2019-2020 Georgia Music News | Fall by Georgia Music Educators Association

ASSOCIATION NEWS | BOARD MEE TING MINUTES| DIVISION NEWS

GeorgIa music news COMPOSER AARON PERINE Dr. Lauren Denney Wright

IN MEMORIAM Dr. Olin Griffith Parker

VETERAN 10 Leila Elkins

More Bang for Their Buck VOLUME 80 | NUMBER 1 | FALL 2019

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FA L L 2019 | G E O RG I A M U S I C N E W S

TABLE OF CONTENTS

GMEA BOARD OF DIRECTORS President Carl Rieke Immediate Past President Evelyn Champion Vice-President for Performance Evaluation Events Jeff Funderburk Vice-President for All State Events Alan Fowler

More Bang for Their Buck NANCY L. SUMMITT

Past Presidents’ Representative Frank Folds

Editor, Georgia Music News Victoria Enloe

Executive Director Cecil Wilder

For the complete list of Board Members please visit:

Band Division Chair Rudy Gilbert Choral Division Chair Marla Baldwin College Division Chair Dr. Josh Byrd

BOARD MEETING MINUTES CECIL WILDER

TOTY

TEACHERS OF THE YEAR

24 AN INTERVIEW WITH AARON PERRINE

DR. LAUREN DENNY WRIGHT

28 VETERAN 10 LEILA ELKINS

IN MEMORIUM DR. OLIN PARKER

District Chairs 1 - Michael Nestor 2 - John Scanling 3 - John Inzetta 4 - Christine Kraemer 5 - Seth Gamba 6 - Stan Kramer 7 - Douglas McConnell 8 - Alan Carter 9 - Michael Oubre 10 - Katie Bennett 11 - Jay Davis 12 - Andy Esserwein 13 - William Owens 14 - Dennis Naughton

Elementary Division Chair Brianne Turgeon Orchestra Division Chair Samuel Lowder

GMEA Staff Brandie Barbee Ryan Barbee Dr. Bernadette Scruggs Aleta Womack Advertising/Exhibitors Cindy Reed

-ADVERTISER INDEXBOB ROGERS TRAVEL INSIDE COVER GEORGIA SOUTHERN UNIVERSITY PAGE 36 KENNESAW STATE UNIVERSITY PAGE 31

SMOKY MOUNTAIN MUSIC FESTIVAL PAGE 13 TWEED RECORDING PAGE 2 UNIVERSITY OF GEORGIA PAGE 9 YAMAHA PAGE 23

LEE UNIVERSITY PAGE 27 PANAMA CITY BEACH MUSIC FESTIVAL PAGE 5

YOUNG HARRIS COLLEGE PAGE 13

TO ADVERTISE

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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. Unless otherwised noted, photos are provided by Andy Edwards of Ace of Photos Visit aceofphotos.com

FA L L 2019 | G E O RG I A M U S I C N E W S

ASSOCIATION NEWS THE PRESIDENT SPEAKS CARL RIEKE, GMEA PRESIDENT

Happy Fall! I hope your school year is off to a great start and your classroom is filled with more motivated young musicians than ever before. I am humbled and honored to serve as your President for the next two years. I am also extremely grateful for the incredible work that past president Evelyn Champion has put in to this organization. One of her biggest contributions (one among many) is her work to roll out the new software program that will replace “Opus.” Our goal is that the new software will be ready for use in the summer of 2020.

As you continue to plan your school year, please consider attending our annual in-service conference in Athens on January 23-25, 2020. The general session will kick-off at 11:00 a.m. on Thursday, January 23rd with special recognitions and awards followed by service awards recognizing educators in their 25th or 40th year of teaching, or year of retirement. If you qualify for one of these awards, be sure to fill out a form in Opus by October 15th. Please consider bringing a lobby performance group to showcase some of the talent at your school (applications can be found in Opus and are due by October 8th). The much sought after Dr. Tim Lautzenheiser has agreed to be our keynote speaker this year. As many of you already know, Dr. Tim never fails to inspire and rejuvenate our teaching so you may want to bring your Kleenex.

My first “assignment” as president was to attend the NAfME National Assembly in Washington, D.C. in June. It was an eye-opening experience to see how involved our national organization is in advocating for music education. Hundreds of us walked to the Capitol to visit our State Senators and Representatives and speak with them about bills that may have an impact on music education. As I met with leaders from other states, I gained a greater appreciation of how fortunate we are to have one of the strongest music education associations in the nation. It makes me proud to know that the leaders in other states look to Georgia as a model for their state music educator associations. We are very fortunate to have such incredible office staff, state leaders, district leaders, and selfless volunteers all over our state. I appreciate each one of you, realize the contributions you make, and do not take any of you for granted.

As dedicated music educators, we tend to immerse ourselves in our profession and often forget to take time for ourselves. Please find time to do things for yourself, your family, or special people in your life. I wish you a most successful 2019-20 school year. Please do not hesitate to reach out to me at president@ gmea.org if there is anything I can do to make your music education experience more rewarding.

CONFERENCE PROGRAM A P P LY T O D AY 4

G E O RG I A M U S I C N E W S | FA L L 2018

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ASSOCIATION NEWS GEORGIA MUSIC EDUCATORS ASSOCIATION

BOARD MEETING MINUTES

MARRIOTT COURTYARD HOTEL | McDONOUGH, GA MAY 16, 2019 • The meeting was called to order by president Evelyn Champion. • The following members were present: Carl Rieke, President-Elect; Jon Cotton, Vice President for Performance Evaluations; Amy Clement, Vice President for all state events; Frank Folds, Past Presidents’ Representative, Cecil Wilder, Executive Director, Matt Koperniak, Band Division Chair; Marla Baldwin for Kim Eason, Choral Division Chair; Josh Byrd for Keith Matthews, College Division Chair; Emily Threlkeld, Elementary Division Chair; Sam Lowder for Bernadette Scruggs, Orchestra Division Chair; Michael Nestor, District One Chair; John Scanling, District Two Chair; Angelia Davis, District Three Chair’ Christine Kraemer, District Four Chair; Seth Gamba, District Five Chair; Stan Kramer, District Six Chair; Douglas McConnell, District Seven Chair; Alan Carter, District Eight Chair; Michael Oubre, District Nine Chair; Katie Bennett, District Ten Chair, Jay Davis, District Eleven Chair; Andy Esserwien, District Twelve Chair; William Owens, District Thirteen Chair; Dennis Naughton, District Forteen Chair; Sue McDonald, Member-at-Large; Skip Taylor, Member-at-Large; Victoria Enloe, Editor, Georgia Music News; Richard Bell, CNAfME State Advisor; Dr. John Lairsey, School Superintendents Association Representative. Guests present were Jeff Funderburk, Vice President for Performance Evaluations Elect; Alan Fowler, Vice President for All State Events Elect; Rudy Gilbert, Band Division Chair Elect.

AC TION ITE M S • A proposal was brought by Amy Clement to change the all state instrumental performance schedule (Saturday of the all state weekend). Instead of alternating orchestra and band every other year, orchestra will go first each year followed by all six bands. This proposal is to prevent the all state bands from having to perform at 10:00 am (after having a morning rehearsal). This is also to help the orchestra division chair and orchestra teachers from having four groups in the morning, and two groups in the evening as is presently the case. It was pointed out that if the Band Division went last every year the directors of the last bands to perform (and possibly their students) would have to book and pay for an extra night’s lodging every year instead of every other year if the divisions took turns performing last. After discussion concerning the relative merits of each arrangement it was decided that this arrangement would be used next year, after which the Band and Orchestra Division Chairs would decide the order for the following year. The motion passed by a vote of 24-1. • The following proposals were brought by Matt Koperniak on behalf of the Band Division. • Remove Bass Trombone from the chart of minimum instrumentation for Concert and Symphonic All-State Bands. and add the following language below the chart: Bass Trombone will be accepted for audition for the Concert and Symphonic

G E O RG I A M U S I C N E W S | FA L L 2019

All-State Bands. Those deemed by the judging panel to possess adequate skills will be placed in the bands up to a maximum of one per band. The proposal passed by a vote of 26-0. • Proposal to make the following changes to the GMEA Handbook regarding Band LGPE instrumentation rules on pages 40-41 (Addendum A) and pages 44-45 (LGPE Eligibility): Add a new bullet point to read: Students may perform in more than one band on the same instrument. There was lengthy discussion regarding the pros and cons of both points of view. The positive is that it would allow small programs with an incomplete instrumentation in their second band to perform at LGPE where they might otherwise not be able to. The negative is that it could lead to wider abuse of the rule that already exists which would diminish the validity of our events as an evaluative tool. Note: the rulings in the handbook are complex and vary among the three divisions. These policies can be found on pages 43-44 of the handbook. It was pointed out by President Evelyn Champion that in keeping with our general policy of trying to maintain consistency among divisions, this proposal should be consistent from division to division and that if the change were made it could lead to a diminishing of the standards of our events. After further discussion a motion was made to table the proposal for one year to give the three division chairs time to consult their councils and come to a consensus before bringing this back to the board next year. The motion to table passed by a vote of 16-10. • Proposal to make the following changes to the GMEA Handbook regarding All-State Jazz Drum Set audition (page 20): Under Drum Set, Final Audition, change “Student will demonstrate 4 examples of time-keeping ability” to “Student will demonstrate 6 examples of time-keeping ability.” This edit aligns the detailed requirements in the Handbook with the correct number of examples. The motion passed by a vote of 26-0 • Proposal to make the following addition to the GMEA Handbook regarding All-State Auditions (All-State Audition Requirements, pp. 9-10): Add the following language to pertain all divisions: A student who is legally blind shall be exempt from sight-reading. Their director shall provide the Division Chair with proof of blindness in a letter from the student’s principal and shall contact the Division Chair at least 30 days before the audition begins so that adequate provision can be made. The sight-reading score for a student who is legally blind shall be proportionally derived from their total score on all other audition requirements. For example, the state level All-State Band audition includes two etudes (60%) and two sight-readings (40%), for a total of 100 possible points. If a legally blind student scores a total etude score of 48.5 points, that student would automatically receive a 32.34 for their sight-reading score. The student's

