2020-2021 Georgia Music News | Spring

ASSOCIATION NEWS |

DIVISION NEWS

GeorgIa music news STUDENT VOICES

Christa J. Jones

RESEARCH SURVEYS

PREPARING PRESERVICE MUSIC EDUCATORS TO TEACH

D IV ER S E STUDENT POPULATIONS

VOLUME 81 | NUMBER 2 | SPRING 2021

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TABLE OF CONTENTS

GMEA BOARD OF DIRECTORS President Carl Rieke President-Elect Dr. Matt Koperniak Vice-President for Performance Evaluation Events Jeff Funderburk Vice-President for All State Events Alan Fowler Past Presidents’ Representative Frank Folds

DIVERSE STUDENT POPULATIONS

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Executive Director Cecil Wilder

Choral Division Chair Marla Baldwin

Elementary Division Chair Brianne Turgeon

CARL RIEKE

Orchestra Division Chair Samuel Lowder

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

ADVERTISER INDEX

VP ALL-STATE

RESEARCH SURVEYS

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D. ALAN FOWLER

Editor, Georgia Music News Victoria Enloe

For the complete list of Band Division Chairs Neil Ruby + Travis Downs Board Members please visit:

College Division Chair Dr. Josh Byrd

THE PRESIDENT SPEAKS

District Chairs 1 - Michael Nestor 2 - John Scanling 3 - Kenneth Boykin 4 - Christine Kraemer 5 - Ira Jenkins 6 - Kelly Gallman 7 - Joshua Bloodworth 8 - DaShaun McGee 9 - Raymond Thomas 10 - Katie Bennett 11 - Jay Davis 12 - Andy Esserwein 13 - William Owens 14 - Nicholas Golding

STUDENT VOICES CHRISTA J. JONES

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UNIVERSITY OF GEORGIA PAGE 7

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SPRING 2021 | GEORGIA MUSIC NEWS

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ASSOCIATION NEWS THE PRESIDENT SPEAKS CARL RIEKE,, GMEA PRESIDENT Greetings!

I hope you have managed to navigate your way through this most difficult year and can find some peace in knowing that summer is almost here!

For those of you who don’t know, I am a middle school orchestra teacher in Gwinnett County and we have been doing concurrent in-person and digital learning since August.

If your situation is anything like mine, you are likely ready for things to get back to “normal.”

Having been a music educator for over twenty years, I have learned that to be a success in the classroom, I need to accept that things change, I have to adapt to the new or different or challenging, and I get to make the best of any given situation.

This school year has put all my previous understanding of teaching and success to the test, but I like to think I’ve risen to the challenge. I have grown as an educator during the pandemic and it is my hope that you have grown as well.

we have the best MEA staff in the country. I would like to thank the Executive Committee because they have donated countless hours of their free time to participate in Zoom meetings, phone calls, and email conversations as we worked to adapt every GMEA event to our new reality. The division chairs, district chairs, and appointed members had no idea when they volunteered that so much of their time and effort would be needed this year and because they were all so willing to make that donation of time, I am deeply appreciative. Finally, to all of YOU: thank you for all the support you’ve shown me during my tenure as president. Your encouraging emails, calls, and texts helped keep me focused and guided me through those weeks when it seemed that the workload would never end!

I hope you will take some time this summer to relax, rejuvenate, and reflect on your successes this past year. It has been an honor to serve as your president and I will rest well knowing that you are in the most capable hands of your incoming president, Dr. Matt Koperniak. As always, feel free to reach out if I can assist you in any way and good luck with the 2021-22 school year.

Sincerely, Carl Rieke GMEA President

As I write this last article for the Georgia Music News and reflect on my two years as president, I find it only fitting to focus on APPRECIATION. There are many folks to recognize and will do my best to highlight the people that have been an integral part in helping me navigate through unprecedented waters as your president. First and foremost, the GMEA office staff makes the top of my appreciation list. I’ve said it before and will say it again:

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A P P LY NOW VIEW TH E LI ST

ASSOCIATION NEWS

ALL-STATE NEWS ALAN FOWLER,, GMEA VP OF ALL-STATE Whew! We made it. A year ago, in a couple of Zoom sessions, your Executive Council, the Division Chairs, and several others began attempting to figure out what we were going to do about All-State during the pandemic. We really did not have many answers, initially, but it was comforting to know that so many devoted GMEA members were ready and willing to help.

As the weeks and months passed from last May, when we began hearing of All-State events across the country being cancelled, to the point we had to make the difficult decisions we did, we steadfastly maintained that we were going to make every effort to do the best we could for our students.

When Marla Baldwin announced the Choral Council had decided there’d be no choral All-State, the Executive Board supported her in that decision, and when it became clear the band and orchestra folks wanted to proceed with auditions, we did just that, intent on holding the event if possible.

We waited as long as we could to make the decision to hold the Virtual All-State Experience instead of convening in Athens, and ultimately, I was thrilled that what we put together was so well received and proved to be worthwhile. I continue to hear from parents, students, and directors thankful for our efforts.

I want to thank everyone who made that happen and all those who were a part of the VASÉ, starting with our President, Carl Rieke, who first suggested a mini-conference type of All-State event. The rest of the list of those who worked to make the VASÉ a success begins with Band and Orchestra Chairpersons, Travis Downs, Neil Ruby, and Sam Lowder, who really came through when we needed them. (It was actually Sam who named it the VASÉ). I appreciate every person who lined-up a clinician, set-up or hosted a Zoom session, everyone who met, planned, and helped with the decisions, those who organized and worked to make the auditions happen, all the directors who compiled the videos, and everyone who served as judges, and so many more. And of course, I would be remiss if I did not recognize the countless hours Brandie and Ryan Barbee put in to set-up the actual event.

None of what GMEA does can happen without the hard work and dedication of our volunteers and our office staff, and serving as Vice President has driven home that point. Serving you has been an extreme honor and one I will treasure always.

Thank you for making GMEA what it is and thank you for the support and encouragement you have given me during this trying time, as well as throughout my career.

Most sincerely, Alan Fowler

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GMEAHISTORY ADAPT AND OVERCOME HISTORIAN Derik Clackum As I look back over the year GMEA is completing, I am struck by how our organization has managed to flourish during a Pandemic. When Covid first struck our state and all seemed lost, our GMEA leaders and membership took a step back to evaluate this unprecedented situation, and then we did what we have historically done, Adapt and Overcome.

