2021-2022 Georgia Music News | Spring Issue by Georgia Music Educators Association

S P R I N G

I S S U E

R E F L E C T ASS O C I AT I O N

NEWS

T R I B U T E

VETERAN

DIVISION

NEWS

CELEBRATING CECIL WILDER IN MEMORIUM DR. GWYN SPELL

ACTIVE THINKING... Brian N. Weidner

OHANA

Travis Downs

VO LU ME 82 | NU MB E R 3 | SP R ING 2022

A new tutorial series from ASO musicians Instrument Specific

Focused 3-5 minute videos

Topics gathered from GMEA Members including:

Scan QR code to view all ASO Education content

• Posture • First Sounds • Scales

ASO Ed: Next Generation Education Resources for all levels of general, instrumental and vocal classrooms.

Enjoy our latest virtual releases including:

Atlanta Composer Stories

(Ages 12+; documentary concert featuring young composers from Atlanta)

Water, Water Everywhere (Ages 8+; co-curricular program combining music and science)

Music for the Very Young

(Ages 2-8; instrument introduction and DIY activities)

Visit aso.org/education for all ASO Education programming Contact us at ASOeducation@atlantasymphony.org

In This Issue

Board of Directors President Dr. Matt Koperniak

District Chairs 1 - Jason Long 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

Immediate Past President Carl Rieke Vice-President for Performance Evaluation Events Dion Muldrow Vice-President for All State Events Sarah Ball Past Presidents’ Representative Frank Folds

Celebrating Cecil Wilder MIOSM

DR. MATT KOPERNIAK

ACTIVE THINKING... BRIAN N. WEIDNER

Editor, Georgia Music News Victoria Enloe

Executive Director Cecil Wilder

For the complete list of Board Members please visit:

Band Division Chair Travis Downs Choral Division Chair Scott Martin College Division Chair Chester Phillips Elementary Division Chair Amie Schaff Orchestra Division Chair Stephen Lawrence

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

Advertisers

IN MEMORIUM DR. GWYN SPELL

ATLANTA SYMPHONY ORCHESTRA INSIDE FRONT COVER BREEZIN' THRU INC. INSIDE BACK COVER

32 OHANA

TRAVIS DOWNS

FLING! PAGE 3

WIND BAND INTONATION CHRIS JOHNS

TO BE OF SERVICE...

VETERAN 10 CECIL WILDER

DR. DAVID GREGORY

GEORGIA SOUTHERN UNIVERSITY PAGE 15 YAMAHA PAGE 5 YOUNG HARRIS COLLEGE PAGE 3

TO ADVERTISE

APPLY TODAY WWW.GMEA.ORG/ADVERTISE

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.

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

The

President Speaks Dr. Matthew Koperniak We did it! As we wind down the school year, I hope every music teacher in Georgia is filled with a sense of satisfaction for a job well done. The 2021-2022 school year marked a return to concerts and events for many more students than the previous year. Restarting events after a gap required more work by teachers everywhere. Thanks to all of you who went above and beyond to recreate musical experiences for students who missed out in previous years. Thank you to every teacher who served as a GMEA host, organizer, district officer, division officer, or committee member this year. Our success as a statewide organization depends on our teacher-volunteers, who are already busy with their own successful music programs. To our younger teachers, we welcome you to get involved next year. Remember, much of the work that moves GMEA forward happens by people without a title. Your district and statewide officers have all arranged chairs and music stands, cleaned facilities, sorted folders, and more. Don’t wait to be asked – jump in and help! Thank you to our GMEA staff who provide consistent and much-needed daily support for our many programs. We are one of the largest MEAs in the United States. Our portfolio of events and opportunities would not be possible without the dedication and expertise of our full-time and part-time staff. Thank you to Cecil, Brandie, Ryan, Aleta, Cindy, and Bernadette! We are excited to honor Cecil Wilder’s many years of service as Executive Director in this issue of Georgia Music News. We also look forward to honoring Mr. Wilder at our 2023 In-Service Conference next January. We hope to see you there to join in the festivities! Teachers everywhere are simultaneously wrapping up the current school year while also making plans for next year. Reflecting upon the successes of our students offers the opportunity for teachers to view

