermediate/ advanced students, as well as a music appreciation program, through its Community Music School. Strings classes are taught with a unique hands-on approach originally created by Atlanta Symphony Orchestra violinist Judith Cox for the LYRA Academy. This innovative method incorpo-

rates both private instruction in a group dynamic, and group instruction in an orchestral setting, to create a cohesive and evenly progressive learning environment. Class sizes are small, allowing frequent one-on-one contact and demonstration between students and teacher.

Before introductory lessons and advanced studies, the Atlanta Symphony Orchestra first works to provide an introduction to classical music to pre-kindergarten through high school students to complement or help fill the gap of school music programs. The Concerts for Young People series is conducted by Assistant Conductor and ASYO Music Director Joseph Young and this year will feature three programs: Peter & the Wolf, Nature’s Symphony and Heroes & Villains.

Peter & the Wolf uses music with representations of animals and stories to teach students how composers use elements of music like dynamics, tempo, timbre, tonality and texture to give musical representation to animals and stories. This program is offered for pre-kindergarten through second grade on March 14, 2017 at Clayton County Performing Arts Center, March 15, 2017 at Lassiter High School Concert Hall and March 16 and 24, 2017 at Atlanta Symphony Hall.

Heroes and Villains is offered for grades six through 12 on February 15 and 16, 2017 at Atlanta Symphony Hall. This program focuses on history as an inspiration for composers, from Ancient Rome and the emperor Titus (Mozart’s La Clemenza di Tito) to Beethoven’s Symphony No. 3, “Eroica” (originally dedicated to Napoleon) to Shostakovich’s Symphony No. 5 (written in response to Stalin) and finally to one of America’s great heroes as depicted in Copeland’s Lincoln fall 2016 // georgia music news

31

The Atlanta Youth Symphony Orchestra concerts are a wonderful way to experience and enjoy classical music!

photo provided by Jeff Roffman

Portrait. Modern Heroes and Villains i.e. Superman, Darth Vader, and our Soldiers are referenced throughout the program as well. Curriculum connections include ties to literacy and social studies.

Nature’s Symphony pairs images with music to demonstrate how the power of nature including weather, waves and various phenomena on Planet Earth have inspired famous works such as Rossini’s Thunderstorm from his William Tell Overture, and ending with an out-of-thisworld trip with John Williams’ Main Theme from Star Wars. This program is offered for grades three through eight on November 9 and 18, 2016 and December 2 and 6, 2016 at Atlanta Symphony Hall.

A curriculum guide accompanies each program and all field trips are designed to support Georgia curriculum standards. There is not a group minimum for the Concerts for Young People and special Title One school rates are available. Additionally, the Atlanta Symphony Orchestra offers a limited amount of funding to help public schools bridge field trip funding gaps. Funds are awarded on a first-come, firstserved basis, and schools are asked to provide as much funding as possible to help the ASO serve as many schools as possible.

The Atlanta Symphony Orchestra continues to provide many wonderful opportunities for families to enjoy and participate in programming that is designed specifically with them in mind.

Under the baton of ASO Assistant Conductor, Joseph Young, the ASO’s Family Concert Series begins on October 30, 2016 with the Halloween Spectacular Phantoms of the Orchestra, featuring spooky music and a costume contest. The series continues on November 27, 2016 in Symphony Hall and December 15, 2016 at Kennesaw State University with A Family Holiday Special. Peter & the Wolf and Friends takes place on March 12, 2017. The final Family Concert of the series, Plundering Pirates of Symphony Hall, will be held on June 11, 2017.

During the 2016-17 season, the Atlanta Symphony Orchestra’s Music for the Very Young program offers professional musical perfor32

georgia georgia music music news news // fall / fall 2016 2016

mances designed specifically for early learners (children ages 3-5 years old) and their parents.

Audiences will enjoy up-close and intimate performances that encourage them to become active listeners of live classical music through Meet Our Families: An Introduction to the Instruments of the Orchestra. The program will introduce members of the woodwind, brass, strings and percussion families in four separate programs – each highlighting one specific family of instruments. At the end of the season, the musicians will join forces to perform as an ensemble, one big family!