Throughout the history of our organization, Adapt and Overcome has always been our byword, for we have had many times when change was the only way we could continue to grow. I think back to our early beginnings when music in our schools was a rare occurrence, and how a handful of music educators banded together to form GMEA to bring music to the attention of our educational leaders and the public.

During WWII, GMEA had to pause all of our activities due to the war effort. But, as soon as the war was over, GMEA came roaring back

with a full slate of All State and Music Festivals to once again capture the public’s interest in music for our schools.

As music in our schools became more widely accepted in the 50’s and 60’s, our membership grew rapidly, placing much demand on our old style of club leadership.

This propelled us into the age of reorganizing at the top to hire a professional Executive Secretary and to staff a permanent GMEA office.

And as we moved into the 70’s and 80’s, the phenomenal growth of our membership continued, driving our organization’s eventual decision to reorganize the Executive Committee to address the specific needs of All State and LGPE events.

Time after time throughout our history, GMEA has chosen to Adapt to our changing situation and Overcome all obstacles that would impede teaching the love of music to the next generation. As I look at our current situation, I see students being taught, performances being given, LGPE’s being successful, honor groups assembling, and a successful first ever Virtual In-Service Conference.

This past year has been anything but easy. I am sure there were many times our leaders and members struggled to blaze a new path for our students. But as in the past, we found a way. We made history again!

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DIVISION NEWS BAND DIVISION Neil Ruby Is it almost over? As we close out this most challenging school year, we will look back on 2020-2021 with a variety of emotions. The challenges and limitations we endured made us become even more creative, think outside the box, took us out of our comfort zones, and even learn new tricks along the way to provide the best opportunities for our students. I am sure we all have stories of our experiences this year, and we have learned so much about our students and ourselves. Thank you all for your hard work and dedication to the students and communities you serve.

Neil and I would also like to thank all the many volunteers from across the state who continued to organize events under these circumstances. From district band chairs, district organizers, standing committee members, directors who judged auditions, to those who hosted sessions for our virtual in-service conference and all state event. These events would not have happened without your dedication and commitment. A special thank you to Christine Kraemer, Patrick Gallagher, and Andy Esserwein for overseeing and organizing our final round of virtual auditions this year and making it happen! In addition, we want to thank our GMEA office staff who worked overtime to make sure these events could take place in a timely manner.

Congratulations to all the directors who decided to move on with their next chapter into retirement this year. We wish you the very best! To all the first year teachers, you did it! Just know all the veteran teachers are applauding you! You can add that to your resume, “taught through a pandemic”.

As we look forward to next fall, GMEA plans to return to a normal schedule with in person events. Make sure to check the GMEA website later this month to see the approved calendar for dates. After wrapping up spring events with your students, I hope you take time for yourself this summer. For those who taught hybrid/digital for most or all of the year, get away from the computer screen. It is important to take care of YOU. I look forward to serving all of you as state chair for the band division over the next two-year term. If I can ever be of assistance, please do not hesitate to contact me. For all my Star Wars fans out there, I look to the fall with “A New Hope”. Be safe and enjoy your summer!

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CHORAL DIVISION Scott Martin It is with great excitement that I begin my term as GMEA choral chair! I believe that the choral music education in Georgia is among the best in the country and having the opportunity to serve our choral teachers and student singers is a great honor.

This past school year was incredibly challenging for all of us. Personally, it felt like my first-year teaching all over again. I have never been prouder of our profession. Our situations across the state were varied; yet we made things work for our students. The creativity born of necessity that friends and colleagues employed in order to serve our students well was an inspiration, and the comradery among us during this difficult year was astounding. We found a way to move forward in our “new normal” with unique ways to deliver choral instruction. We took creative lesson planning to a new level because we had to.

We slowed down and bit and remembered what really matters in our daily lives. We had more weekends at home with our families, and more time for relationship-building in the choral classroom, which strengthened our class bonds even more. I’m sure that most of you agree that at the heart of a fantastic choral experience is the relationships that are built in the group.

As an organization, we were not able to come together in person at the In-Service Conference or at All-State, and I think I underestimated the need for us to physically gather as an organization. We need each other. I hope you can attend the GMEA In-Service Conference in Athens January 27-29, which will be a great reunion! Additionally, All-State Chorus is February 17-19. I am looking forward to these wonderful opportunities next year!

Finally, I would like to thank outgoing choral chair Marla Baldwin for her vision and leadership these past two years. Her passion for choral music education is an inspiration to us all. Little did she know what she was signing up for, but she handled the challenges of leading our choral division in the middle of a pandemic with a professionalism and kind spirit that we should all aspire to have. Marla, thank you for your service to GMEA.

Have a fantastic summer!

ELEMENTARY DIVISION Brianne Turgeon What’s your WHY? “Why are you here?” Our trainer demanded an answer, and you can imagine the answers he got, ranging from “my principal told me to come” and “I didn’t have a choice” to “I’m here to learn more so I can be a better teacher.”

He wasn’t asking why we were there that afternoon, but why were we teachers?

I was in my last weeks of undergrad before I knew my WHY. I didn’t count on falling head over heels, madly in love with teaching during student teaching, but that’s what happened, and thus my WHY became my “I MUST.” Even after 27 years of teaching (and all that comes with it) a pandemic, and uncertainty about so many things, my belief in the power and importance of what we do as Music teachers for our young people in Georgia has never wavered. That belief has guided my steps as I’ve served as the Elementary Division Chair.

In my first article in the Georgia Music News two years ago, I encouraged all Music teachers to gather their like-minded friends and create an MTSG--a Music Teacher Support Group. During my time as GMEA Elementary Division Chair my MTSG has grown and grown -- I have gotten to know (and know of) many passionate, dedicated colleagues, and I know I can call on them for ideas, help, and support any time. Even throughout the pandemic I’ve been impressed and inspired by the work and dedication of our members, from the folks who submitted Elementary Showcase performances for InService Conference to those who served as hosts and presiders. Teachers who helped give feedback so we could navigate how to make events go virtual, and those whose students performed in the first-ever GMEA Statewide Elementary Honor Virtual Chorus. We have had many, many folks who have shown up and volunteered for every event. GMEA would not be successful without you. But you know what could make it even better?

More involvement from more teachers! It’s worth the time and effort to participate!