G EO R G IA M U S IC NE WS | S P RING 2022

the forest from the trees and plan big-picture goals for the upcoming year. This type of planning is crucial. It is also important to connect this type of planning to the day-to-day reality of music learning and teaching. As the saying goes, “Details are the key to success.” The key to accomplishing big goals often lies in the little things. Some details might not have anything to do with your goals at all but will impact them, nonetheless. Perhaps your classroom needs a tweak to your rules and procedures. How long do the students have to enter your room and prepare to start instruction? Does wasted time promote idleness which affects the rest of rehearsal? What caption on your LGPE sheets has the most room for improvement? Perhaps the adjudicators noticed inconsistencies in intonation. How will you engage students in this area next year on a daily basis? What does your program budget look like for the upcoming year? Have you accounted for all sources of income to support all needed expenses? These types of reflections focus on details, keeping in mind that the start of a new school year is the best time to introduce new routines, practices, and procedures. As teachers, we can become desensitized to the daily details (or lack thereof!) embedded in our programs. Think of pet owners who don’t notice the smell of their animals that is readily apparent to guests! Plan ahead to bring a guest into your classroom next year to observe and provide feedback. We have many retired music teachers around the state who are willing to help and stay involved. If you have a professional learning day on your school calendar next year, request to visit to a nearby music teacher in another school district. You will no doubt notice details that you can implement in your own classroom. As always, reach out at any time if there is anything I can do to support you or your students. You can contact me at president@gmea.org or 706-338-4983. Best wishes for a safe and happy summer!

Click here!

HIGHLIGHTS INCLUDE: Classes, performances, masterclasses with the flute section of the Atlanta Symphony Orchestra Concert/improv workshop with Bichos Vivos (Brazilian folk band) Workshop with members of the U.S. Army's Old Guard Fife and Drum Corps

ATLANTA'S FIRST WORLD CLASS FLUTE INTENSIVE FOR YOUNG FLUTISTS

Sponsored by

For all middle and high school flutists Register by May 25, 2022

Small group classes on topics such as beatboxing, rhythm games, composition, electroacoustic music, performance anxiety, audition skills, Baroque flute, chamber music, careers in music, tone/technique, stage presence, and a lot more! Participation in the state's largest flute choir, a chocolate fountain, t-shirts, and swag

AT YOUNG HARRIS COLLEGE, WE BELIEVE THE GREATEST RISK IS LETTING TRUE POTENTIAL REMAIN UNREALIZED. Our campus is filled with endless opportunities to be bold. We welcome young artists and encourage them to explore the arts, inspire others, and perform to their fullest potential.

FOR SCHOLARSHIPS AND PROGRAM I N FO R M AT I O N , C O N TACT :

Musically inclined students can choose from programs of study in Music, Music Education, and Musical Theatre.

♭♭♭♭♭♭ 24 • • 𝄞𝄞𝄞 performance

recording

• 𝅘𝅥𝅘𝅥

Young Harris College Department of Music Jeffrey Bauman, Chair

(800) 241-3754 ext. 5155 finearts@yhc.edu | yhc.edu

𝅻𝅻• • 𝅼𝅼 • • 𝅘𝅥𝅘𝅥

talent management arts administration

editing

composition education

live life in the spotlight

publishing

Editor's Corner GMN Editor Victoria Enloe

In this issue of Georgia Music News, we honor GMEA executive director, Cecil Wilder. Cecil has served as executive director for more than 25 years, overseeing GMEA’s leap into the digital age with the development of Opus. Implementing online services allowed GMEA to serve members more quickly and efficiently than ever before. Also during Cecil’s tenure, GMEA grew to become the third largest MEA in the U.S. The memories and impressions shared in the spring 2022 GMN, however, reflect Cecil’s valuable impact on an individual level. An astute mentor,

passionate leader, supportive colleague, and treasured friend, Cecil’s dedication to those within the music education community is nothing short of inspirational. When asked what still inspires him about teaching in the fall 2017 GMN installment of the Veteran 10, Cecil wrote, “There is nothing in life more rewarding or inspiring than to take something of value that was passed on to you by someone and pass it along to someone else. What could be better?” These words succinctly capture Cecil’s lifelong mission. We wish Cecil the very best as he begins the next chapter of his life’s adventure.