total score would be 80.834. There was lengthy discussion concerning the fairness, legality, practicality, and consistency of the proposal. Given the complexity and ramifications of the proposal and the fact that the situation varies from division to division it was proposed that the motion be tabled and referred back to the incoming executive committee for further study. The motion to table passed by a vote of 26-0. The executive committee will take the matter under advisement and report back to the board next year with a recommendation for a suitable solution. • The following proposals were brought by Sam Lowder on behalf of the Orchestra Division. • A proposal was brought from the orchestra division to revise the procedure for adding judges to the Orchestra Adjudicator List. In January, as needed, the Orchestra Chair will request that all current Orchestra Head Adjudicators submit names of potential judges to be considered for the Orchestra Adjudicator List – due by the end of March. The Orchestra Chair, in April will invite those submitted to complete an application for consideration. The Orchestra Standing Committee will discuss and vote on the applicants during the LGPE Music voting window (currently the end of May – June 20.) The application criteria as well as the final approval will be at the discretion of the Orchestra Chair. The motion passed by a vote of 26-0. • A proposal from was brought from the orchestra division that an additional woodwind and brass Organizer be included with the Orchestra All-State Organizers (currently, there are six string organizers and two percussion organizers). The single additional woodwind and brass organizer would assist the 9-10 Full Orchestra as well as the 11-12 Full Orchestra. After discussion on the need for the position the motion was defeated by a vote of 0-26. • A proposal was brought from Amy Clement to change the criteria for application for the Music Program of the Year Award. The current requirements to be altered are as follows, followed by the proposed changes. • A roster of students who auditioned for all state in all areas of music offered in the school for the past five years, to be changed to “a roster of students who were selected for all state for the past three years. Copies of printed programs or other documentation will no longer be required. • A roster of students who auditioned for the district honor ensemble in their area of study for the past five years, to be changed to “a roster of students who were selected for the district honor ensemble in their area of study for the past three years”. Copies of printed programs or other documentation will no longer be required. • Currently LGPE rating sheets must be submitted in all areas of study offered in the school for the past five years. Going forward they must only be submitted for the past three years. Solo Ensemble rating sheets will no longer be required. A statement that students from the school have participated in Solo Ensemble in any area offered in the district in which the school is located will suffice. • All other requirements and documentation on the application will remain in place. The proposal was approved unanimously.

• A proposal was brought from Jon Cotton to add the following language to the Rules and Regulations for All State events in all divisions: A parent, guardian, or GMEA member director must assume responsibility for the safety, supervision, and conduct of all students attending GMEA All-State rehearsals and concerts. GMEA is not responsible for supervision of students during the event or during free time. Students should be strongly discouraged against driving themselves to All-State and/or operating a motor vehicle during the All-State event if at all possible. It was suggested that the wording in the last sentence be changed from “should be” to “are”. It was also suggested that we should add wording which states that “all local school system policies concerning overnight student travel must be adhered to”. After lengthy discussion the proposal was voted on and passed unanimously, including the two suggestions for amended wording so that the final wording will be as follows: “A parent, guardian, or GMEA member (director) must assume responsibility for the safety, supervision, and conduct of all students attending GMEA All-State rehearsals and concerts. GMEA is not responsible for supervision of students during the event or during free time. Students are strongly discouraged against driving themselves to All-State and/or operating a motor vehicle during the All-State event if at all possible. Furthermore, it is the responsibility of the teacher of the student(s) must see that all policies of the local school system concerning overnight student travel are adhered to”. The 2019-2020 statewide calendar was discussed. A request was made to extend the available weekends for spring solo ensemble events past April into May owing to the crowded school calendars in April. It was pointed out that teachers can always request a date that is outside the window for that event in cases where it is difficult to find a date within that window and that those requests are normally approved. Along those same lines, it was also requested that the application deadline for spring solo ensemble events be moved to a later date to accommodate those who have requested a later date for their event. It was decided to accommodate those asking for May dates but to keep the deadline as is. It was also pointed out that the final High School All State audition on January 4 occurs before some schools are back in session. A proposal was made to change the High School All State Band final auditions to January 11(same date as the Middle School date) and move the inclement weather date to January 18, even though it would cause a conflict for students who are attending JanFest in Athens. The amendment to the calendar passed by a vote of 25-3, after which the amended calendar was approved unanimously.

I T E M S F O R D I S C U SSS I O N ONLY Recently the cost of hotel rooms, especially for LGPE adjudicators has risen sharply. This is one of the only areas of expenditure where we can effectively cut our costs. Most of the other costs are predetermined by per diem allotments, honorarium formulas, etc. We try to contain costs as much as possible so as to keep fee increases to a minimum. Districts can help in this regard by having LGPE organizers research hotel rates in the area near to the site of the event and give the adjudicators the name of the most reasonably priced three star hotel and instruct them to make their reservations at that property. There was much discussion about alternate ways to handle the booking of

FA L L 2019 | G E O RG I A M U S I C N E W S

ASSOCIATION NEWS rooms for LGPE judges. Among those was to have the rooms be booked by the GMEA office and paid for with our credit card. It was pointed out that, given the number of LGPE events we host each year, that is not doable with the office staff we have, plus the fact the office staff would not necessarily know about the quality of the rooms at a given hotel, or how convenient it was to the location of the event. Cecil Wilder pointed out that we are simply asking the district organizers to help us out as much as possible with this. In the same vein as increasing costs for hotel rooms for LGPE judges, the executive committee is studying the idea of moving the final all state auditions to the northern half of the state, probably somewhere on the south side of Atlanta, possibly on a two year, one year rotation basis with the current location in Perry. This year all state band auditions cost $64,365 and most of that was for travel, meals, and hotel rooms for judges who had to travel more than 100 miles to serve at the second round auditions. There was a lengthy discussion covering the pros and cons of changing the location. The first positive was the reduced cost for hotels and meals for judges and monitors traveling more than 100 miles one way, thereby needing overnight accommodations and Friday evening dinner. Another positive is that the number of students coming to audition was more heavily weighted toward the northern half of the state. A leading cause of the disproportionate number of people coming from the north is that the population density is much greater in the the north than the south. Districts in the southern part of the state are concerned that, since they already have difficulty getting students to audition, moving the audition further away from them might make the problem even more prevalent. It was also pointed out that, since the logistical issues involved with staging these audition are so large and involve so many people at the school, not to mention access to the school itself, there might be confusion at both locations if a rotating schedule were uses over whether or not it was their year to host. Since this was a discussion item no vote was taken and the things learned today were given back over to Rudy Gilbert for his use in working through a solution with the band council. Rudy Gilbert, Band Division Chair-Elect, has suggested a plan for the rehearsal schedule at All State Band and Orchestra that will give the two 11-12 bands and the 11-12 full orchestra time on the theater stage. It is as follows: STAGE

OLYMPIA PARTHENON

Thursday, March 5

7:30pm -9:30pm

11/12 Orch

SB1

SB2

SB1

SB2

11/12 Orch

SB2

11/12 Orch

SB1

Friday, March 6

9:00am - 11:30am

11/12 Orch

11:30am -1:30pm 1:30pm - 4:30pm

SB1

4:30pm - 7:30pm 7:30pm - 9:30pm

SB2

Saturday, March 7

8:00am - 9:30am

11/12 Orch

8:30am-10:00am 10:00am-10:45am

SB2

SB1

CON CERTS B EG IN

G E O RG I A M U S I C N E W S | FA L L 2019

The main purpose of this proposal was to give all 11-12 ensembles some rehearsal time on the theater stage. The difficulties of moving that much percussion in a short time was discussed at length and Rudy volunteered for his timpani to stay on the stage the entire time and this seemed to solve at least some of the difficulty. At the end of the discussion there seemed to be some consensus that it could be done and that it would be worth the effort. It will be left with the band and orchestra division chairs to make the final decisions and arrange for the problems involved to be dealt with ahead of time.

I N F O R M AT I O N I T E M S Cecil Wilder presented an interim budget report and a student event participation report. The financial report is inherently incomplete since it was extracted on May 1 when we were still two months from the end of our fiscal year (June 30). After that time a complete financial report will be distributed to the entire membership via the Georgia Music News and a 2019-2020 budget will be constructed from that data. District chairs were reminded to communicate to their membership that students must be registered for All-State by the school music teacher except in cases where there is no program in the division in which the student is to be registered. Then the private music teacher and GMEA member who is directly responsible for the instruction of the student on the All-State music must register the student. Evelyn Champion spoke to the reasons for this policy and the fact that it largely occurs in the Orchestra Division in cases where there is no string program in the school and a string student in the school asks the band (or chorus) director to register him/her. Many times the teacher will agree to do that but does not or cannot help with the auditions, leaving the auditions short-handed. There is also a problem wherein a student does not have access to a school string program but studies privately with a teacher who is not a GMEA member and therefore cannot register students for all state orchestra. President Champion stated that, this year, registrations such as these will be cancelled. Jay Davis asked about situations like his band program that have no string program but play double bass in his band and the student wants to audition for all state. His question was if, in that case, he can register the student. It was stated by President Champion that since he is the teacher in whose ensemble the student is registered as a class he would be allowed to register the student. Reports were delivered either written or verbally by those wishing to do so. Some of the highlights are as follows: • Evelyn Champion announced that the Choral Division will now be using a service named “Choral Tracks” for the production or their all state audition and rehearsal musical material instead of Sound Around Audio/Video as they have in the past. She also gave an update on the progress of work by Helium LLC on the new software to replace Opus which has become outdated and no longer functions as it should in all cases. She showed screen shots of some of the pages in the new software. The new software is to be ready by the end of the 2019-2020 school year. • President-elect Carl Rieke thanked Evelyn for her inestimable contributions to GMEA, especially her shepherding of the new software project. He also announced his appointees to the board and the various committee chairs.

• Choral Chair-elect Marla Baldwin reiterated the change to Choral Track for the production of the All State Chorus rehearsal and audition musical materials. She also addressed the issue of the perceived shortage of available hotel rooms for our events in Athens and the fact that a lot what has been the problem is that teachers book an overage of rooms in April and fail to release them until the last minute when it is too late for other teachers to pick them up. The solution is that, beginning this coming year, the reservation portal on the GMEA website will not open until after the choral cutoff scores have been released in December and everyone knows how many rooms they will actually need. • Elementary Division Chair Emily Threlkeld announced that members of that division will be working on a proposal for a way in which elementary school programs can qualify for the “music program of the year” award which now exists at the middle school and high school levels. • Orchestra Division Chair-elect Sam Lowder announced that, due to renovations at the Westminster Schools, this year’s final Orchestra All State auditions have been moved to the Martha Ellen Stillwell School of the Arts in Clayton County.