What our members may not know about is the work of the “wheels” of the organization, without whom we could not get anywhere--Cecil Wilder, Ryan Barbee, Aleta Womack, Victoria Enloe, Bernadette Scruggs, and my favorite angel, Brandie Barbee, who made everything okay, even when I asked two million long and complicated questions.

Our GMEA folks make every process clear, every question answerable, and they made sure that every need was met, and every dream or idea I wanted to try was fully and completely supported.

For example, last year, Choral Chair Marla Baldwin had an idea of how to help the Elementary Division, and she petitioned the Executive Board to pay for rehearsal tracks for Statewide Elementary Honor Chorus so our singers would have the best resources available for success. Cecil, Marla, and GMEA Guitar Chair, Rob Pethel, allowed us to use the Chorus and Guitar rooms on the Saturday of In Service Conference 2020 so we could hold the first-ever Elementary Ensemble Day. This enabled our Elementary Band, Orchestra, and Choral directors to have sessions geared just for them. Outgoing President Carl Reike and VP of All-State Events Alan Fowler did an amazing job leading us through the most uncertain times in history as we went from an in-person InService Conference to 100% virtual, and they were also constant cheerleaders, and supporters of Elementary endeavors. They were just a dream to work with, as were all of the Division leaders.

Elementary Music is the foundation upon which all school music is built, and I hope all of our GMEA Elementary Division teachers know that GMEA leadership, past, present, and future, really care about the success of our work, to the benefit of us and to our students.

ORCHESTRA DIVISION Sam Lowder As I reflect on the last couple of years, more specifically on the last thirteen months, I contemplate what words I might offer in my final article as the Orchestra State Chair. Anxious, challenging, quarantine, lonely, exposure, virus, lockdown, uncertain, unprecedented, cancelled, rescheduled, replaced, struggle, scary, survival, loss, depressing, virtual, hybrid, trying, exhaustive, and Zoom. These rather unpleasant words have become all too familiar.

The GMEA Officers might have commented in one meeting or another, “Had we known what 2020-2021 was going to bring, would we still have accepted the position?” So, how do I feel today?

My heart is full of gratitude. I am so very fortunate that I had this opportunity. It has truly been a privilege and an honor to work with and serve you. I sincerely hope that your students, their parents, your colleagues, and your administrators recognize your important and amazing work, your dedication, and the tremendous efforts you put in place to keep the music going.

There are a number of people that I am so grateful to and hope you might join me in recognizing and thanking them. First is the Orchestra Standing Committee: Bo Na, Bill Scruggs, Emily Calhoun, Sara Grimes, and Patricia Cleaton. Next, are the District Orchestra Chairpersons. These wonderful folks ensure the best decisions are made for our division. Thank you to the District All-State Organizers! Your intensified workload with the virtual auditions was exceptional! Much appreciation to the primary organizers who prepared for an in-person All-State but then ended up hosting a very successful VASE: Bo Na, Kathy Saucier, Patricia Cleaton, Rae Litowich, Lori Buonamici, Carolyn Landreau, and Sara Grimes. Many thanks to Evelyn Champion for your numerous years as the All-State State Organizer, for your attention to detail, and for your commendable advice. I would also like to offer my appreciation to Carl Rieke, our President and my friend. I cannot think of a better person to have lead our organization. Thank you to Alan Fowler, the Vice-President of All-State, for leading with caring, consideration, and compassion. I would certainly be remiss if I did not thank Bernadette Scruggs for mentoring me and for helping me make the right choices. Finally, my heart-felt thanks to the GMEA Staff, most especially to the Brilliant Brandie Barbie who helped me out on an almost daily-basis!

I know that you are very excited about our Orchestra ChairElect, Stephen Lawrence. Stephen is already hard at work preparing for the successful future of our division! I am certain that he will experience the same love and support that you have shown me.

Please remember to send any new LGPE literature suggestions or mistakes you notice by May 20. I wish you all a safe and well-deserved summer vacation. I am eagerly looking forward to seeing you in person next year!

With Love and Gratitude.

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DIVISIONNEWS RETIRED MEMBERS Jay Wucher For everyone reading this article, congratulations on making it through the most tragic and devastating year I can ever recall. To all of us who have lost friends and loved ones, the only consolation I can think of is how those who have passed still live in the hearts of all of us. For me, I will honor their memory in the way I act and what I do.

As we slowly work toward a new normal, I have the pleasure of returning to my favorite recurring theme in the articles I write for GMEA, that of honoring those career educators who are usually retired in name only.

Myra Wheat spent most of her career in Fulton County. We worked together for many years as colleagues. It was always such a joy to watch Myra work with her elementary students. I interviewed Myra for this article. Below are the questions and her responses.

Where did you grow up and go to school?

I was raised in Virginia, the Tidewater area to be exact. I went to school at University of Virginia and James Madison University, where I got my bachelor’s degree in vocal music education. After moving to the Atlanta area, I earned a master’s degree from Georgia State University.

Tell us anything you would like for us to know about your interests beyond music (friends, family, hobbies…)

First of all, I love so many different styles of music, I really enjoy going to see as many performances as I can. In addition, I love to read and do a variety of crafts. I also enjoy swimming, and I often go on walks with either my husband or friends. This past January, I auditioned and was accepted into the “Stayin’ Alive Crew,” which is a dance group for women in the 50 – plus age group! I feel really blessed to be a part of this lively, accomplished, and talented group of women!

I have spent quite a bit of time with my mom in the last 20 years, often “driving Ms. Mary” all over the country to see her beloved Oak Ridge Boys. We have traveled to North Carolina, South Carolina, Alabama, Tennessee, West Virginia, Kentucky, Pennsylvania, Ohio, Missouri, Texas, and California to see “her boys.” We also spend a memorable week in Laughlin, Nevada, every year. In Laughlin, Mom is proud to say, she is in the audience for all 11 Oak Ridge Boys shows. Yes, she puts the “fanatic” in “fan!” I cherish these trips, too, because I get to spend one – on – one time with my mother, who is 95 years old and still going strong.

Why did you choose teaching music as a profession?

I was always that kid who helped out in the library at school, stayed after my own swimming classes to help with the next group of students, and babysat for extra money. In short, I have always loved children and wanted to be a teacher for as long as I can remember.

Even though I took dance and baton classes, sang in multiple choirs, and played clarinet in the marching band throughout high school, I never thought about teaching music. However, when I got to college and joined a church choir predominated by fellow college students, I was really drawn to the choir director’s way of teaching and inspiring. For the first time, I could see myself teaching music! After that epiphany, I transferred schools to pursue my degree.