SUMMER SUMMER SUMMER PROGRAMS

ACCESS NOW 4

G EO R G IA M U S IC NE WS | S P RING 2022

EVEN TEACHERS NEED TEACHERS The Yamaha Educator Suite (YES) gives you access to a wealth of professional development opportunities and resources. YES brings you into a network of like-minded colleagues, experts and professionals who want to share their real-world experiences. You’ll also receive valuable tips on advocacy assistance, program health support and much more. Let us help you raise the bar. Go to Yamaha.io/educatorsGMN2

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

Band

Travis Downs As we near the end of another school year, I realize that this one will stand out among others. After the challenges presented during the pandemic, it was great to be “back in the saddle again” – and to have a renewed sense of purpose for our students. It has been a joy to see live performances, reconnect with colleagues during our in-service conference and witness a return to Athens for our annual all-state event! Music connects us in so many ways, and I consider this year a year of healing. I know we all can agree we will not take for granted all the opportunities we have with our students from day to day. I would like to thank each of you for your dedication to your students, school and community. And, if you served as organizers or percussion coordinators during our all-state event or participated in our in-service event as clinicians, directors, performers, volunteers or hosts this past January, I am so appreciative of your support and leadership. Congratulations to all students and directors who participated in our annual Large Group Performance Evaluations, Solo and Ensemble Festivals, and Jazz Band Performance Evaluations. Thank you to every host, organizer and adjudicator who served at these events. Service and volunteer leadership is what makes our organization great for our students! These events are not possible without the dedication of our members. Our students’ successes are the result of our labor. Together we are GMEA, and I am very excited to see what lies ahead for our students. I encourage you to stay connected within your district, get involved and volunteer at the district and state level. We can all learn from each other and our students will greatly benefit from our collaboration. I wish you the very best for a successful end of the semester. Remember to take time to reflect on this year and celebrate all your student’s successes, no matter how small! Be sure to spend time with loved ones and recharge. For those who will be retiring this spring, congratulations and best of luck on your new adventures! Please let me know if there is anything I can do to assist you. I look forward to another year serving as your band chair.

G EO R G IA M U S IC NE WS | S P RING 2022

Choral

Scott Martin As I reflect on this past school year, I’m not sure I’ve ever been prouder of our wonderful organization. We all worked very hard to bring our events fully back, and seeing our colleagues for the first time in a long while made me realize the extraordinary importance of our peer interaction, not to mention what GMEA means to our students who get to experience and enjoy these events. Whether it be District Honor Chorus, LGPE, Solo/Ensemble, or All-State, the absence of these events has made me cherish them even more. Congratulations to our choirs at the in-service conference who performed at such a high level. Additionally, the session presenters were wonderful and provided a diverse array of topics. I am looking forward to receiving the applications for both performing choirs and sessions for next year’s conference and will notify everyone by mid-summer. This year’s All-State choirs were wonderfully successful, and I am proud of all students who took part in the audition process. Perhaps it was due to the past couple of years, but we had about 1,000 fewer students around the state audition this year. As we look to next year, please encourage your students to audition, especially high school tenors! Every event in our choral division is hosted, planned, and implemented by volunteer chorus teachers who go above and beyond their regular teaching duties to make these events happen on our behalf. Thank you to all who serve our wonderful GMEA so very well. Know that your efforts are appreciated by your peers. Finally, nothing is more important than the teaching we do for our students daily. It is my hope that the events GMEA provides supplements and enhances the experiences in your classroom. As we move toward a summer break full of rest and rejuvenation (let’s hope!), I hope your final concerts are wonderful and preparations for next year are exciting.

I am incredibly proud to work with the best music educators around! I look forward to another amazing year together in 2023!

gmea.org/marching-band

It is difficult to put into words the joy that was felt when hearing the collective voices of our 4th and 5th grade Statewide Elementary Honor Chorus students as they blossomed from rehearsals to performance under the direction of G. Phillip Shoultz. As I took in the sound throughout the weekend, I was moved by the emotion of students and directors, alike. They were overjoyed to be singing in person as an ensemble again. Our amazing directors worked so hard to prepare each student and it showed!