Finally, along with their many stage performances, the musicians of the Atlanta Symphony Orchestra also bring their music into Atlanta communities. Through Musicians in the Community, Orchestra members present solo or chamber performances in local libraries, schools, hospitals and cultural centers throughout the city.

Each year the Atlanta Symphony Orchestra touches more than 70,000 children and their parents with orchestral music and programs.

Come experience all that the Atlanta Symphony Orchestra education initiatives have to offer this season!

-about the author-

Tammy Hawk

Tammy Hawk is a senior level marketing and public relations professional who has more than 25 years of experience helping consumer brands and non-profit organizations engage key audiences with strategic messaging and creative content. Hawk joined the Atlanta Symphony Orchestra as Director of Communications in 2015.

The Scholar Musician Many times the student becomes the teacher, but for University of West Georgia alum Jennifer Slay it was just the opposite.

As a music teacher strives for now ways to connect with her students. UWG’s Master of Music in Music Education degree, available entirely online, provides the perfect opportunity.

“At UWG my professors are willing to foster my passion for music,” she explains. “I want my students to know they are my number one priority as well.”

Jennifer knows that music is a vital part of education, and with her degree, she aspires to reach beyond the basic lesson plans.

“Music and education are not separate and it’s important to give students an opportunity to express themselves creatively,” she says. “My desire is to teach music that is filled with culture and history.”

One student at a time, Jennifer is sharing the gift of music. With her master’s degree she will transform lives. uwgonline.westga.edu

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the

Every Student Succeeds Act WHAT IT IS, WHAT IT MEANS, AND WHAT’S NEXT

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From National Association for Music Education (NAfME.org), Copyright by National Association for Music Education. Reprinted with permission.

The Every Student Succeeds Act: What it Is, What it Means, and What’s Next What is ESSA? The Elementary and Secondary Education Act (ESEA) was originally passed by Congress in 1965, under President Lyndon Johnson. Part of LBJ’s War on Poverty, it is the piece of federal legislation that authorizes the bulk of federal support for K-12 education programs, and was originally intended as extra support for our nation’s students who are most vulnerable.

Since that time, ESEA has been re-authorized by Congress many times, each time under a new title. The breadth and content of the bill has changed and evolved with different administrations, although Title I— support for academically vulnerable students—is still the biggest component of the legislation. Before December 2015, the most recent version of ESEA was titled the No Child Left Behind Act (NCLB), which Congress passed in 2001.

In December 2015, after years of failed negotiations, Congress finally passed a new version of the ESEA, now titled the Every Student Succeeds Act (ESSA). (It’s accurate to use ESEA and ESSA interchangeably.)

The passage of ESSA is an historic victory for music education advocates, because it includes for the first time a specific and separate mention of music as an important component of a well-rounded education.

The new bill will also make it easier to use federal funds to support music programs at the local level, including for the most vulnerable students with Title I funding.

How Does This New Bill Support Music Education?

ESSA contains both new and revised language that is very supportive of music education. Here are some of the most important provisions for music education in the bill: 

Well-Rounded Education: ESSA is very clear that students should have a “well-rounded education” that includes a broad curriculum, including music. This is a radical change from NCLB, which focused on academic success only as defined by performance in reading and math.



Enumeration of Music as a Well-Rounded Subject: ESSA includes a section that lists specific subjects considered to be important components of a well-rounded education, including music. This language makes it clear that music should be a part of every child’s education, no matter their personal circumstance.



Requirements for Well-Rounded Education: ESSA doesn’t just mention well-rounded education as a good idea; this language makes it clear that Congress expects schools to act on those words. Schools are expected to assess their ability to provide a well-rounded education (e.g. provide exposure to the list of subjects enumerated in the well-rounded education definition, including music). On top of that, schools can use federal dollars to address any deficiencies they find in their ability to give students experiences with those subject areas. © 2016 National Association for Music Education. All rights reserved fall 2016 // georgia music news

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

Flexibility of Title I funds to support a well-rounded education. Title I programs are those that support academically vulnerable students. ESSA specifically allows Title I funds to be used to supplement state and local support for a well-rounded education, including music. This means that more low-resource schools will improve their ability to use their supplemental funding for music- and arts-rich curricula.