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Where did you work up until you retired from full time teaching?

I started my career by spending two years teaching elementary music in Crawford County (a small system in middle Georgia).

I then moved to the Atlanta area and began working for Fulton County Schools, where I spent the remainder of my career. For the last 20 years of my full – time career, I taught elementary music at Brookview Elementary School in East Point, Georgia.

Since retiring from teaching full time what have you been doing?

Since retiring, I have been able to continue teaching on a limited basis. I work as an itinerant music teacher 2 days a week. I also spent a few years working with the students at the Center for the Visually Impaired, both in the after school program and during their summer camps. I have also served as a presenter for the GMEA state conference, worked on the committee to revise the Fulton County Schools elementary music curriculum, and mentored young teachers.

What advice do you have for those who are considering becoming music teachers?

First of all, anyone considering the profession should take the time for serious self – reflection and determine their “why.” Why are you considering this career? Is it a stop – gap until something “better” comes along? Do you love children and wish to help them become better, more knowledgeable citizens of the world? Do you love all aspects of music? Do you love to teach?

Secondly, decide if you can be flexible enough to adapt to any setting. I know I thought I would be teaching older students in a choral music setting, just like that choral director I admired so much. I never expected to spend my entire career with elementary school students, but I am so glad it worked out that way! Just know that you may end up teaching in a setting you may not have originally envisioned. Can you be alright with that?

I would also advise anybody to talk to those already in the profession for insight. Although it can be extremely challenging for many reasons, music education is also a vastly rewarding career choice.

What advice do you have for those who are retired or are about to retire from teaching music?

Please know that retirement is not simply the end; it can also be the beginning of an exciting new chapter in anyone’s life. The freedom to explore other interests is priceless. Perhaps you would like to become more involved performing in a community choir, band, or orchestra but never had the time before – now’s the time! Maybe you’ve always wanted to travel – hit the road!

Have you wondered what it would be like to work in a different line of work? Go for it!! I enjoy driving, so after passing numerous eighteen wheelers on my daily commutes, I thought briefly that it might be fun to be a truck driver when I retired. Unfortunately, my husband nixed that idea! I still occasionally fantasize about getting my chauffeur’s license so I can perhaps ferry celebrities around.

There are so many possibilities for a retiree. Even if you decide to take some time to just rest, that is okay, too. The important thing to remember is that there is still so much more life to live!

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PREPARING PRESERVICE MUSIC EDUCATORS TO TEACH

DI V E RSE STUDENT POPULATIONS

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THI S ARTI CL E ORI GI NAL LY APPEAR ED IN NORTH C AROLIN A MUSIC EDUC ATO R, VO L. 71, NO. 4 (SPR IN G 2021) AND I S REP RI NTED WI TH PER MISSIO N F ROM THE NORTH C ARO LIN A MUSIC EDUC ATO R S ASSO CIATION.

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ince the passing of the Individuals with Disabilities Education Act, higher education faculty have included required coursework in teacher preparation programs centered on furthering preservice music teachers’ knowledge of and ability to support learners with exceptionalities. Without this teacher training, their future students with exceptionalities could encounter barriers when participating in musical activities. Systemic barriers to musical participation also exist for other marginalized populations (e.g., based on race, ethnicity, gender identity) and training teachers to support these students’ learning based on their diverse experiences should also be part of a well-rounded teacher preparation program (Fortunato, Mena, Sorainen, 2018).

Culp and Salvador (2021) recently reported that 52.5% of undergraduate music teacher education programs (N = 156) require at least one music-specific course focused on diverse learners. These included courses focused on teaching of music for diverse learners (34%) and on culturally responsive music instruction (23.1%). Additionally, 61.9% of undergraduate music education programs specifically integrated content throughout coursework. However, some integration “was determined by and dependent on specific faculty members” (p. 57), especially where content of equity and inclusion was concerned.

The National Association for Music Education addresses the need for inclusivity and diversity in that “a well-rounded and comprehensive music education program…should be built on a curricular framework that promotes awareness of, respect for, and responsiveness to the variety and diversity of cultures; and should be delivered by teachers whose culturally responsive pedagogy enable them to successfully design and implement such an inclusive curricular framework.” Their plan for implementation includes “providing members with the skills, information and collegial support necessary to work with and support an increasingly diverse society…” (¶ 5). Teacher training programs can support this objective by redesigning programs to embed diversity, equity, and inclusion (DEI) content throughout their music education coursework (Bond, 2017). Below are some topics and potential ways that may be helpful when addressing the needs of all students.

The principles of Universal Design in Learning (UDL) were first applied to architectural models to create barrier-free spaces and structures (Darrow, 2010). Doors with latches instead of traditional handles or plug outlets located higher up a wall are examples of universal design in action. These design elements allow individuals with physical challenges or disabilities to easily use the space.

Universal Design in Learning is a way of thinking about teaching and learning in order that all learners in a classroom have an equal opportunity to succeed. The main principles of UDL, sometimes referred to as Universal Design in Instruction (UDI), include multiple means of representation—providing students with various ways of acquiring information and knowledge; multiple means of action and expression—providing students with alternative ways to demonstrate the knowledge they know; and multiple means of engagement— connecting with students’ interests, challenging them appropriately, and motivating them to learn (Adamek & Darrow, 2018; CAST, 2021; Darrow, 2010). Teaching students about UDL and having them incorporate it in their lesson planning ensures that they understand how to address as many learners’ needs as possible. For example, in a general music methods class, a lesson on melody could incorporate the rote learning of a song, along with a visual representation of the melodic contour and students’ use of Curwen hand signs. This would address the needs of aural, visual, and kinesthetic learners within the same lesson. Incorporating strategies of culturally responsive teaching (see Lind & McKoy, 2016; McKoy, 2009) that honors the learners in a music classroom should also be part of universal design. To that end, literature selection, its social context and function, and performance practice can increase cross-cultural competence in the process of teaching and should be part of preservice teachers’ lesson planning process.

Preservice music teachers must also be aware of cultural appropriation. This occurs when one does not carefully present, discuss, honor, and respectfully acknowledge the culture to which the music they are teaching belongs. Rogers (2006) defines cultural appropriation as “…the use of one’s culture’s symbols, artifacts, genres, rituals, or technol-

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ogies by members of another culture—regardless of intent, ethics, function or outcome” (p. 474).