N E W BU S I N E SS Cecil Wilder addressed a situation whereby some districts are having the recording company that was hired to make the performance recordings of the groups to also be responsible for creating the adjudicators’ recordings. This is not a problem in and of itself. When it does become a problem is when the recording company charges the directors for their judges’ recordings since the directors already paid for those recordings when they paid their registration fee. Districts are asked not to allow that going forward. He also spoke of the importance of making certain that whatever recording company is used has paid the appropriate mechanical license and copyright fees for all music recorded. To fail to do this can have serious repercussions for the recording company, the district and GMEA. Jon Cotton asked the districts to make certain that the adjudicators they hire for their LGPE events are not promoting any commercial firms or colleges (tour companies, music stores, etc.). This constitutes a clear conflict of interest. Evelyn presented certificates of appreciation to all outgoing board members after which the meeting was adjourned. Respectfully submitted, Cecil Wilder, Executive Director

WHERE TEACHING MEETS RESEARCH

THE MASTER OF MUSIC EDUCATION ONLINE online.uga.edu/mmed

ASSOCIATION NEWS GEORGIA MUSIC EDUCATORS ASSOCIATION

GMEA BUDGET REPORT Georgia Music Educators Association BUDGET VS. ACTUALS: BUDGET FY 2019 July 2018 - June 2019 PROPOSED BUDGET FY 2020

Membership Dues Interest revenue Non GMEA event Appliciations Royalties Plaque and Medal Georgia Music News misc non-program revenue Donation and Contribution revenue Total non-program revenue All State Band all state band program ads All State Jazz Ensemble All State Chorus all state chorus program ads All College Chorus All State Sight Reading Chorus Statewide Elementary Honor Chorus Statewide Sixth Grade Honor Chorus All State Orchestra all state orchestra program ads all state booth sales Total All State Revenue In Service Conference LGPE Band revenue LGPE Choral revenue LGPE Orchestra revenue Total LGPE Revenue S&E BAND REVENUE S&E JAZZ REVENUE S&E STRINGS REVENUE S&E Vocal Revenue Total S&E revenue Total Income

ACTUAL $ 57,880.00 $ 1,137.56 $ 5,700.00 $ 1,796.20 $ 79,105.10 $ 9,947.50 $ $ 115.00 $ 155,681.36 $ 306,843.18 $ 925.00 $ 10,325.00 $ 171,225.56 $ 1,050.00 $ 325.00 $ 9,625.00 $ 15,835.00 $ 18,130.00 $ 60,673.76 $ 925.00 $ 6,800.00 $ 602,682.50 $ 351,050.40 $ 198,160.00 $ 171,810.00 $ 78,285.00 $ 448,255.00 $ 41,927.00 $ 3,985.00 $ 13,218.00 $ 1,535.00 $ 60,665.00 $1,618,334.26

ACTUAL Payroll

$ 299,806.05 $ 1,241.76 $ 207,644.74

Awards Office Expense Leadership Training Advocacy Executive Director Travel Board/Executive Committee/Division Council

10 G E Oand RG I AMedal MUSIC NEWS Plaque Georgia Music News

| FA L L 2019

INCOME BUDGET OVER/UNDER % OF BUDGET $ 55,000.00 $ 2,880.00 105.24 % $ 1,000.00 $ 137.56 113.76 % $ 5,850.00 $ (150.00) 97.44 % $ 1,800.00 $ (3.80) 99.79 % $ 87,000.00 $ (7,894.90) 90.93 % $ 7,500.00 $ 2,447.50 132.63 % $ 150.00 $ (150.00) 0.00 % $ 115.00 $ 158,300.00 $ (2,618.64) 98.35 % $ 315,000.00

$ 10,700.00 $ 188,000.00

$ $ $ $

$ 4,600.00 10,000.00 14,000.00 17,500.00 62,250.00 $ 4,800.00

$ 626,850.00 $ 339,500.00 $ 192,000.00 $ 180,600.00

$ 82,650.00 $ 455,250.00

$ 38,030.00 $ 5,600.00 $ 11,200.00 $ 2,044.00 $ 56,874.00 $1,637,124.00

(8,156.82) $ 925.00 $ (375.00) $ (16,774.44) $ 1,050.00 $ (4,275.00) $ (375.00) $ 1,835.00 $ 630.00 $ (1,576.24) $ 925.00 $ 2,000.00 $ (24,167.50) $ 11,550.40 $ 6,160.00 $ (8,790.00) $ (4,365.00) $ (6,995.00) $ 3,897.00 $ (1,615.00) $ 2,018.00 $ (509.00) $ 3,791.00 -$ 18,789.74

EXPENSES BUDGET OVER/UNDER $ 305,203.63 $ 195,194.00

$ 935.68

$ 2,000.00 $ 2,000.00

$ 349.00 $ 17,993.44

$ 850.00 $ 18,650.00

$ 57,809.30 $ 16,325.54

$ 59,200.00 $ 23,800.00

$ $

96.50 % 91.08 % 7.07 % 96.25 % 113.11 % 103.60 % 97.47 % 141.67 % 96.14 % 103.40 % 103.21 % 95.13 % 94.72 % 110.25 % 71.16 % 118.02 % 75.10 % 107% 94.67 %

% OF BUDGET 2020 BUDGET 98.23 % $ $ 106.38 % $ $ 46.78 % $

295,690.00

(501.00) (656.56)

41.06 % $ 96.48 % $

1,000.00 18,550.00

(1,390.70) (7,474.46)

97.65 % $ 68.59 % $

58,000.00 16,300.00

$ (5,397.58) $ 1,241.76 $ 12,450.74 $ (2,000.00) $ (1,064.32) $ $

97.41 %

2020 BUDGET $ 58,000.00 $ 1,100.00 $ 5,700.00 $ 1,800.00 $ 79,000.00 $ 9,500.00 $ 100.00 $ $ 155,200.00 $ 307,000.00 $ 925.00 $ 10,000.00 $ 170,000.00 $ 1,000.00 $ 4,200.00 $ 9,500.00 $ 16,000.00 $ 18,000.00 $ 60,000.00 $ 925.00 $ 6,800.00 $ 604,350.00 $ 356,000.00 $ 197,700.00 $ 168,250.00 $ 80,500.00 $ 446,450.00 $ 40,625.00 $ 3,760.00 $ 12,450.00 $ 1,440.00 $ 58,275.00 $ 1,620,325.00

1,250.00 199,250.00 3,000.00 1,000.00

Statewide Elementary Honor Chorus Statewide Sixth Grade Honor Chorus All State Orchestra all state orchestra program ads all state booth sales Total All State Revenue In Service Conference LGPE Band revenue LGPE Choral revenue LGPE Orchestra revenue Total LGPE Revenue S&E BAND REVENUE S&E JAZZ REVENUE S&E STRINGS REVENUE S&E Vocal Revenue Total S&E revenue Total Income

$ 15,835.00 $ 18,130.00 $ 60,673.76 $ 925.00 $ 6,800.00 $ 602,682.50 $ 351,050.40 $ 198,160.00 $ 171,810.00 $ 78,285.00 $ 448,255.00 $ 41,927.00 $ 3,985.00 $ 13,218.00 $ 1,535.00 $ 60,665.00 $1,618,334.26

$ 14,000.00 $ 17,500.00 $ 62,250.00 $ 4,800.00 $ 626,850.00 $ 339,500.00 $ 192,000.00 $ 180,600.00

$ 82,650.00 $ 455,250.00

$ 38,030.00 $ 5,600.00 $ 11,200.00 $ 2,044.00 $ 56,874.00 $1,637,124.00

Payroll

$ 299,806.05

$ 305,203.63

Awards Office Expense Leadership Training Advocacy

$ 1,241.76 $ 207,644.74

$ 195,194.00

$ 935.68

$ 2,000.00 $ 2,000.00

$ 349.00 $ 17,993.44

$ 850.00 $ 18,650.00

$ 57,809.30 $ 16,325.54 $ 369.15 $ 132,657.37 $ 6,234.61 $ 145,769.04

$ 59,200.00 $ 23,800.00

Plaque and Medal Georgia Music News Archives/Historian All State Band All State jazz Ensemble All State Chorus All College Chorus All State Sight Reading Chorus Statewide Elementary Honor Chorus Sixth Grade Honor Chorus All State Orchestra All State Expense summary ISC expense summary LGPE Band LGPE Choral LGPE Orchestra Total LGPE Expenses 922.65 S&E Band S&E Jazz Ensemble S&E Strings S&E Vocal TOTAL S&E EXPENSES Total Expenses NET OPERATING INCOME

$ 9,620.50 $ 24,317.16 $ 25,054.14 $ 63,785.04 $ 407,437.86 $ 264,090.21 $ 175,557.54 $ 86,699.62 $ 67,617.28 $ 329,874.44 $ 22,897.37 $ 2,360.22 $ 7,025.58 $ 942.80 $ 33,225.97 $1,637,103.14 -$ 18,768.88

1,835.00 630.00 $ (1,576.24) $ 925.00 $ 2,000.00 $ (24,167.50) $ 11,550.40 $ 6,160.00 $ (8,790.00) $ (4,365.00) $ (6,995.00) $ 3,897.00 $ (1,615.00) $ 2,018.00 $ (509.00) $ 3,791.00 -$ 18,789.74 $

EXPENSES BUDGET OVER/UNDER

ACTUAL

Executive Director Travel Board/Executive Committee/Division Council

$ 127,150.00

$ 8,050.00 $ 139,650.00

$ $ $ $

$ 5,000.00 10,100.00 24,650.00 24,650.00 59,850.00

$ 401,550.00 $ 274,650.00 $ 164,175.00

$ 91,780.00 $ 63,765.00 $ 319,720.00

$ 21,070.00 $ 3,370.00 $ 5,475.00 $ 875.00 $ 30,790.00 $1,633,607.63

$3,516.37

113.11 % $ 16,000.00 103.60 % $ 18,000.00 97.47 % $ 60,000.00 $ 925.00 141.67 % $ 6,800.00 96.14 % $ 604,350.00 103.40 % $ 356,000.00 103.21 % $ 197,700.00 95.13 % $ 168,250.00 94.72 % $ 80,500.00 $ 446,450.00 110.25 % $ 40,625.00 71.16 % $ 3,760.00 118.02 % $ 12,450.00 75.10 % $ 1,440.00 107% $ 58,275.00 94.67 % $ 1,620,325.00

% OF BUDGET 2020 BUDGET

(5,397.58)

98.23 % $

295,690.00

$ 1,241.76 $ 12,450.74 $ (2,000.00) $ (1,064.32)

$ 106.38 % $ $ 46.78 % $

1,250.00 199,250.00 3,000.00 1,000.00

41.06 % $ 96.48 % $

1,000.00 18,550.00

$ $

(501.00) (656.56)