APPLY TODAY

Wow!!! What an amazing and challenging year it has been. I am overjoyed at the opportunities that we had this year to reconnect with friends and colleagues at our annual in-service conference. It truly was exhilarating to be engaged in sessions that had us all playing, singing, and moving. I hope that each one of you left our annual conference recharged and full of ideas for your classroom. On behalf of the elementary division, we would like to extend a tremendous thank you to Peripole for providing instruments for many of our sessions.

COMPETITIONS AND FESTIVALS

Amie Schaff

MARCHING

Elementary

Orchestra

Stephen Lawrence Spring is here! By now you have checked LGPE off your annual “to-do” list and have begun preparations for your upcoming spring concert. The topic of “end-of-year” activities has entered your lesson planning and you are preparing for graduations, instrument returns and so many other things that help to mark the end of another school year. Although spring can sometimes seem like a race to the finish line, I encourage you to take a moment, maybe a few minutes or so, and reflect on everything that you have been able to accomplish this year. From welcoming students back into your classroom after such an unusual year, to the rehearsal that you just finished, I'm sure there is a laundry list of accomplishments that come to mind. As a school teacher, watching my student’s grow musically has been tremendously rewarding. As a division chair, the accomplishments of our dynamic 2022 In-Service Conference and unbelievable All-State Orchestra event have been both enriching and inspiring. This is a time to not only celebrate the hard work of our students, but the love, motivation and guidance that we as educators used to get them to this point. (On a side note, don’t forget that you did all of that while still balancing Covid surges, SEL, parent conferences, shipping delays, and pollen! LOL!) I’ve said it once, and I will say it again… YOU ARE A ROCKSTAR! And I am proud to be associated with you! I am also proud of every teacher and director who contributed to the GMEA In-Service and All-State Orchestra events. Your dedication to this state and willingness to serve are truly part of the reason that the state of Georgia is of the best in the nation. As we prepare for the end of the year, I encourage you to attend your spring district meeting. There will be important topics that should be discussed during your orchestra division meeting concerning All-State auditions. Please share your thoughts with your district orchestra chair so that the Orchestra Standing Committee can make the best decision for the state moving forward. In closing, I leave you with one of my favorites quotes: “We Shine Bright So That Others May Shine Brighter.” – Yohancé Salimu

G EO R G IA M U S IC NE WS | S P RING 2022

Guitar

Caryn Volk A strong finish to the LGPE season is in the books. Giocoso, our very own LGPE event for guitar ensembles, saw its biggest year yet, both in-person and online. We also included small groups and solos, and even some piano adjudications! Now, we approach the merry month of May, when minds turn to summer’s dreaming…while still attempting to deal with the reality of six more weeks of school! We watch our building colleagues start the end-ofthe-year countdown, reminding students each day of how much time remains. These coworkers don’t know that nothing is really over until the spring concerts are finished! Students are preparing for what comes next, anticipating the next grade, next school, or next step in life. We also start to design and plan our next project, next program, next step in teaching. Does your school or district reflect and plan regarding class offerings in the upcoming year? Considering staffing needs, student needs, and scheduling requirements is another way we wrap up the year…so why not include non-traditional music classes to appeal to an underserved student base? Guitar is a moderately priced, quickly viable alternative for students and schools who want and need to provide more fine arts classes in their buildings. Even something as simple as a supported independent study can give just one more child a chance to experience music from the inside out! And don’t forget to tend to your own learning during these upcoming months—take a chance on a summer workshop or class, either locally, nationally, or online. If you want to learn more about guitar in a teach-the-teacher format, consider joining a Teaching Guitar Workshop. With two learning levels, professional learning credits, and hands-on direction, this week can level up your work. Spring into summer, rejoice and renew. Many thanks for all the big and little things you do every day for others!