Rollo Dilworth (2019) further delineates between “acceptable” and “objectionable” cultural appropriation. According to Dilworth (2019), acceptable cultural appropriation involves cultural exchange, or “the reciprocal exchange of symbols, artifacts, rituals, genres, and/or technologies between cultures with roughly equal levels of power” (Rogers, 2006, p. 474). This supports cultural appreciation where “elements of a culture are used [to honor] the source they came from…. appreciation involves respect and value” (Fragoso, 2016, ¶13). Finally, culture consumption (Dilworth, 2018) is the harmless interaction with a culture outside of our own such as watching a film, listening to music, or eating food. To meet these aspirations, we must guide and teach our preservice music educators to research their musical selections thoroughly: the history, context, and performance practice of the piece. When programming, they must examine their intent and predetermine educational, cultural, and musical outcomes.

Cho (2015) believes that when singing cultural choral music, directors and ensemble members (in this case, preservice teachers and their future ensembles) should recognize their own relative privilege and be cognizant that the ensemble may have a greater responsibility to show respect when borrowing elements of a less powerful culture than their own. Additionally, Cho recommends supporting cultural communities from which the music comes and committing to performing the music well. Robinson (2017) suggests preservice music teachers increase their ability to support learning in increasingly diverse classrooms by 1) developing an awareness of differences in ease of access to resources, 2) examining the intersectionality of participants’ cultural categories (e.g., gender, race, social class, ability) and how power shifts within systems of domination/oppression based on those categories, and 3) how socioeconomic factors impact the academic achievement of students of color.

For preservice music teachers to expand their

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DEI knowledge, it is important for students in methods classes to be exposed to composers from other cultures who do not write “idiomatic” pieces.

For example, only studying spirituals by BIPOC (Black, Indigenous, and People of Color) composers and discounting other genres in which they compose can purport a racist stereotype of these composers. This pitfall can be avoided by requiring students to develop a library of BIPOC composers and their works that are not idiomatic. Additionally, preservice music teachers could prepare presentations on BIPOC composers and a sampling of their pieces. The online database provided by the Institute for Composer Diversity (www.composerdiversity.com) is an excellent resource for discovering music by composers from historically underrepresented groups. Another example is pairing a music education student from an underrepresented heritage with one from a dominant culture to catalog works for a middle school or high school ensemble that are non-idiomatic and idiomatic (www.naxos. com and www.folkways.si.edu provide resources to investigate classical, pop, jazz, and folk side music from various cultures and countries). In this way, the methods class is not reinforcing the objectionable side of cultural appropriation, but rather modeling its acceptable tenets, and honing skills for presenting this music to their future ensembles.

Thus, a deep dive into the music as well as the teaching is symbiotically formed. Figure 1 outlines a sample choral literature project for secondary choral methods, which can be adjusted for any methods class.

Along with the websites previously mentioned, there are additional resources for enhancing our instruction in music education classes (see Table 1). Although not an exhaustive list, this is a great point of departure for creating meaningful experiences for UDL and DEI inclusion for our preservice music educators.

REFERENCES Adamek, M., & Darrow, A-A. (2018). Music in special education (3rd ed.). Silver Spring, MD: The American Music Therapy Association, Inc. Bond, V. L. (2017). Culturally responsive education in music education: A literature review.

Contributions to Music Education, 42, 153–180.

Center for Applied Special Technology (CAST).

(2021, February 26). About Universal Design for Learning. https://www.cast.org/ impact/universal-design-for-learning-udl Cho, R. (2015). Cultural appropriation and choral music: A Conversation that can make both our music and community better. The Choral Journal, 55(10), 59–63.

Culp, M. E., & Salvador, K. (2021). Music teacher education program practices: Preparing teachers to work with diverse learners. Journal of Music Teacher Education, 30(2), 51–64. https://doi. org/10.177/1057083720984365 Darrow, A-A. (2010). Music education for all: Employing the principles of universal design to educational practice. General Music Today, 24(1), 43–45. https://doi. org/10.1177/1048371310376901 Dilworth, R. (2019, 28 March). Examining cultural appropriation in the preparation and performance of choral music [Webinar]. Chorus America. https://www.chorusamerica. org/resource/demand-learning/exploring-cultural-appropriation-choral-music Fortunato, I., Mena, J., & Sorainen, A. (2018).

Teacher education for gender, sexuality, diversity and globalization policies. Policy Futures in Education, 16(5), 515–523. https://doi. org/10.1177/1478210318770515

Fragoso, B. (2016, April 18). Cultural appropriation vs. cultural appreciation. The Odyssey. https://www.theodysseyonline. com/cultural-appropriation-vs-cultural-appreciation.

Lind, V. R., & McKoy, C. L. (2016). Culturally responsive teaching in music education: From understanding to application. Taylor & Francis (Routledge).

McKoy, C. L. (2009). Cross-cultural competence of student teachers in music education.

In Cooper, S. (Ed.), The Proceedings of the Desert Skies Symposium on Research in Music Education (pp. 128–144). University of Arizona. https://libres.uncg. edu/ir/uncg/f/C_McKoy_Cross_2009. pdf.

National Association for Music Education. (2021, February 27). Inclusivity and Diversity in Music Education. https://nafme.org/ about/position-statements/inclusivity-diversity/ Robinson, N. R. (2017). Developing a critical consciousness for diversity and equity among preservice music teachers. Journal of Music Teacher Education, 26(3), 11–26. https://doi. org/10.1177/1057083716643349 Rogers, R. A. (2006). From cultural exchange to transculturation: A review and reconceptualization of cultural appropriation.

Communication Theory, 16(4), 474–503. https://doi.org/10.1111/j.14682885.2006.00277.x

Figure 1. Choral Analysis Project & Outline: Secondary Choral Methods Title of Piece

Villancicos from Mexico City

Composer/Edition/Availability Manuel de Sumaya (1678-1755) Ed. by D. E. Davies A-R Editions https://www.areditions.com/sumaya-villancicos-from-mexico-city-b206.html

Genre

Villancico

Notable Features Italian Baroque; colonial period for Mexico; sacred pieces; collection of pieces

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Literature Project components: Please research the following to present to your colleagues in class. You will also submit this in written form.

I.

The historical context of the period/country: For example, what was happening in this country at this time? What political issues were unfolding?