More Professional Development for Music Educators: ESSA also states that funds may support professional development for music educators as part of supporting a well-rounded education, and clarifies that this money can come from three of the major areas of the bill—including Title I (vulnerable students), Title II (teacher preparation and development), or Title IV (wraparound and supplemental school programs).



Flexible Accountability: ESSA language is very clear that states must now include multiple progress measures in assessing school performance. These can include music education-friendly measures like student engagement, parental engagement and school culture/climate. These measures can be very important in helping schools get a sense of how their school community is faring, and what kind of outside supports their students may not be getting that could help them be more successful.



Protection from “Pull Outs”: While it does not forbid pull-outs, the new ESSA does include language that discourages removing students from the classroom, including music and arts, for remedial instruction. This encourages more classroom time for music, with fewer interruptions (including test preparation).

What Does This Mean for My Classroom? More FAQs

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

When Does ESSA Take Effect?

The new law will take effect on August 1, 2016. Most of the requirements states have to meet to keep their NCLB waivers are officially on hold until the transition date. For more information on state waivers under NCLB, click on the U.S. Department of Education’s ESEA Flexibility page, here.



What Does This All Have to Do With Common Core?

Common Core requirements were a component of most state applications for NCLB waivers under a process instituted by the U.S. Department of Education. In order to receive a waiver from the most strident of the NCLB accountability requirements (such as school improvement for any school failing to make adequate yearly progress or AYP), each state had to provide evidence that it had adopted a set of rigorous College and Career Ready standards in the tested subject areas of mathematics and reading. The Common Core standards were the easiest way to meet this one criteria for a state waiver. The new ESSA, while encouraging rigorous and challenging state academic standards on which the state’s accountability system is built, does not require Common Core and in fact forbids the U.S. Department of Education from requiring any set of standards for any state. Many states may continue to utilize Common Core standards in mathematics and

georgia music news // fall 2016

© 2016 National Association for Music Education. All rights reserved

reading; however, ESSA is explicit that no direct links between Common Core and federal education law will exist going forward. 

Is There a Federal Requirement for Measuring Student Progress?

Yes and No. The “Yes” part to the answer is that states still have to create accountability systems that track student progress in the tested subject areas of reading, mathematics, and to a lesser extent science, in order to get Federal dollars authorized under ESSA. In addition, states have a lot more flexibility and ownership over what their state accountability systems look like—and they are expected to include multiple progress measures that were not part of the accountability systems that developed under NCLB. This is very good news for “non-tested” subject areas, including music education!

The “No” part to the answer is that ESSA does not require states to build measures of student progress that are connected to teacher evaluation systems. This WAS a requirement which many states had to meet in order to receive a waiver from NCLB accountability provisions. ESSA does not continue this as a requirement, although states may continue to utilize federal funds, specifically Title IIA funds, to build and maintain high quality teacher evaluation systems which can include measures of student progress. Again, this becomes a “may” and not a “MUST” under ESSA.



Is Music Now a Required Subject?

No. States have a great deal of flexibility in how they create a system of well-rounded education.

ESSA does not require any subjects to be studied, it simply expects states to make a reasonable effort to give students exposure to a wider range of subjects, and it gives states flexibility for how to measure student progress in different areas.



So—What’s Going to Happen to My Music Program?

YOU can help answer that question. And that’s GREAT news! Essentially, the door is now wide open—more than any time in the history of this legislation—for discussions at the state and local level as to how federal dollars can be used to provide a broader and richer curriculum for students. This is why state and local advocacy will continue to be critical to help students get more access to music education. We are truly now all in this together, and the future for music education looks bright!

© 2016 National Association for Music Education. All rights reserved

fall 2016 // georgia music news

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Key ESSA Terms As you continue to read jargon- and acronym-happy updates, you may find the following key terminology definitions useful:

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

The Elementary and Secondary Education Act (ESEA) is the same bill as “No Child Left Behind” and the “Every Student Succeeds Act.” Originally signed into law by President Lyndon B. Johnson in 1965, ESEA is the federal government’s most extensive statute addressing primary and secondary education. The intent of the legislation is to provide supplemental funds and programs to serve low-income students and enable State and Local Educational Agencies (LEAs, or school districts) to improve the quality of elementary and secondary education. Every several years, Congress must reauthorize ESEA to meet changing needs in education.