$ $

(1,390.70) (7,474.46) $ 369.15 $ 5,507.37 $ (1,815.39) $ 6,119.04 $ (479.50) $ (332.84) $ 404.14 $ 3,935.04 $ 5,887.86 $ (10,559.79) $ 11,382.54 $ (5,080.38) $ 3,852.28 $ 10,154.44 $ 1,827.37 $ (1,009.78) $ 1,550.58 $ 67.80 $ 2,435.97 $3,495.51 -$ 22,285.25

97.65 % $ 58,000.00 68.59 % $ 16,300.00 $ 104.33 % $ 115,000.00 77.45 % $ 7,150.00 104.38 % $ 127,900.00 $ 5,400.00 95.25 % $ 10,700.00 98.65 % $ 19,270.00 101.64 % $ 20,250.00 106.57 % $ 64,500.00 101.47 % $ 370,170.00 96.16 % $ 272,800.00 106.93 % $ 172,150.00 94.46 % $ 91,860.00 106.04 % $ 67,385.00 103.18 % $ 331,395.00 108.67 % $ 20,720.00 70.04 % $ 2,907.00 128.32 % $ 6,595.00 107.75 % $ 1,092.00 108% $ 31,314.00 100.40 % $ 1,599,719.00 95.06 % $ 20,606.00

GMEA HISTORY A STROLL DOWN MEMORY LANE HISTORIAN Derik Clackum First of all, welcome to our new members. GMEA wants your input and participation. And, welcome back to our veteran members. GMEA leans on your experience. I urge you to help guide our new members through the many opportunities our association offers to them and their students. With so many new members coming on board, I thought it appropriate to give everyone a little information about how GMEA grew from a small group of dedicated professionals to the 3rd largest state MEA in our nation. GMEA, like many organizations, started life as a small all-volunteer special interest group. In 1937, we were originally formed as the Music Department within the Georgia Education Association. We conducted most of our business using the standard small-group format of four elected officers, consisting of a president, vice-president, secretary, and treasurer. Our goals were to encourage the development of school music programs throughout the state and to increase our membership. Our first enlistment goal was to reach the 100 member mark. Quite tame in comparison to our present 3000+ membership! Since our organization was small, paperwork and planning needs were easily handled by the four elected state officers. We were sort of a mom and pop organization, with Max Noah serving for many years as our vice-president and Georgia Music News editor, and Maggie Jenkins serving nearly two decades as our treasurer. Max and Maggie were both faculty members at what is now Georgia College & State University, in Milledgeville. GCSU served as the hub of our state GMEA activities for several decades. The four-officer format worked fairly well throughout the 30â&#x20AC;&#x2122;s and 40â&#x20AC;&#x2122;s, but we had to add state division chairs to assist with the specialized demands of each division. During the 50â&#x20AC;&#x2122;s, Georgia saw a rapid growth in school musical groups and thus many more music teachers were joining GMEA. The workload began to exceed our original elected four-officer format. To help with the increasing workload, we created a corresponding secretary position to handle the growing volume of forms and correspondence. At this time, all our correspondence was handled through the U.S. Mail. Every year the amount of mailing grew larger and more expensive. Also in the 50â&#x20AC;&#x2122;s, we established a separate position of editor for the Georgia Music News, when Max Noah retired.

G E O RG I A M U S I C N E W S | FA L L 2018

GMEA continued to grow in membership through the 60â&#x20AC;&#x2122;s. Every other year we elected new officers, and our leadership joked that they were the â&#x20AC;&#x153;Cardboard Box Brigade.â&#x20AC;? This was because we had no central office for files, and thus all our correspondence, membership forms, all-state forms, and student event forms ended up in cardboard boxes at the homes of our officers. Every other year, the outgoing officers handed their cardboard boxes of files to the newly elected officers to take to their homes. As the membership continued to increase, the workload increased, until the secretary and treasurerâ&#x20AC;&#x2122;s positions became like fulltime jobs. There was just more paperwork and bookkeeping than the average member could handle and still teach. All of this growth inside the old four elected officer format came to a head in 1965. Boyd McKeown, the new GMEA President, found himself with a situation where no members were willing to take on the secretary or treasurer position due to the amount of work involved. To get us through, Boydâ&#x20AC;&#x2122;s wife, Edna, agreed to set up a GMEA office in their home and handle the duties of the secretary and treasurer. This arrangement worked well through Boydâ&#x20AC;&#x2122;s term as president. However, with the next election came the question of how to handle this growing volume of paperwork and financial business. As a stopgap measure, Edna Crusselle was hired as our first GMEA employee and given the title of secretary-treasurer.

As GMEA continued to grow, the workload continued to expand beyond what even one employee and the elected officers could handle. The need to establish a permanent GMEA office with a full-time professional executive director and staff became more and more apparent to the GMEA board of directors until finally, in 1980, we took the plunge. Then president, Julian J. Creamer, was authorized by the board to advertise an executive director position and to fill the position of secretary-treasurer that Edna Crusselle was leaving. Former GMEA president Don Robinson was hired as our first executive director and Lois Cox came on board as our second secretary-treasurer. Later, Boyd McKeown became our executive director and established our GMEA office in Marietta. Following Boyd, the GMEA Board selected our present executive director, Cecil Wilder. Cecil moved our GMEA office to Clayton county and brought us into the computer age, so we did more and more of our correspondence and forms on line. With the development of OPUS, we were able to serve most of our memberâ&#x20AC;&#x2122;s needs via the internet. In my opinion, Cecil and his staff continue to do an excellent job with all the responsibilities with which they are tasked. In addition, we voted in a new three-officer format that was more suited to our present day needs. We retained the office of president, but split the vice presidentâ&#x20AC;&#x2122;s office into two areas, Vice President of AllState Events and Vice President of Performance Evaluations. Also, we are now in the process of replacing OPUS with a new program that will be even more responsive to our membershipâ&#x20AC;&#x2122;s needs. Over the years, GMEA has grown and prospered due to our leadershipâ&#x20AC;&#x2122;s willingness to make modifications to fit the ever-changing situation. I think the old motto, â&#x20AC;&#x153;Adapt and Overcomeâ&#x20AC;? certainly applies to our association. Hereâ&#x20AC;&#x2122;s looking forward to another great year!

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DIVISION NEWS BAND DIVISION Rudy Gilbert Greeting everyone! First, let me say that is my honor and privilege to serve the GMEA membership as the Band Division Chair. Hopefully your school year is off to great start and you are able to enjoy the things that keep us excited about teaching music: those first sounds with the beginners, that first Friday night in your home stadium, the time in rehearsal that there is great music being made, the time when that one kid finally “got it,” the piece of music that incites a student to ask great questions. I hope that you are able to let go of the things that make this a job and are able to find joy in what we get to do: teach music to exciting young people! I am very much looking forward to working with you through our various GMEA events. The 2020 In-Service Conference is shaping up to be a terrific event with exciting and informative sessions. All of the performing ensembles will be presenting wonderful concerts for us and I wish them well in their preparations. Please take the opportunity to attend the conference and experience what some of our most accomplished and respected educators have to share with us. I am also looking forward to an incredible All-State experience for our students. The guest conductors are all wonderful teachers and musicians who are looking forward to being in front of our students in March. The conductors are as follows: All State Middle School Band Linda J. Gammon, Virginia Winds Academy Junior Band, All State Middle School Band Thomas L. Dvorak, Milwaukee Youth Symphony Orchestra Wind Ensemble

CNAfME

STATE ADVISOR

Dr. Richard Bell

Advocacy is an ongoing part of what we need to be doing as music educators. Whether it be with staff and colleagues in your building, citizens in your community, school system officials or elected representatives, we need to continually make the case for the importance of a quality music education for every child. This summer in Washington D. C., several GMEA members had a chance to take part in the annual NAfME Advocacy Summit. GMEA Executive Director Cecil Wilder, GMEA President Carl Rieke, CNAfME member Jessica Hutcherson and I had the opportunity to learn about and get involved with NAfME’s advocacy initiatives at the national level. Following training about pending legislation dealing with education policy and funding, we traveled to the House and Senate office buildings to meet with staff members of our two U.S. senators and the congressional representatives from each of our districts. Collegiate NAfME members are an integral part of this annual advocacy summit. CNAfME students from across the country came to Washington D.C. the day before other NAfME members arrived. During this day they attended sessions on how to tell their personal story about what music has done for them, how they can be advocates in their state and community, and how NAfME functions. And of course, there was time for some sightseeing. We would love to have more Georgia CNAfME students involved in next summer’s summit. You’ll be hearing more about how you can register through your campus chapter officers.

Scott Hanna, University of Texas, All State Concert Band Scott Tobias, University of West Virginia, All State Concert Band Jamie Nix, Columbus State University, All State Symphonic Band Damon Talley, Louisiana State University, All State Symphonic Band I am excited to be in these rehearsals and know that the concerts will be incredible! Best wishes for a rewarding and successful Fall semester! Please do not hesitate to contact me if needed or just reach out and say hello.

G E O RG I A M U S I C N E W S | FA L L 2018

CNAfME advisor Richard Bell and Clayton State CNAfME student Jessica Hutcherson with Leonardo Rodriguez, education staffer for Congressman David Scott.

REMINDER:

THE REGISTRATION DEADLINE FOR

STATEWIDE ELEMENTARY

HONOR CHORUS

22ND PHOTO PROVIDED BY ANDY EDWARDS OF ACE OF PHOTOS

ELEMENTARY DIVISION Brianne Turgeon Dawn Williams was my mentor teacher in 1994, and I am still learning from her. In recent years she started greeting students with a joyful “happy new year!” on the first day of school. What better time to make your resolutions and refocus than the beginning of the school year? Starting a new year of learning should be joyful and full of possibility in your classroom and in your community, but does your community include people who can help you become the best teacher you can be? Butts County was a very small school district in 1994, and I was split between Jackson High School, Henderson Middle School, and Jackson Primary, travelling to each of the three schools every day for five years. This experience helped me learn about the big picture, vertical alignment, and how music connects communities, but in addition to teaching K-12 Music and Chorus, I learned about building a music teacher community with my colleagues in Jackson. We all knew each other, we all communicated with each other, and we worked to make sure that our students were prepared for the next level of learning once they left our classrooms. I am so grateful that I learned early on about the importance of building relationships beyond my classroom with other teachers and in the community—doing so opens up the world for our students. That mindset has stuck with me throughout my career as I moved on to teach in Rockdale County, to work with Atlanta Young Singers, and finally to teach in Atlanta Public Schools. I hope each Music educator in Georgia has a chance to have your own sense of community beyond your building. My friends and I call ours MTSG--Music Teacher Support Group. These are the people who help you know you’re not alone, folks with whom you can share and steal ideas, dream up grand plans, and who will help you keep your eyes on the prize. A great MTSG understands how we can have horri-