II.

The composer’s information: Who is this composer and their musical influences? Other pieces by the composer?

Schooling, notable accomplishments, etc.

III.

The genre: What is the genre of this piece and is it a cultural one? If so, how did it function and what is its evolution?

IV.

Period of the piece: Does the piece belong to a specific period in music history (tied to historical context above)? If so, were the conventions of that style period followed or were there other influences?

V.

Analysis of the piece: A. Form B. Melody/Harmony C. Accompaniment and instrumentation D. Textures E. Translation of the text and IPA

VI.

Vocal aspects of the piece: A. Vocal parts: Union, two-part, treble, tenor/bass, SATB, divisi, etc.?

B. Tessituras/ranges of the parts. Indicate each of these on staff.

C. Areas where vocal development to be taught (e.g., messa di voce, dynamic management, mixing of registers, breath management, etc.).

VII.

Teaching Considerations A. Literacy skills: sight-singing, form, etc.

B. Expressive elements and textual teaching C. Difficult areas to sing, hear, or execute D. Cadence points and how they function E. Is movement part of the performance practice and if so, who will teach?

F. Function in the culture, historical function (if it exists or noteworthy); reason for programming, and for use in the class/ensemble.

G. How will I make this relatable to my students?

H. Other considerations:

Table 1. Selected Web Resources for Diversity, Equity, and Inclusion Organization

Web Address

Description

General Websites

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Association for Cultural Equity

www.culturalequity.org

Lessons are under resources

Multicultural Music Education

https://multiculturalmusiceducation.weebly.com/online-resources.html

Links to several organizations for music and music educators

Music and the Child

https://milnepublishing.geneseo.edu/music-and-the-child/ chapter/chapter-13/

Free and open online textbook with chapter on ADEI: Chapter 13, “Musical Multiculturalism and Diversity”

National Association for Music Education (NAfME)

https://nafme.org/my-classroom/resources-for-diversity-equity-inclusion-and-access-in-music-education/

Tufts University Resource Guide

https://researchguides.library.tufts.edu/c. php?g=1056283&p=7674258

Music resources for diversity, equity, and antiracism

We Are Teachers

https://www.weareteachers.com/culturally-diverse-music/

Lessons and Resources for general music

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Resources for Diversity, Equity, Inclusion, Access in Music Education

Organization

Web Address

Description/Notes

General Music Resources American Orff-Schulwerk Association

www.aosa.org

See also https://aosa.org/resources/diversity-matters/ for diversity resources/statements

“Celebrating Diversity in the Music Classroom, René Boyer (2020, November)

https://www.tmea.org/wp-content/uploads/Southwestern_ Musician/Articles/CelebratingDiversity-Nov2020.pdf

Online article with sample songs/ resources

Organization of American Kodály Educators: www.oake. org

https://www.oake.org/conferences/sessions-and-presenters/#crt

This link brings you to the 2021 virtual conference with six session on different aspects of DEI

Instrumental Music—Band & Orchestra

Institute for Composer Diversity

https://www.composerdiversity.com

https://americanorchestras.org League of American Orchestras

Woodwind & Brasswind

https://americanorchestras.org/wp-content/uploads/2020/10/EDI_Framework.pdf

Curated by the SUNY at Fredonia; database resources and programming analysis music created by composers from historically underrepresented groups See their equity, diversity and inclusion framework with the second link

https://americanorchestras.org/learning-leadership-development/diversity-resourcecenter/resources-for-diversity-in-repertoire.html

Third link is repertoire by underrepresented composers

https://www.wwbw.com/the-music-room/diversity-in-music-education

Article, “Bringing Diversity to Music Education”

Choral Music ACDA

https://acda.org/?s=diversity (American Choral Directors Association)

Several articles and links for members dealing with DEI topics

ChoralNet

www.choralnet.org

Professional networking site of ACDA

Chorus America

www.chorusamerica.org

Several resources on equity, diversity, and inclusion

GALA Choruses

www.galachoruses.org (Gay and Lesbian Association of Choruses)

See document: A new harmony: Equity, access, belonging—A workbook for GALA choruses

Dr. Fred P. Spano

Fred P. Spano, PhD, is Coordinator of Music Education at the University of North Carolina at Charlotte. Spano has taught K-12 music in the US, Iraq, and Ecuador, and researches marginalized populations in music education. He is the co-author of two textbooks, Teaching Elementary Music: Integrative Strategies Between Music and Other Subjects and Teaching General Music: A K-12 Experience with Suzanne Hall and Nicole Robinson.

Dr. Jennifer A. Whitaker

Dr. Jennifer A. Whitaker is Professor of Music Education and Associate Chair at the University of North Carolina at Charlotte. Her research interests include music teacher effectiveness, technology in music teaching, and preservice teacher preparation. She regularly presents research at regional, national, and international music education conferences and is published in the Journal of Research in Music Education, Update: Applications of Research in Music Education, Journal of Band Research, and the American Journal of Distance Education.

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UTC IS THRILLED TO Randall O. Coleman UTC NOW OFFERING REGIONAL TUITION DISCOUNT For the past 14 years, Professor Coleman has served as the conductor of the Alabama Symphonic Band and the associate director of the Million Dollar Band at the University of Alabama. He has also served as conductor and artistic director of the Alabama Winds, an all-adult community wind band based in Birmingham, Alabama. Previously, Mr. Coleman enjoyed a successful 25-year career as a high school band director and supervisor in metropolitan Atlanta, Georgia.

• PRESIDENT-ELECT OF THE NATIONAL BAND ASSOCIATION • ELECTED MEMBER OF THE AMERICAN BANDMASTERS ASSOCIATION • FORMER PRESIDENT OF THE GEORGIA MUSIC EDUCATORS ASSOCIATION bands@utc.edu (423) 425-4802 18

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As the UTC band moves closer to our 100th season in 2023, it is indeed an exciting time to be a part of the new centennial for the UTC bands. I stand on the shoulders of the UTC band directors who came before me, and I couldn’t be more inspired to be a part of such a rich history and legacy as we all work toward providing the UTC students with positive learning experiences through the pursuit of excellence in all that we do. Go Mocs!

- PROFESSOR RANDALL COLEMAN

WELCOME as Director of Bands!