No Child Left Behind (NCLB) is the last reauthorized iteration of ESEA. Receiving bipartisan support, NCLB was signed into law in 2002 by President George W. Bush. NCLB highly focused on exposing achievement gaps in traditionally underserved and vulnerable student populations through use of greater accountability measures. The law officially expired in 2007 and stop-gap solutions were made until a new ESEA is passed.



The Every Student Succeeds Act (ESSA) is the title of the latest ESEA reauthorization by Congress, expected to be signed into law. After months of bill drafts and negotiations in Congress, ESSA is the result of a bipartisan compromise that was approved by conference committee in November 2015.

The agreement substantially shrinks the federal education footprint and returns accountability to the states. Most recently, the bill passed the U.S. House of Representatives on December 2nd by a vote of 359 – 64. The Senate is expected to vote on the bill on Monday, December 7, 2015.



The “Well-Rounded Education” provision (previously known as “Core Academic Subjects”) is a section (Sec. 8002) within ESSA that lists courses, activities, and programming in subjects deemed critical when providing students a broad and enriched educational experience. The provision includes “music” and “arts,” which articulates the importance of music as a part of every child’s education. This provides an unprecedented step forward for music education, as “Well-Rounded” is mentioned in a variety of other significant provisions throughout the bill.

georgia music news // fall 2016

© 2016 National Association for Music Education. All rights reserved

#NAfME2016 JOIN US FOR OUR 4TH ANNUAL NATIONAL IN-SERVICE MUSIC EDUCATION CONFERENCE.

This is one of the most exciting times for music education, and there is no better time to band together, learn from each other, and bring innovative techniques to your classroom from across the country. Music helps shape the way our students understand themselves and the world around them and allows for a deeper engagement with learning.

Every year thousands of music educators, future music educators, students, and performers gather to gain in-depth practical knowledge through hundreds of professional development sessions. NAfME has the only national conference that offers the highest standard of professional development, networking opportunities, around-the-clock performances, and nightly entertainment!

nationalconference.nafme.org fall 2016 // georgia music news

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AT YOUNG HARRIS COLLEGE, WE BELIEVE THE GREATEST RISK IS LETTING TRUE POTENTIAL REMAIN UNREALIZED. Our campus is filled with endless opportunities to be bold and dare to be great. This is where young artists can venture to be original, inspire others and do more than they ever imagined.

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Young Harris College Department of Music Dr. Richard Knepp, Chair

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100 Years Ago This Fall From Music Supervisors Journal, November 1916, Copyright by National Association for Music Education.

Reprinted with permission.

PRIME remembering yesterday for a better tomorrow Do you know something amazing that happened in the history of music education?

Fill out a submission form for Georgia Music News at www.gmea.org

fall 2016 // georgia music news Downloaded from mej.sagepub.com at NAfME on July 18, 2016

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THE

VETERAN 10 Questions for Experienced Teachers

FRANK FOLDS

Frank Folds recently retired after 33 years of teaching. His career included eighteen years at Alton C. Crews Middle School., two years at Five Forks Middle School, eight years at Camden Middle School, three years at Jeff Davis High School, as well as stops in Baldwin, Butts, and Clayton Counties. Mr. Folds holds Bachelors, Masters and Educational Specialist degrees from the University of Georgia where he served as Graduate Assistant and Band Captain. He is married to the former Cheri Jones of Owensboro, Kentucky. They have four children. Mr. Folds has served the Georgia Music Educators Association as a district officer, district event organizer, All-State Band Organizer (1989-1991) as well as State Band Division Chairman (1997-99), State Vice-president for All-State (1991-93), State Vice-president for Performance Evaluations (2009-2011), and, most recently, as President (2013-15). He currently serves as Chairman of the Phi Beta Mu Georgia Band Masters Hall of Fame and Treasurer of the Tara Winds Scholarship Foundation. In 2005 and 2006 he was selected for recognition in Who’s Who Among American Teachers and Who’s Who in America and in 2007 and 2011 received the Citation of Excellence from the National Band Association.

Mr. Folds has been selected Teacher of the Year on two occasions: In 1992-93 for Camden County Public Schools and in 2008-2009 for Alton C. Crews Middle School.