Research

Dr. Martin Norgaard What fun it was to see everyone again in Athens at GMEA this past January! As much as I love the convenience of online meetings and presentations, much happens between the official gatherings. Seeing friends in the hallway, at the coffee shop, etc. leads to new connections and projects. Yet, one research presenter from out of state was unable to travel and therefore “zoomed in” to do her presentation. In the best of both worlds, the convenience of online is combined with in-person meetings. In total, about 130 people attended the spoken research sessions and many more saw the fabulous posters in the Atrium. Based on feedback from the past several years and in consultation with the GMEA leadership, we will institute a major change for research presentation applications for the 2023 GMEA conference: both poster and spoken presentation applications will be due in the fall, specifically September 15. Planning and predicting outcomes of research projects takes time. Allowing a later submission deadline will allow projects to be conceived and results collected prior to the submission deadline. For graduate students, this change will allow projects conceived over the summer to be submitted. This change will also allow some flexibility of format. As is currently common for many research conferences, the presenter can now select “either” instead of preselecting the poster or spoken format. This will also allow the selection committee that anonymously evaluates proposals to recommend the best proposals for talks. My hope is this change will allow more people to submit and ultimately increase attendance and visibility for the research track. As I have stated several times before in this column, my ultimate goal is for researchers and practitioners to work together to better inform music education in Georgia.

research surveys ARE YOU A GMEA MEMBER GATHERING INFORMATION FOR A MUSIC EDUCATION STUDY? SUBMIT A REQUEST TO HAVE YOUR SURVEY POSTED HERE. PLEASE NOTE, WHILE THE GMEA WEBSITE MAY HOST VARIOUS SURVEYS, THE RESEARCHERS AND RESULTS OF SURVEYS DO NOT REFLECT THE INTENT OF OUR ORGANIZATION.

share a survey https://bit.ly/3EOELKp

take a survey gmea.org/research

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

An Interview with a

Retired Educator Sharon Anders on

Featured in the Spring Issue of the Georgia Music News is orchestra director Sharon Anderson, whose career spans four decades in the Fulton County Schools. Sharon’s long and distinguished career has impacted countless students and colleagues. I am forever grateful to have worked directly with Sharon for so many years and equally grateful to highlight her career in this issues of the Georgia Music News.

WHERE DID YOU GROW UP AND GO TO SCHOOL? My father was in the corporate world, so we moved around a fair amount – West Virginia, Ohio, Wisconsin, and finally Illinois. I actually started the viola as a 4th grader in Racine, WI (because I was tall?!!). I did a fair amount of playing, even with adult groups in Racine, since violists are always in demand. We moved to suburban Chicago halfway through my freshman year in high school when my father became a Chamber of Commerce director in Elmhurst, IL. The viola was another door opener for meeting people at the new school, York Community HS, a large school with over 3600 students in Elmhurst. That high school laid much of the foundation for my career since the opportunities offered in the Chicago area were vast. By my senior year, I was performing locally with the advanced orchestra at the high school, the Elmhurst Symphony and the Wheaton Symphony in addition to a strong high school string quartet chamber group. In addition, I was principal violist with the Chicago Youth Symphony Orchestra and on scholarship and playing with the Chicago Civic Orchestra. Of course, I also did all of the AllState groups at both the district and state levels and actually met my future husband at All-State my senior year in high school. Although I was offered a spot at Northwestern University, I chose the University of Illinois in Champaign/Urbana because Paul Rolland was the string pedagogy person there. My future husband was at Illinois Wesleyan during our college

G EO R G IA M U S IC NE WS | S P RING 2022

years as a voice major, so we commuted back and forth until we married in the last half of our senior year in college. We went almost immediately into an Army band since his draft number was “12” and a band looked a lot better than Vietnam. We were at Fort Harrison in Indiana and then in Germany where our son was born.

TELL US ANYTHING YOU WOULD LIKE FOR US TO KNOW ABOUT YOUR INTERESTS BEYOND MUSIC (FRIENDS, FAMILY, HOBBIES…) Let’s see – I like to bake, read, take water aerobics classes, and do some workouts with a trainer to unsuccessfully offset the “baking and sitting around reading” weight gains? Pre-pandemic, we were into a fair amount of travel and have done several cruises to Alaska and the Caribbean as well as a Baltic cruise to Russia and a train trip across Canada. We’ve also done some school tours to both Europe for the 75th D-Day celebrations and to New York City for a Carnegie Hall trip with Alpharetta HS. We try to have one major travel experience a year and often travel with family, friends, and sometimes orchestras. We’re hoping to get back to it after Covid vaccines etc. make it possible! We still plan to do the Panama Canal and some of the European river cruises and maybe another Canadian train trip.