ble-terrible-no-good-very-bad-days and still be grateful to have the best job in the world. I hope to see you all in Athens for our In-Service Conference in January when we can expand all of our MTSGs and learn from our fantastic clinicians: internationally known for her work in multicultural and urban education, Dr. Rene Boyer will be presenting sessions on Rhythm and Rhyme, Jazz, and bridging the gap between Spanish and English speakers. Develop your Ukulele strumming and jamming with Dr. Jill Reese and get down with a Hip Hop and a Modern Band session with Dr. Scott Burstein of Little Kids Rock. Other superstars presenting for the Elementary division include Dr. Christine Bass, Andy Beck, Graham Hepburn of Quaver fame, and homegrown presenters include Tiffany English, David Row, and Kelly Jackson, among others. There will be sessions focused on Orff, Kodaly, Feierabend, STEAM, and more, plus a Thursday night performance by the Dynamic Dolphins of Dunaire, a mind-blowing Orff ensemble led by Chelsea Laurice Cook. On Saturday at the ISC, in addition to the General Music offerings, we will be featuring for the first time Elementary Ensemble Day, with sessions focused on Beginning/Upper Elementary Band led by Joe McIntyre and Valerie Morgan, Orchestra sessions led by Paul Scott and Rachel Smith, and Chorus sessions led by Caroline Goldstein, David Neches, and a reading session with Andy Beck. Check out the in-service conference schedule to see all of the exciting offerings! Finally, don’t forget about Statewide Elementary Honor Chorus, which will be back at the Clayton County Performing Arts Center on February 14 and 15 (postmark deadline October 22). Our clinicians will be the wonderful Dr. Angela Broeker of Western Washington University and Georgia’s own fabulous Emily Floyd. Let music shine through. Happy New Year!

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15 15

DIVISIONNEWS ORCHESTRA DIVISION Sam Lowder Welcome to another movement of your life’s symphony! Do you find yourself scrambling to keep up with the rapid tempo of the year’s opening and drowning in the sonata form of paper work and procedures? Have things settled a bit to a calmer adagio as you enjoyed the recent Labor Day holiday and get excited for the approach of autumn? Are you enjoying the sometimes scherzo-like humor of the students, young and old? Alternatively, have you been at this gig for a number of years and are nearing your culminating finale filled with all the wonderful elements and experiences you have created? Wherever you find yourself, I hope you are enjoying the music! It is my honor to be your Orchestra Division Chair for the next two years and I will serve to the fullest of my ability. We have some exciting times ahead of us and I would like to make you aware of a few changes! First, due to multiple calendar conflicts, the district All-State auditions will take place on October 19. Next, due to renovations occurring at the Westminster Schools, the final AllState auditions will take place at the Martha Ellen Stillwell School of the Arts in Jonesboro. Special thanks to Joel Perkins for agreeing to host this enormous event. This year’s In-Service Conference and AllState event are going to be fantastic! I am so thrilled with our all-star lineup of presenters and sessions, directors and performing groups, and conductors! This will be a year to remember. Back in May, the board approved the following revision to the procedure for adding judges to the orchestra adjudicator list: In January, as needed, the orchestra chair will request that all current orchestra head adjudicators submit names of potential judges to be considered for the orchestra adjudicator list. These submissions will be due by the end of March. The orchestra chair, in April, will invite those submitted to complete an application for consideration. The orchestra standing committee will discuss and vote on the applicants during the LGPE Music voting window (the end of May – June 20.) The application criteria as well as the final approval will be at the discretion of the orchestra chair. Since this revision does not appear in our handbook, I wanted to present it here. Please remember to review our handbook, paying close attention to any revisions in red. The Orchestra LGPE List has some revisions and additions. The Orchestra LGPE Sight-Reading has been revised for improvement, as well. Know when your membership expires and be advised that NAfME has changed the system for renewing membership. Finally, the online member account to replace Opus is in the works for a rollout in summer 2020. Now would be the perfect time to offer my gratitude to some more of our wonderful colleagues: first, the members of the Orchestra Standing Committee: Kevin Anderson, Bo Na, Bill Scruggs, Emily Calhoun, and Sara Grimes; next, the All-State organizers: Bo Na, Kathy Saucier, Patricia Cleaton, Lori Buonamici, Rosie Riquelme, Cathie Hudnall, Stacy Brown, Todd Manson, and of course our amazing statewide AllState Organizer, Evelyn Champion; finally, my former orchestra teacher, my predecessor, my mentor, and my friend, Bernadette Scruggs. These fabulous folks have been extremely instrumental in making the orchestra division the very best for each of us as well as our students. Their expertise, guidance, and time is very much appreciated. 16

G E O RG I A M U S I C N E W S | FA L L 2019

Please let me know if you have any questions, suggestions, concerns, or observations. I wish you the most successful year ever. Don’t forget to enjoy the music!

RESEARCH DIVISION Dr. Martin Norgaard Time flies. It is nearly time for another exciting GMEA conference in Athens. The schedule of research talks has been determined. The call for research posters has gone out and I will be reviewing proposals by the time you read this. During the last GMEA conference, it was so exciting to see the interaction between researchers and practitioners. In particular, the new poster session venue in the atrium proved very successful. One of the most rewarding things about doing research is that you constantly learn new things. No one wants to spend time investigating issues that have already been explored. Therefore, a good research study always starts by reviewing the related literature. In just the past year, I have learned about music therapy for stroke patients, cognitive processing underpinning both language and music, improvisation traditions in different cultures, and sequence learning. And these topics are just the ones related to my own research. As a member of graduate thesis and dissertation committees, I have learned about performance anxiety, how to encourage practicing using social media, and challenges and rewards of teaching underserved populations from the teacher’s perspective. I hope you will join me as we all learn about new research in Georgia and beyond during the research sessions at the upcoming GMEA conference in Athens. See you there!

RETIRED MEMBERS Jay Wucher I hope this article finds you well and enjoying retirement...to be more exact, enjoying retirement from one profession and the transition to a new job in either the same or a different profession. The one thing I see in common with many retirees is that we continue to give back and be of service long after we earned a paycheck and were expected to do it. I would love to hear from you to find out how you are spending what well might be the best years of your life. One of the best examples of making the word retirement an oxymoron is the gentleman I am about to introduce you to. Mr. Roger Wolfe worked most of career at Rockdale County High School where he was one of the most respected band directors in our state. I have known Roger for longer than I can remember and have always admired him as a true professional and gentleman on and off the podium. I asked Roger to share some things about himself with me. Please read below to find out about one of the most outstanding music education professional and individuals I have ever known.

Where did you grow up and where did you go to school? I grew up through 7th grade in Orlando, Florida. We then moved to Columbus, GA, where I attended Arnold Jr. High and then Columbus High School. From high school, I attended the University of Alabama for my undergraduate degree and later the University of Tennessee for my graduate degree. Why did you choose Music Education as a profession? I didn’t put much thought into a career choice until I was a senior in high school. I saw what my high school band director did and coupled that with my enjoyment of music and band music specifically. I asked myself “what did I enjoy and what was it I thought I was good at”. Where have you worked (or are still working)? I taught high school band in Alabama, Tennessee, and Georgia, finishing the last 27 years of my public school teaching at Rockdale County High School. What do you do now that you are retired or semi-retired (both in and out of music)? Since retirement, I have represented Band Today to area schools, taught a home school band program, and currently direct the orchestra at Conyers First Baptist Church. My wife, Holly (we met in the Million Dollar Band), and I have a son and daughter who live in the Atlanta area and we enjoy our time with them and six grandchildren. I enjoy playing golf and woodworking.

What advice do you have to those young people who are considering Music Education as a career? Just because you love music or are an accomplished player doesn’t guarantee that you will be a good teacher. Do you like MS and HS age children? Can you imagine a music education career where the majority of your time and tasks have nothing to do with music? Can you live on a teacher’s pay (which doesn’t go as far as it once did)? Try and get as many classroom experiences early in your college experience. It would be an advantage to be able to have teaching experiences long before you reach “student teaching”. If you think you would get excited about a student’s achievement more so than possibly the music, then you likely would make a huge positive impact on some student somewhere. What advice would you give to other retirees or teachers who are getting close to retirement? Have a plan for what to do after retirement. Have hobbies, community responsibilities, family time, etc. You need a reason to get up every morning now that a teaching career is complete. I enjoy the flexibility I now have and I never wonder what I’m going to do each day. Please feel free to add anything else you wish to comment on. I feel good in the belief that if I had to do it over, I would still be a music educator. I’m lucky that the good times remain in my memories and the tough times have faded.

we celebrate the legacy of

MARY FRANCES EARLY FA L L 2019 | G E O RG I A M U S I C N E W S

More Bang for Their Buck

TEACHING STUDENTS TO PRACTICE N A N C Y

G E O RG I A M U S I C N E W S | FA L L 2019

L .

S U M M I T T

RE P RI NTE D BY P E RM I SS I ON F ROM IN F OR M MAGAZINE (INDIANA MUSIC EDUC ATIO N ASSO CIATION), VOL. 73, NO. 1, FAL L 2018

usic educators can often be heard exhorting their students to practice more often. Time spent practicing is essential, but the quality of practice is even more important than quantity (Duke, Simmons, & Cash, 2009; Willamon & Valentine, 2000). The use of a wide variety of effective practice strategies can facilitate students’ musical improvement. When music students articulate and understand how to use practice strategies, their musical achievement increases (Rohwer & Polk, 2006).This article will examine research-based instructional techniques for helping music students utilize practice strategies more effectively. In order to practice effectively, students need to be able to demonstrate several different practice behaviors (Bonneville-Roussy & Bouffard, 2015; Byo & Cassidy, 2008; Duke, Simmons, & Cash, 2009; Lehmann & Ericksson, 1997; McPherson & McCormick, 1999). First, students should learn how to create optimal learning environments. Students will probably not be able to practice well in a room where a noisy video game is being played, for example. Second, setting specific and appropriate goals will help students determine how to improve their skills. “Play measures 8-16” is not very specific, whereas “increase dynamic contrast while maintaining good tone quality in measures 8-16” is more precise, giving the student a target to work toward. Next, students need to be able to identify mistakes, determine why they occurred, then use new strategies for correcting them. For example, a student might notice that the tempo is slowing down, but the cause could be difficult rhythms, softer dynamic levels, or another reason – each requiring a different solution. Once the cause of the mistake has been analyzed, the student should choose an appropriate strategy and practice until the mistake is corrected. This process

involves self-evaluation, the ability to measure one’s performance against a standard and decide what elements still need to improve. The final effective practice behavior involves determining what resources would be most valuable to use when practicing and seeking them out. Examples of resources include information about the background of a piece, practice apps, metronomes, or recordings of excellent performances. Since the effective use of practice strategies is vital to students’ musical improvement, music education researchers have been investigating what students do when they practice. Young instrumental music students tend to play straight through their music and ignore mistakes (McPherson & Renwick, 2001), a strategy that will not be useful for the more advanced music encountered in their future. Music students tend to focus first on correct pitches, then on correct rhythms, and then on intonation (Miksza, Prichard, & Sorbo, 2012). This may be a case of students working on “low-hanging fruit” first, or music students may be following a pattern observed in ensemble rehearsals. Miksza (2007) found that students most frequently repeated sections and marked their music – strategies which can often be observed in ensemble rehearsals. In another study, the practice strategies used by most of the students were those of repetition, marking the music, varying the tempo, and looking through the music before starting (Summitt, 2017). Rohwer (2002) found that writing down practice goals and recording and listening to the practice session were strategies that the students used least frequently. Students rarely plan out practice sessions in advance (Leon-Guerrero, 2008) or may use strategies inappropriately, lessening their effectiveness (Byo & Cassidy, 2008). Practicing effectively is a skill that should be taught to music students. Music students tend to think that they are using more strategies than they actually do and do not always use