1. Please tell us a bit about your musical background and teaching experience.

I started in band in fourth grade b–ut my musical background goes back much further. I remember music in my house on the radio or record player as long as I can remember. Southern gospel music, country music, early rock and roll were in our record collection and WSB radio played standards. I just sang along with the music. After joining band I played clarinet for 3 years then switched to baritone saxophone. I participated in district band, solo and ensemble and made All-State twice. I decided to be a band director in 9th grade. After graduating with my masters and a few detours I taught 3 years in Jeff Davis County, 8 years in Camden County, one in Clayton County and 20 in Gwinnett County.

2. What first drew you to music education?

My band experiences were all very positive and it looked like a great profession. My directors were encouraging and supportive. They also were leaders in the profession and were excellent role models for me to follow.

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georgia music news // fall 2016

3. Who has been the biggest influence on your teaching career? What lessons did that person teach you?

Guerry Youmans, my first band director, Lloyd Tarpley, my high school director, and Roger Dancz, my college director all played major roles in my development as a band director and music educator. They all had different strengths to immolate but one thing they all had in common was that they did things first class. Everything they did was of the highest quality. They also each held some type of leadership position in GMEA over the years and that spirit of service was passed on to me.

4. What have been the biggest changes to music education in the course of your career?

The biggest changes I have seen are the number and quality of elementary music programs due to the increase in funding for specialists in that area and the instructional strategies that had to change when middle schools became the norm throughout the state. While there have unfortunately been some elementary programs trimmed or cut in recent years, there are many strong programs in Georgia and they are made strong by the dedicated teachers in those positions. When I was growing up band and strings started in elementary school. That for the most part has died out in the past 20 or so years mostly due to the advent of the middle school concept. It seems more financially feasible to fund teachers in one school than itinerant instructors at multiple elementary schools.

5. How has your teaching philosophy evolved throughout your career?

I would say that I became more inclusive the longer I taught. I think I wanted “the best” students when I started teaching but quickly realized that I could touch more students and justify our programs with a larger and more diverse level of students.

Many of my proudest moments have been seeing the successes of special needs students and band classes of hard working less talented students.

6. What has been the proudest moment of your teaching career?

There have been many proud moments, a few mentioned in the previous answer. I am proud of the bands that performed at invitational events, of former students who became music teachers, of my own children who found a home in the band.

I am probably the most proud of being a part of two growing and thriving band programs in Camden County and in the Brookwood cluster of Gwinnett County. The number and quality of the students I was able to teach, the parents who were so supportive, and the great camaraderie of the teachers I got to work with have all been points of pride.

7. What wisdom/experience/skills do you hope students gain from their time in your program?

When we prepare for LGPE I always tell my students that the process is the most important aspect of the event. It is that philosophy I hope eventually catches on. In whatever my former students do I hope they realize that the process is the thing and the dedication and discipline to complete the process will almost always guarantee the desired results.

8. Is there a particular musical work or composer to which you feel all students should be exposed?

That is a difficult question because there are so many greats to be exposed to. As for composers in the band world there are Holst, Grainger, Grundman, and Persichetti. As for works there are of course the music by the afore mentioned composers. However, I have also been touched by Bill Locklear’s “Overcome”, Frank Erickson’s “Symphonette for Band”, Richard Meyer’s “The Return of the Dawn Treader”, and the music of William Himes. These should be staples of all middle school band libraries.

9. What advice would you offer teachers beginning careers in music education?

There are many pieces that go into making successful music teachers. Make your program the best quality program it can be. Quality breeds quality and people want to be a part of quality things. Get involved in your school, your system and your professional organization. Ask for help and advice from your more experienced peers. Never stop learning.

10. What still inspires you about teaching?

The “light bulb” moments are still my favorites; when students finally “get” something. It may be when they get the first quality sound. It maybe when they realize their ability to match pitch and play “in tune”. It may be the first time they appreciate the process of improvising a solo in jazz band. Sometimes those moments are individual and sometimes they are collective. Either way, it is magic when it occurs.

THE

VETERAN 10 Questions for Experienced Teachers

Know an experienced teacher that should be featured in a future article of The Veteran 10? Fill out a submission form for Georgia Music News at www.gmea.org

fall 2016 // georgia music news

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