TO STATES THAT BORDER TENNESSEE 2021-2022 UTC Bands SCHEDULE OF EVENTS UTC MOCS BAND DAY 2021 | OCTOBER 2, 2021

We invite all current high school marching band students to be our VIP guest for a day with the UTC Marching Mocs! Come and be a part of the exciting game day festivities as you join us in the stands to cheer on the UTC Mocs and participate in both Pregame and Halftime activities on the field at Finley Stadium with the Marching Mocs! This will be a day you don’t want to miss. The day’s activities will include a morning rehearsal, lunch (provided) and plenty of UTC Marching Mocs swag to take home, including your own UTC Band Day T-Shirt! Please check the UTC Bands webpage for updated information on this fun event!

TRI-STATE HONOR BAND 2022 | JANUARY 20-23, 2022

All high school band members are invited to participate in the Tri-State Honor Band for 2022. Mark your calendars now for January 20-23, 2022 for one of the most musically rewarding and fun weekends you will ever experience.

Students will be selected for participation for Tri-State Honor Band through a recommendation processes completed by their high school band director.

Selected students will participate in honor band rehearsals with nationally recognized conductors and clinicians, will attend featured concerts by our own UTC ensembles, and the weekend will conclude with a concert presented by the Honor Band. All rehearsals and concerts will be held on the UTC campus with each student responsible for housing and meals. Keep an eye on our website for more details about Tri-State Honor Band 2022.

TRI-STATE FESTIVAL OF WINDS 2022 | APRIL 21-23, 2022

The new Tri-State Festival of Winds is a non-competitive, educational festival designed to showcase the “best of the best” high school and middle school wind bands from the states of Tennessee, Georgia and Alabama. The firstever Tri-State Festival of Winds will be held on Thursday, April 21-Saturday, April 23, 2022 in the newly renovated Hayes Concert Hall in the Fine Arts Center on the campus of the University of Tennessee at Chattanooga. For 2022, concert bands earning an overall “superior” rating at their state’s most recent performance evaluation/assessment will receive an invitation to participate in the Tri-State Festival of Winds. Make plans to be a part of this exciting new festival that promotes the Tri-State region’s finest concert bands.

AYS: D N O I T I D U A

• February 19, 2022 • March 19, 2022

DEGREE OPTIONS INCLUDE Bachelor of Arts: Music With minors including:

• Nonprofit Management • Psychology • Business

Bachelor of Music: Performance Bachelor of Music: Music Education Bachelor of Music: Composition Bachelor of Music: Music Therapy • Leading to Board Certification in Music Therapy (MT-BC) • Program meets standards of the American Music Therapy Association and the National Association of Schools of Music

Visit utc.edu/music for details.

UTC is a comprehensive, community-engaged campus of the UT System. UTC is an EEO/AA/Titles VI & IX/Section 504/ADA/ADEA institution.

Student V

C E LE B RAT ING THE M USIC AND CULTU R E O

THIS ARTICLE ORIGINALLY APPEARED IN INFORM, VOL. 74, NO. 4 (FALL 2020) AND IS REPRINTED WITH PERMISSION FROM THE INDIANA MUSIC EDUC

By Christa J. Jones GENERAL MUSIC TEACHER | CONCORD WEST SIDE ELEMENTARY SCHOOL | ELKHART, IN

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Voices

OF YO U R S CH O O L’ S FAMILIES

CATORS ASSOCIATION.

As

an elementary music teacher at a diverse school, I witness daily a wide range of backgrounds and family cultures that my students bring into my music classroom. It has been a challenge to implement a music curriculum that truly connects with and builds upon my students’ unique musical backgrounds. Therefore, I conducted a song collection with my students and their families as a way to connect the music we make in my classroom with the music my students learn and hear at home. Students and families at Concord West Side Elementary School in Elkhart, Indiana were asked to share songs that are representative of their home musical experiences or family heritage. These songs were studied, transcribed, and organized into a songbook for use in the general music curriculum at Concord West Side Elementary School.

Culturally Responsive Teaching

Culturally responsive teaching is a framework in which educators validate and affirm the knowledge and experiences of ethnically diverse students in order to provide a more relevant educational experience for the students (Gay, 2000). By understanding that students have many diverse backgrounds, teachers are more readily able to choose resources and strategies relevant to their students, thus bridging the gap between home and school knowledge and experiences (Abril, 2013).

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Connecting Home and School Musical Cultures through Folk Song Collection

A culturally responsive music educator values students as individuals and draws on the rich musical experiences they bring to the music classroom. These experiences might include lullabies the children learned from their mothers, songs and dances experienced at family gatherings, and musical games played with friends or siblings (Abril, 2013). These rich musical backgrounds should be highlighted by music educators, rather than ignored. I chose to conduct a folk song collection at Concord West Side Elementary as a meaningful way in which my students could connect their home musical heritage with their school musical knowledge.

Setting: Concord West Side Elementary School

Concord West Side Elementary School is located in Elkhart, Indiana and serves approximately 540 students in kindergarten through fourth grade. Our school qualifies for Title I and Title III services to support the many students who receive free/reduced meals and our large population of English language learners. The Indiana Department of Education reported that 63.75% of our students are English language learners (ELL) in the 2019-2020 school year—the third-highest ELL population among Indiana public schools (IDOE, n.d.). Concord Community School district has demonstrated a long history of supporting the music programs within each school, and the staff at Concord West Side works hard to provide a well-rounded, child-centered education to our diverse student population.

Starting the Song Collection Project

I announced the project to each class by sharing a personal story about some of my first musical experiences—making music with my grandmother at her house. I shared that my Grandma Perron used to teach me songs like “Itsy Bitsy Spider” and “Twinkle, Twinkle Little Star” and that those songs are very special to me because I have memories of singing them with her. I explained that I was looking for songs they might know from home or may have learned from a family member.

We discussed what type of song I was seeking for this particular project: songs that have been shared by families for a long time, not—for example— current pop songs on the radio.

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Parents and guardians were then invited to participate in the song collection project by choosing one of three methods: 1) submitting information via a Google Form, 2) requesting and then submitting a paper copy of the Song Collection Packet, or 3) scheduling an appointment with me to perform and discuss the song during an in-person interview. Families were encouraged to send as many songs as they wanted, with the understanding that not every song would be included in the final songbook. My goal was to make it as easy as possible for parents to submit their songs to me.

Google Form.

Parents accessed the Google Form either by scanning a QR code, which I included in the initial information letter that was sent home, or by visiting ConcordWestSideMusic.com and clicking the Google Form link on the website.