FA L L 2019 | G E O RG I A M U S I C N E W S

LISTEN WITH YOUR EYES

the strategies they believe are most effective (Byo & Cassidy, 2008; Hallam, 2001a). Ensemble directors have a prime opportunity to help their students develop the use of practice strategies. Many rehearsal strategies work well as practice strategies; for example, slowing the tempo of a difficult section is effective for both ensembles and individuals. Modeling a wide variety of rehearsal strategies should increase the likelihood that students will use those strategies in their own practice sessions. Modeling can be particularly powerful when paired with direct instruction; directors could use a strategy and then draw students’ attention to how they might use it when practicing. Since goal-setting is an important part of effective practicing, directors should explain to students how rehearsal goals are chosen. Choosing practice goals that are either too difficult or too easy will impact the effectiveness of students' practice as well as their motivation. The selection of which musical passages to rehearse often relates to need to rehearse particular musical elements in a piece (e.g., rhythm, melody, harmony) in relation to its form. Explaining this process teaches students to analyze their own pieces in order to prioritize particular practice tasks. Explanations of why certain strategies are used rather than others help students to find the most effective practice methods to solve musical problems. Then, allowing students to briefly put on the “director’s hat” through questioning or problem solving lets them analyze rehearsal strategies for themselves. Directors should ask students to evaluate the ensemble’s performance and then suggest tactics for working on observed problems. The ensemble could then decide what strategies seemed to work best and why. Outside of rehearsals, music educators have many means of facilitating more effective practice behaviors. Frequent, small performances in chamber ensembles can motivate students to practice more often and intensely, particularly if it’s music they enjoy playing. Varying the types of musical opportunities offered to students can also be engaging; some students may enjoy improvisation, and would be more likely to practice if improvisation was part of their practice routine. Practice assignments that focus on strategy use rather than time may encourage students to focus on the quality of their practice sessions instead of 20

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the clock. Teachers could ask students to try to use a certain number of different strategies in a practice session, for example, or to work on developing facility with a less commonly used strategy. Students have individual strengths and weaknesses, so tailoring practice assignments to their needs is very useful. One student might need help with maintaining a steady tempo and would then be assigned to work with a metronome, while another might need to work on rhythm reading through wind patterns or body movement. With today’s technology, teachers can utilize guided practice sessions to help students learn how to practice. Students could video record practice sessions and their teacher would then be able to make comments on how effective the practice behaviors were. Students’ self-evaluation skills can be developed by asking them to assess how well they practiced and how they could improve. Assignments with clear, specific goals give students a target to aim for when they practice, which helps develop self-evaluation skills. Asking students to work on shortening the articulation during a certain section is more specific than asking them to “work on” that section, for example, and they will be better able to determine if that goal was met. Performance rubrics are also helpful to students when they are being assessed, because rubrics provide information about different elements of musical performance. If students know that they need to work on tone quality more than note accuracy, they can structure practice sessions more effectively. Keeping reflective practice journals may also develop self-evaluation skills by enabling students to track areas of strength and weakness over longer periods of time. It can also be motivating to observe improvement over time, encouraging students to continue to practice effectively. Beyond telling students about the importance of practice, music educators can show interest in their students’ practice. Asking students about how they practiced (rather than if they practiced) shows students that what they do is important, and it gives the teacher more information with which to make educational decisions. Students often come to music programs with maladaptive beliefs about what it is like to be a musician; they may think that “either

you have it or you donâ&#x20AC;&#x2122;t.â&#x20AC;? Teachers can combat such beliefs by describing their own musical journey. When students experience growth in musicianship through deliberate practice, they will be more motivated to practice. There are many different types of resources to help support studentsâ&#x20AC;&#x2122; effective practicing. Providing access to recordings or live performances of excellent musicians helps students form an aural model of the sounds they should be striving for when practicing, which enables them to self-evaluate more accurately. Music practice apps, such as MyTractice or Modacity can help students track their practice sessions. Music educators may wish to create and share individualized practice logs through online word processors like Google Docs. Many students are visual learners and would benefit from having access to lists of available practice strategies. (see below) Ensemble directors could create and hang posters of practice strategies in rehearsal spaces for reference. Such lists would help students remember

to try less commonly-used practice strategies when they encounter difficulties. Parents can be a powerful source of support, as well, but some parents may not know what is involved in effective practice. Teachers who clearly communicate appropriate expectations for practice sessions to parents empower them to be resources for music students struggling to develop practice skills. Many music educators are motivated to help their students practice more effectively, as it is vital to the development of musical skills and ensemble achievement. Ineffective practice can be frustrating for students who believe they are putting in time and effort to accomplish little. However, it can be difficult to develop practice skills when students practice by themselves, with little to no supervision. The research literature on musical practice may inspire teachers to find more ways to teach students to use practice strategies to accomplish their musical goals.

List of Practice Strategies Preparatory strategies - Write down practice goals/Set goals - Organize environment - Look through music before starting - Play scale of passage - Analyze key/time signature Resource strategies - Use of tuner, metronome, piano - Mark music - Record own performance/self-listening - Look up unfamiliar terms Repetition Strategies - Repeat notes/measures - Repeat section - Play section __ of times correctly before moving on - Whole-part-whole - Chaining - Repeat whole etude/piece - Alternate slow practice with at-tempo practice

Rhythm Strategies - Bop/speak rhythm - Play rhythm on single pitch - Body movements (tapping foot, conducting, etc.) - Wind patterns - Counting the beat - Clap rhythm Alteration Strategies - Varying pitch - Varying rhythm - Varying tempo - Varying other musical element Audiation/Mental Model Strategies - Singing/whistling - Silent fingering - Listening to recordings Miscellaneous Strategies - Work on most difficult sections first/pinpointing - Skipping to different sections - End session by playing completely through piece FA L L 2019 | G E O RG I A M U S I C N E W S

References Bonneville-Roussy, A., & Bouffard, T. (2015). When quantity is not enough: Disentangling the roles of practice time, self-regulation and deliberate practice in musical achievement. Psychology of Music, 43, 686-704. Byo, J. L., & Cassidy, J. W. (2008). An exploratory study of time use in the practice of music majors self-report and observation analysis. Update: Applications of Research in Music Education, 27(1), 33-40. doi:/10.1177/8755123308322272 Duke, R. A., Simmons, A. L., & Cash, C. D. (2009). It's not how much, it's how: Characteristics of practice behavior and retention of performance skills. Journal of Research in Music Education, 56, 310-321. Hallam, S. (2001a). The development of expertise in young musicians: Strategy use, knowledge acquisition and individual diversity. Music Education Research, 3, 7-23. Kostka, M. J. (2002). Practice expectations and attitudes: A survey of college-level music teachers and students. Journal of Research in Music Education, 50, 145-154. doi:10.2307/3345818 Lehmann, A. C., & Ericsson, K. A. (1997). Research on expert performance and deliberate practice: Implications for the education of amateur musicians and music students. Psychomusicology: A Journal of Research in Music Cognition,16, 40-58. doi:10.1037/ h0094068 Leon-Guerrero, A. (2008). Self-regulation strategies used by student musicians during music practice. Music Education Research, 10, 91-106. doi:10.1080/14613800701871439 McPherson, G. E., & McCormick, J. (1999). Motivational and self-regulated learning components of musical practice. Bulletin of the Council for Research in Music Education, 141, 98-102.

McPherson, G. E., & Renwick, J. M. (2001). A longitudinal study of self-regulation in childrenâ&#x20AC;&#x2122;s musical practice. Music Education Research, 3, 169-186. Miksza, P. (2007). Effective practice: An investigation of observed practice behaviors, self-reported practice habits, and the performance achievement of high school wind players. Journal of Research in Music Education, 55, 359-375. doi:10.1177/0022429408317513 Miksza, P., Prichard, S., & Sorbo, D. (2012). An observational study of intermediate band studentsâ&#x20AC;&#x2122; self- regulated practice behaviors. Journal of Research in Music Education, 60, 254-266. doi:10.1177/0022429412455201 Rohwer, D. (2002). Understanding practice: An investigation and applications. Music Education International, 1, 15-25. Rohwer, D., & Polk, J. (2006). Practice behaviors of eighth-grade instrumental musicians. Journal of Research in Music Education, 54, 350-362. doi:10.2307/4139756 Smeltz, H. (2012). Reframing student practice to facilitate life long, joyful musicianship. Music Educators Journal, 99(2), 51-55. doi:10.1177/0027432112463248 Summitt, N. L. (2017). Influence of Self-Regulation and Motivational Beliefs on University Music Students' use of Practice Strategies (Doctoral dissertation). Retrieved from Proquest Dissertations and Theses Global. (Order No. 10669676). Williamon, A., & Valentine, E. (2000). Quantity and quality of musical practice as predictors of performance quality. British Journal of Psychology, 91, 353-376. doi:10.1348/000712600161871

About the Author Nancy L. Summitt is Assistant Professor of Instrumental Music Education at DePauw University in Greencastle, Indiana, having previously taught K-12 music in Arkansas for seven years. Nancy received her Ph.D. in Music Education from the University of Memphis.

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Teachers of th JENNIFER ABLE | Bremen City Schools Teacher of the Year Bremen City Schools

EMILY ALLISON | East Hall Middle School Teacher of the Year

Hall County Schools

FAYE BOYER | Lake Joy Primary School Teacher of the Year Houston County Schools

CHARLTON BRANCHE | Brumby Elementary School Teacher of the Year Cobb County Schools

EVERETT CANNADY | Davidson Fine Arts School Teacher of the Year

Richmond County Schools

EMILY CANNON | McClure Middle School Teacher of the Year Cobb County Schools

KEVIN CARWILE | North Hall High School Teacher of the Year Hall County Schools

DR. CHAINEY CHERRY | Benjamin E. Mays High School Teacher of the Year Atlanta Public Schools

JAYME CROWLEY | Fairmount Elementary School Teacher of the Year

Gordon County Schools

KRISSI DAVIS | Grady High School Teacher of the Year Atlanta Public Schools JEFFERSON DOYLE | Woodstock Middle School Teacher of the Year

Cherokee County Schools

JANÃ&#x2030; ELLIS | Ringgold High School Teacher of the Year Catoosa County Schools NICHOLAS FLOTT | Ashford Park Elementary Teacher of the Year DeKalb County Schools

MICHELLE GREEN | Grayson High School Teacher of the Year Gwinnett County Schools

CASEY HALL | South Learning Community Teacher of the Year Fulton County Schools

(Wolf Creek Elementary School)

GABRIELLE HASTON | Dade Middle School Teacher of the Year

Dade County Schools

GENE HUNDLEY | Swainsboro Middle School Teacher of the Year & Emanuel County School District Teacher of the Year Emanuel County Schools ANDY HURSEY | 2009 Perry High School Teacher of the Year, Houston County Schools

HERBERT JACKSON | Central Gwinnett High School Teacher of the Year Gwinnett County Schools

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he Year DANYAL JOHNSON | Crisp County Middle School Teacher of the Year Crisp County Schools

ANGELA MANOUS | W. R. Coile Middle School Teacher of the Year Clarke County Schools

JAMES MCBRIDE | Jenkins County High School Teacher of the Year Jenkins County Schools

ERIN MCGRAW | 2015-2016 Pinecrest Academy Teacher of the Year Forsyth County Schools

DANIEL MCKEE |

Ringgold Middle School Teacher of the Year Catoosa County Schools

MARIA MENENDEZ | Carrollton Junior High School Teacher of the Year Carrollton City Schools

RACHEL MULDROW | Kennedy Elementary School Teacher of the Year, Barrow County Schools

LEE NEWMAN | Norcross High School Teacher of the Year Gwinnett County Schools

JUDY PARKS | Furlow Charter School Teacher of the Year, Sumter County Schools

TIFFANY PEOPLES | Stockbridge Middle School Teacher of the Year Henry County Schools

ASHLEY POOLE | Hiram High School Teacher of the Year Paulding County Schools

JEFFREY ROWSER | 2015 Morgan County Charter School System Teacher of the Year, Morgan County Schools

SHEILA SMITH | Avondale Elementary School Teacher of the Year DeKalb County Schools

ASHLEIGH SPATZ | Burgess-Peterson Academy Teacher of the Year Atlanta Public Schools

SUSAN STEVENSON | West Chatham Elementary School Teacher of the Year Chatham County Schools

JOHN SWEAT | 2019-2020 Howard High School Teacher of the Year, Bibb County Schools

LEAH WILLIAMS | 2015-2016 Bonaire Middle School Teacher of the Year and County Level TOTY Runner-Up Houston County Schools

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BOOK REVIEW BY GARNETTA PENN

One Sunday afternoon this summer I sat down and read the entire book in one sitting. I found the short stories real and meaningful. Teaching can be tough when you add the human free will element of students in all communities. The stories seemed familiar to me as an educator of almost 25 years. Identifying with the dynamics of job security, making sound choices that could change your life trajectory, and the ups and downs that come with developing young minds has been captured in this book. I have often said if the walls of a school could talk they would make you think, laugh, cry and other emotions that are too numerous to mention. This is truly a good read!

A Brief Interview with Composer

Aaron Perine

By Dr. Lauren Denney Wright

With works in a variety of genres, Aaron Perrine’s music has been performed by some of the leading ensembles and soloists across the United States and beyond. He is a two-time winner of the American Bandmasters Association Sousa/Ostwald Award for his compositions: Only Light in 2015 and Pale Blue on Deep in 2013. Another one of his compositions—Temperance—recently won the 2017 CBDNA Young Band Composition Contest. His music for winds has also been featured at the 2017 CBDNA National Conference, multiple regional CBDNA Conferences, The Midwest Clinic, The Western International Band Clinic, and at numerous all-state, state conference and honor band concerts.

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Where does your inspiration come from?

Many things inspire me. Nature, poetry, art, relationships with others…really anything that elicits a strong feeling. When beginning a new composition, I tend to actively search for something external to give the new work direction. This needs to happen before I begin the process of finding specific notes, rhythms, etc. In my opinion, my strongest writing always originates from a clear sense of purpose.

Who was your favorite composer growing up? What types of music did you listen to?

I didn’t really listen to classical music too often when I was young. It was around, I suppose, but I was much more interested in 90s rock/grunge. Of these bands, my favorite was and still is the Smashing Pumpkins. I am also a huge fan of the Beatles.

What advice would you tell your college self ?

Be patient. Be prepared. Be comfortable in following your own path.

What is your favorite instrument and why?

I honestly like them all for different reasons. I am currently coming off of a saxophone high, as I just finished a saxophone concerto this past summer. If I had to choose one, though, I’d probably have to choose the piano. It’s the instrument I use virtually every day when I compose.

Do you have any projects you are currently working on?

Always. I’m currently finishing up a commission for Green Hope High School (North Carolina). I’m also excited to announce that I’ll soon be writing a work for choir (a wind version will also exist). This fall I’ll be writing a new work for Michigan State University. I also have some upcoming projects that will likely include electronics, which is an interest I haven’t explored since graduate school.

What is your favorite piece of music from any composer, alive or dead? This question is impossible! Here are a few: • • • • •

Johannes Brahms; Intermezzo, op. 118 no. 2 John Luther Adams, Become Ocean Maria Schneider, Sky Blue Beat Furrer, Concerto for Piano and Orchestra Bon Iver; 22, A Million (album)

What is one thing you would like everyone to know about yourself ?

Where to start…I live in northern Minnesota but hate the snow. I do like to golf and boat, however, so the summers are amazing. I think I have a similar day to day as many; I juggle my time between family and work to the best of my abilities. I also travel a fair amount. Since this is for Georgia Music News, I can also add that one of my favorite places to visit is Georgia! I’ve had many wonderful collaborations with Georgia groups in recent years (Atlanta Youth Wind Ensemble, Kell High School Wind Ensemble, etc.), and I look forward to many more!

What is your favorite thing about collaborating with conductors?

I think what I appreciate the most is the ability of a good conductor to discover and bring out the musical intent of every bar. I also learn a great deal about my music when collaborating. I enjoy the process, and I always come out a better musician because of it.

What is your favorite thing about onsite visits to schools and college/university campuses?

Interacting with faculty and students. I spend a great deal of my time composing and away from people, but one of the primary reasons I write is ultimately to connect. The longer I live, the more I value and appreciate the relationships I have with others.

Anything else that may be interesting. Please check out my website (aaronperrine.com) and find me on social media to connect!

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THE

VETERAN 10 Questions for Experienced Teachers

Leila Elkins is a retired music educator who taught for 34 years: 5 in the Social Circle City School System and 29 in the Newton County School System. She was born to the late Richard and Annie Maude Williams, Jr. on January 28, 1960. She is married to Mr. Sylvester Elkins, Jr. of 32 years and they have two beautiful daughters: Ms. Sylvia Elkins and Mr. Evan and Precious White. Mrs. Elkins is currently a church musician at Grace United Methodist Church and a proud member and Minister of Music at Graves Chapel A.M.E. Church, 1575 Alcovy Trestle Rd. Social Circle, Georgia. At Graves Chapel, Mrs. Elkins works with the youth, providing piano and voice lessons after church and allowing them to showcase their talent at offering time during the church service. They have become a hit on Facebook. She is also a member of the Alpha Kappa Alpha Sorority, Inc., The Newton County Retired Teachers Association, National Educators Association, NAACP, and The National Association for Music Educators.

L to R: Mr. T.K. Adams, Sr., Leila Elkins, Mrs. T.K. Adams

In her spare time, she tutors at the Washington Street Community Center in Covington, Georgia. There, she started the Washington Street Community Center Children’s Choir to better help the educational success of these children through music. The WSCC choir has become very popular and participates in various community service activities using primarily gospel music as their platform. Mrs. Elkins is a new member of the Georgia Retired Teachers Association and serves on the volunteer committee, where she has clocked over 100 hours of volunteer service throughout the community. In her spare time, she loves to fix food for others and read. She also truly loves the Wednesday night bible study time at Graves Chapel under the teachings of Pastor Charlie F. Stembridge. Mrs. Elkins’s current goal is to publish and record her original gospel songs and write a book: Music Education, The True Journey to Success.

1. PLEASE TELL US A BIT ABOUT YOUR MUSICAL BACKGROUND AND TEACHING EXPERIENCE. I am a retired music educator of 35 years with a Master’s degree from the University of Georgia. 2. WHAT FIRST DREW YOU TO MUSIC EDUCATION? My father was a singer and musician. He insisted all his children play an instrument and I also took piano lessons at a very early age. 3. WHO HAS BEEN THE BIGGEST INFLUENCE ON YOUR TEACHING CAREER? WHAT LESSONS DID THAT PERSON TEACH YOU? My mentor, Mr. T.K. Adams, has been my biggest influence. He taught me the meaning of life quotes like, “Results not excuses.” 4. WHAT HAVE BEEN THE BIGGEST CHANGES TO MUSIC EDUCATION IN THE COURSE OF YOUR TEACHING CAREER? Students’ lack of commitment and work ethic, to me, has been the biggest change. Most feel entitled instead of wanting to work for something. 5. HOW HAS YOUR TEACHING PHILOSOPHY EVOLVED THROUGHOUT YOUR CAREER? It hasn’t. I still believe in Mastery Learning- all students can learn, it just takes time.