On the Google Form, parents provided a digital signature to give permission for the information they provided to be used for this project. Participants then answered a series of questions including: “What is the name of your song?”, “How did you learn this song?”, and “Why is this song important to your family?” I wanted to allow families the choice to remain anonymous in the final songbook, so I included the question: “How would you like your student and family name displayed in the project?” Within the Google Form, parents had the opportunity to upload an audio or video file if they wished to record their student or family performing the song. I provided a link to a Dropbox folder where they could upload a video, and also included a space where they could provide a link to a YouTube video of their song. The Google Form was available in English and Spanish.

Song Collection Packet.

Some families submitted their songs using a paper-copy Song Collection Packet. The packet contained the same questions as the Google Form and was also available in English and Spanish.

Most students who turned in a packet then performed their song for me to dictate at school. In a few cases, I made phone calls home to get accurate performances of these songs.

In-person Interviews.

Parents who wished to submit their songs through an in-person interview were invited to call or email me at school or call the school secre-

tary to set up an appointment. While conducting in-person interviews, I asked the same questions as those listed on the Google Form and paper packet.

These families had the option to have a translator attend the interview if needed, but there were no families who opted to use a translator. Instead, I used my intermediate Spanish-language skills to speak with the Spanish-speaking families, and oftentimes the student helped provide translations between myself and the parent.

songs, if needed, and other songs were translated by a school employee. After gaining a better understanding of the meaning of each song, as well as the authorship and copyright status, I determined which songs would be appropriate to include in the songbook. I then categorized these songs based on their purpose: lullabies, hand-clapping games and fingerplays, movement games, counting and educational songs, cultural values and life lessons, and scenes and stories.

Marketing the Project

My husband, a talented graphic designer, created the cover design and template for each page of the book. I transcribed each song into written music notation, inserted an image of the notated song into the book pages, and edited the content of the pages to include important information about each song. Songs in languages other than English have an English translation included.

These literal translations are provided to give the meaning of the song, but the English translations are not necessarily intended to be sung. If the song has a game, dance, or other activity, those directions are provided. Finally, some pages include special quotes provided by the student or family who submitted the song.

As many teachers and parents are aware, not all letters given to elementary students actually make their way home. Indeed, conducting a project such as this one does require some level of marketing, including frequent communication with parents. One letter home simply did not produce the results I desired, so I responded by creating a website, posting on the school social media pages, creating my own music class social media pages and posting reminders on those platforms, posting signs around the school, asking classroom teachers to send messages to families through their digital communication systems, giving reminders on the school morning announcements, and sending additional parent letters home. The website and parent letters were provided in English and Spanish thanks to the hard work of Monica Amaya, a CWS employee. The communication aspect of this project was more tedious and time-consuming than I expected, but the project promotion and frequent reminders home proved to be effective.

I would encourage other teachers who are conducting song collections to not be shy of frequent reminders home when trying to communicate their project to their school families.

Result: The CWS Family Songbook

In total, I received 173 song submissions, in six different languages and representing 17 different countries. Some families submitted multiple songs, and some songs were sent in by multiple families.

For example, the song “Twinkle, Twinkle Little Star” was submitted seven times—six times in English and once in Spanish.

I documented and organized the submissions on a spreadsheet and conducted research to learn the history and authorship of each song. Some families provided English translations for their

Updating the Curricular Collection

A folk song collection project should not stop with simply creating a book of songs. The first step of increasing my effectiveness as a culturally responsive teacher was to learn more about my student population and to listen to the musical stories of their families. Now, I work to utilize this collection—a rich resource that has been created to truly reflect the unique students at my school. I insert these songs into my existing lessons and create new activities and units in which students can delve more deeply into the traditions represented in each song.

Considerations for Your Song Collection Project

If you choose to conduct a song collection at your school, please consider these important details: •Song contributors are offering you a gift. Approach all communication from a place of gratitude for those who share their musical cultures with you.

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• What do you plan to do with these songs?

Be clear in your intentions, and do not share songs without the permission of the culture bearer.

• Each school has different needs—will you need anyone to translate letters and interviews? Be prepared to compensate translators.

• Do you have permission from your school administrators to conduct this project?

• Does the whole-school project sound overwhelming? Consider changing the scope or limiting the project to one grade level.

Connecting Home and School Cultures: A Necessity, Not a Novelty

Though I did not conduct formal research to quantitatively track patterns of student engagement through the course of this project, I did anecdotally observe the pride and joy that was expressed when a student shared his or her song with me. Students told me stories about the musical discussions which took place within their home. One boy told me he learned a new song from his family through this process, and he, in turn, taught the song to his baby brother. Another student’s mother explained that she remembers her mother by the songs her mother sang to her, and she hopes her own daughter will remember her someday when the daughter hears those same songs.

I am incredibly grateful to the students, families, and staff of Concord West Side Elementary School for their support of this project. Staff members were graciously willing to send letters and messages home to parents, administrators provided support and encouragement, translators adapted many pages worth of communication into Spanish, and the students and families were eager to share their musical stories with me. I hope that participation in this project helped my students feel like their voices can be heard at school and that our school families felt valued and appreciated. I look forward to finding new ways to use the songs, dances, and games within the Concord West Side Family Songbook to be a more culturally responsive music educator and better meet the needs of my unique students.

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A full PDF of the CWS Family Songbook can be found at concordwestsidemusic.com.

References

Abril, C. R. (2013). Toward a more culturally responsive general music classroom. General Music Today, 27(1), 6–11. doi:10.1177/1048371313478946 Gay, G. (2000). Culturally responsive teaching: Theory, research, and practice. New York, NY: Teachers College Press.

Indiana Department of Education. (n.d.).

Retrieved January 23, 2020, from https://compass.doe.in.gov/dashboard/ overview.aspx

Author bio:

Christa Jones teaches General Music at Concord West Side Elementary School in Elkhart, Indiana and has presented at state, regional, and national music education conferences and workshops.

She serves on the board of the Indiana Orff-Schulwerk Association and the Indiana Music Educators Association, and she is co-editor of Indiana MEA’s INform magazine.

She graduated with a Master of Music Education degree from VanderCook College of Music in Chicago, IL where she also completed three levels of Orff Schulwerk teacher education. Christa may be contacted at christajeanjones@gmail.com.

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r e m m u s n o i t a c a v