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6. WHAT HAS BEEN THE PROUDEST MOMENT DURING YOUR TEACHING CAREER? One festival, my students chose to pray on their own because festival was in a church. When we started singing, I turned around because they sounded like God’s choir from heaven. We got a superior, of course, and the judges were in tears of joy. 7. WHAT WISDOM/EXPERIENCE/SKILLS DO YOU HOPE STUDENTS GAIN FROM THEIR TIME IN YOUR PROGRAM? I hope they give back to the community using their talents, learn to show love and care about people, and remember my quote in the classroom, “Failure is not an option.” 8. IS THERE A PARTICULAR MUSICAL WORK OR COMPOSER TO WHICH YOU FEEL ALL STUDENTS SHOULD BE EXPOSED? Yes, Bach, Beethoven, Mozart, Schubert, Dorsey, and all foreign language pieces. 9. WHAT ADVICE WOULD YOU OFFER TEACHERS BEGINNING CAREERS IN MUSIC EDUCATION? Go and observe others in your profession, read to get more knowledge, learn about your students and teach them structure and discipline. Students work better in a structured environment. 10. WHAT STILL INSPIRES YOU ABOUT TEACHING? The love of children and giving them education through music still inspires me the most

Announcing Dr. Leslie J. Blackwell Interim Director, School of Music

SCHOOL of MUSIC where PASSION is

heard

Bachelor of Music in Performance Instrumental, Jazz, Piano, and Voice Bachelor of Music in Music Education Band, Orchestra, Choral, and General Music Education Bachelor of Arts in Music Applied Studies, Composition, Ethnomusicology, Musicology, and Theory

2020 AUDITIONS February 22, 2020 March 21, 2020 April 25, 2020

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Dr. Olin Griffith Parker

FEBRUARY 28, 1922 â&#x20AC;&#x201C; AUGUST 5, 2019

AT REPRINTED WITH

Long time Athens resident, Olin Griffith Parker, 97, died peacefully, surrounded by family, at his home in Greenville, North Carolina on August 5th.

Tribute to PERMISSION FROM DIGNITYMEMORIALS.COM

He was born during a blizzard on February 28, 1922 on a wheat farm near Plains, Kansas. At Plains High School Olin was active in chorus, drama, and band (performing on five instruments) and lettered in football, basketball, and tennis. He was president and valedictorian of the senior class (1940). Olin’s collegiate education at Bethany College in Lindsborg, Kansas was interrupted when he was called to serve in the U. S. Army during World War II. He returned to earn his Bachelor of Music in Music Education, minoring in clarinet and economics, in 1947. At Bethany he played clarinet, sousaphone, violin, and viola with the band, orchestra, and Blue Dozen Pep Band. He was president of Alpha Sigma Nu (social fraternity) and active in Phi Mu Alpha Sinfonia, National Honorary Music Fraternity. At the University of Kansas he earned his Master of Music Education degree, minoring in educational psychology (1949) and Doctor of Education degree, minoring in guidance (1961). E. Thayer Gaston, Olin’s major professor, was one of the founders of music therapy in the United States. Parker’s dissertation was A Study of the Relationship of Aesthetic Sensitivity to Musical Ability, Intelligence, and Socioeconomic Status. At KU, he was active in Phi Delta Kappa, was elected to membership in Pi Kappa Lambda, National Honorary Music Fraternity, and was the first to perform a full-length solo clarinet recital at the University of Kansas on January 7, 1951.

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Olin joined the U. S. Army in March 1943, becoming a commissioned officer the following year. He served in Australia, New Guinea, and the Philippines as well as in the Army of Occupation in Japan through May 1946. Subsequently he joined the U. S. Army Reserve and was recalled to active duty (1951-53) as a unit commander on the front lines of the Korean War, primarily at Old Baldy. More than three of First Lieutenant Parker’s four years overseas were served in combat. The Bronze Star for Meritorious Service was one of the honors of which he was most proud. Excerpts from his commanding officer’s evaluation summarized the personal traits that spanned his entire career: “outstanding leader; admired and looked up to; courteous, respectful; outstanding moral qualities; superior executive ability and orderly organization of missions assigned to him.” Olin’s contribution to the field of education traversed 64 years. He often stated, “Music is the essence of humanness.” Initially he taught public school music in Kansas for fourteen years--elementary music, high school band & chorus (Macksville, 1947-48) and elementary, junior, and senior high band (Leavenworth, 1949-51). His most renowned student was Gary Foster, who became one of the most prominent woodwind players in Hollywood studios. Following Olin’s return from Korea, he taught band, orchestra, stage band, and music theory at Salina High School (1954-64). He conducted annual productions of Broadway musicals/stage shows as well as countless private lessons and small ensembles. For a dozen summers he was on the faculty at the High Plains Music Camp at Fort Hays State University. In 1962 he directed the Kansas State Lions Club Band, personally selecting the 244 members from over 500 applicants. The family moved to Athens in 1964 where he taught full-time at the University of Georgia until 1992 and served as Associate Head of the School of Music for many of those years. Olin taught 31 different courses, supervised countless student teachers, and occasionally taught applied clarinet and saxophone. He established the jazz program and the guitar major at UGA, directed the clarinet choir and brass choir, and performed with the Faculty Brass Quartet and the Faculty Woodwind Quartet. In 1968, through his efforts, the music therapy program (now regarded as one of the nation’s best) was instituted at the University of Georgia. Dr. Richard Graham, the first African American professor employed by the University, was hired by Dr. Parker to direct that program. Following his state-mandated retirement at the age of 70, he was granted the title of Emeritus Professor of Music and Associate Director Emeritus. Dr. Parker continued to teach part time (graduate level Psychology of Music and supervision of student teachers) until the age of 92. Olin published over fifty articles and presented 48 scholarly papers at professional conferences on every continent except Africa and Antarctica, lecturing in 39 states and 45 countries. He served as a guest lecturer at East Carolina University yearly from 1988 through 2013. Professional memberships included the American Music Therapy Association, College Music Society, Council for Research in Music Education, European Society for the Cognitive Sciences of Music, Georgia Association of Educators, Georgia Music Educators Association, International Society for Music Education, National Association of College Wind and Percussion Instructors, National Band Association, and many others. He served in leadership positions with the Athens Area Retired Teachers Association, Georgia Music Educators Association, UGA chapter of Phi Kappa Phi, Phi Mu Alpha Sinfonia (10 years as Province 36 governor), the UGA chapter of Pi Kappa Lambda, and the UGA Retired Educators Association. He was a founding member of the Classic City Band in Athens, serving as co-director of that organization for two years and director for three. For forty years he played tuba, clarinet (E-flat, B-flat, alto, and bass), alto saxophone, and baritone as required. Olin’s final conducting appearance with the band was at the age of 94. Olin’s awards were many: Phi Mu Alpha Sinfonia Orpheus Award (1977); Distinguished Service Award (Georgia Music Educators Association, 1977 & 1990); Distinguished Career Award (1996, Georgia Music Educators Association); and the 50 Years of Service Certificate (2002, Music Educators National Conference); American Music Therapy Association Presidential Award (2011); Love of Learning Award (UGA chapter of Phi Kappa Phi (2017). 34

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A lifelong Methodist, Olin Parker was a man of deep religious faith. He was member of First United Methodist Church in Athens, where he sang in the Sanctuary Choir and was a member of the Pacesetters Sunday School class. Numerous former students have commented on his kind, empathetic, and caring nature and how he helped them land their first jobs. Many also mentioned that Dr. Parker always made each student feel as though he/she was the most important person in the room. As a teacher of music teachers his influence will be evident for many years to come. Olin Griffith’s parents, Arthur Roscoe and Ida Lee Griffith Parker, his sisters Gladys Marie Parker and Myrtle Lucille Parker Hudson, and his beloved wife of over 51 years, Melba Joy Burwell Parker, preceded him in death. He is survived by son, Craig Burwell Parker and wife Susanna (Manhattan, Kansas), daughter Michelle Joy Parker Hairston and husband Charles (Greenville, NC), six grandchildren: Monica Joy Bocaner (Barry), Damon Glenn Parker (Lindsay), Jeremy Thomas Parker (Emily), Olin Grant Parker (Rachael), Miranda Joy Hairston Dunn (Anthony), and Kimberly Michelle Hairston (Carl Crawford) and twelve great-grandchildren: Marielle Joy Bocaner; Dorothy Rose, Olin Griffith & Georgia Marie Parker; Corinne Bea & Doak Gregg Parker; Seth Joseph & Natalie Louise Parker; Michael Anthony, Madilyn Joy, and Gabriella Alyse Dunn; and Parker Edwin Crawford. The family extends their heartfelt appreciation to Julia Stewart, Olin’s kind and devoted caretaker during his last years. The funeral and reception will be Sunday, August 11, at 2:00 p.m. in the Fellowship Hall at the First United Methodist Church in Athens. Private burial will follow. Memorial contributions can be made to the Olin G. and Melba Joy Parker Scholarship for music education students at the University of Georgia’s Hugh Hodgson School of Music.

Dr. Parker: A personal reflection by Brittany Grant Dr. Olin Parker passed away this week. He was one of the most influential teachers I had at UGA. I absolutely adored his class “Psychology of Music” and I thought about him often after college. He was such a kind man and so very passionate about music education. I was thinking back on his class. One of the memories I have is him sitting there with a bag of marbles and a jar. And when you got up to speak in front of the class, if you used any pause fillers like “uh” or “um”, he would loudly drop a marble down. It may seem silly, but it was telling how often we would use these when speaking. Another thing I remember was that he encouraged us to keep a tuning fork (A440) in car and listen to it at all the red lights. (Real cool-right?). He told us perfect pitch can be learned— and proved it to us all during that semester as we all improved on identifying pitches throughout the semester due to our “red light practice.” But the lesson that hit home the most (and had nothing to do with “Psychology of Music” course) was when he gave us a very difficult test. Thankfully, there were extra credit questions at the end. The extra credit was to name any of the custodians in the School of Music. I was so embarrassed that I didn’t know the name of a single one. Dr. Parker wanted to make sure that we valued all people. To never to be so self-important that we don’t acknowledge others. A few years ago, I wrote him a letter to let him know how meaningful his class was to me. I’m so glad I had the chance to tell him all what I wrote above. If you read his obituary, you can tell what an absolutely amazing soul he was. He worked in music education for 64 (!!!) years. He started the music therapy program at UGA and hired the first African-American professor at UGA to direct it. He continued to teach at UGA until he was 92 years old.

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Statesboro and Armstrong campuses Bachelor of Arts in Music Bachelor of Music in Composition Bachelor of Music in Music Education Bachelor of Music in Performance Music Minor Music Technology Minor

Statesboro campus only Master of Music in Composition Master of Music in Conducting Master of Music in Music Education Master of Music in Music Technology Master of Music in Performance Certificate in Music Performance

AUDITION INFORMATION CAN BE FOUND BY VISITING 36 G E O RG I A M U SGEORGIASOUTHERN.EDU/MUSIC I C N E W S | FA L L 2019

FA L L 2019 | G E O RG I A M U S I C N E W S

Georgia Music Educators Association 245 Country Club Dr., Bldg. 300A Stockbridge, GA 30281