WHY DID YOU CHOOSE TEACHING MUSIC AS A PROFESSION? My original teaching experiences started as coaching other string quartets at my high school during my lunch time. I found out that they were making progress and I pretty immediately started thinking about music teaching as a career since I enjoyed helping them do something beautiful. Initially, I thought about doing general music since you didn’t see many female conductors in those days. Because of this, I student taught in both orchestra and general music. After finishing my degree, I did some substitute teaching for a high school full orchestra and was surprised to find that I’d covered everything, plus more, in a detailed director’s orchestra sub plan (I hadn’t had time to read it). It made me stop and think “why not be an orchestra director”? Later commentary from my graduate school teacher, Daniel Kohut, after he put me in front of a lab orchestra for a grade, indicated that he thought I WAS an experienced orchestra director. Since I wasn’t, this led me to believe that maybe I was better at it than I’d thought. I had to get over my own gender prejudices and realize that all that playing over the years had put me in a unique place to be a conductor, especially for full orchestras. I knew a LOT of the literature because of my playing background. I never thought that I’d get a high school position, but moving to Georgia opened the door for that opportunity almost immediately. I stepped into a class six full orchestra job and an elementary youth orchestra job at midyear and basically never looked back.

WHERE DID YOU WORK UP UNTIL YOU RETIRED FROM FULL TIME TEACHING? I started teaching as both a private teacher and substitute music teacher in Elmhurst, IL after my husband finished 3 years of service in an Army military band. When we returned from Germany with baby Tim, hubby eventually went back to grad school at the University of Illinois and I commuted by train to Chicago to keep my private studio going over the weekends. Since I was also taking some grad classes, word got out and I suddenly had a part time string teaching job in the Urbana Public Schools during the

year and the orchestra program during the summers in Champaign Public Schools. This was in addition to having a by now three-year-old and only one car! I had just signed a full-time contract in Urbana, when my husband accepted a job at GSU and we moved to Atlanta. Once we got there, I was contacted by former University of Illinois grad, Frank Crockett (GA Fine Arts), about a job in Fulton County that started in November. I didn’t want a full-time job, but I hit the ground running since the North SpringsCrestwood HS full orchestra was scheduled to perform at GMEA that year. In the first ten weeks, I did 3 holiday concerts, 2 GMEA Festivals (LGPE), and the state conference. Fortunately, all with Joe Kirschner right at my elbow, thank heavens. I was teaching in 5 schools (3 elementary and the 2 high schools plus the elementary youth orchestra) and had days where I was teaching 11 classes a day because the elementary were half hour classes. It was exhausting and exhilarating! I went on to work in the first Fulton middle schools and eventually became the Department Chairmen for Orchestras in Fulton as well as a TOTY. As the Orchestra Department Chair with the assist of several really fine top notch Fulton Music Coordinators, I was able to get a larger orchestra staff, orchestra rooms in all the high schools, and mentored those who needed help. I consider the Fulton County Orchestra staff one of my greatest achievements for Fulton and Georgia. They are all exemplary orchestra teachers and have contributed greatly to GMEA and beyond! During my Fulton years, I held several District GMEA officer positions and also later served as the GMEA State Orchestra Chair and several times as the All-State Orchestra coordinator. I also coordinated the GMEA Sight Reading LGPE music for a long time. I performed at the GMEA In-Service Conference 5 times with both my high school and middle school orchestras. I was also the Georgia NSOA President and the GaASTA Summer Orchestra Camp Director. I was honored to be given both an GaASTA Lifetime Achievement Award and GaASTA String Educator Award. I was totally awed by Fulton’s GMEA performances and many MidWest performances over my years as DC.

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

When I retired from Fulton, I came back after a year off and did a couple of more part time years in another middle school in Fulton while continuing to do the Fulton County Youth Orchestra until two years ago. I was able to double the middle school program in size and took the FCYO to one final GMEA performance in 2018.

SINCE RETIRING FROM TEACHING FULL TIME WHAT HAVE YOU BEEN DOING? I have continued to do occasional selective orchestra subbing and conducted the Fulton County Youth Orchestra until two years ago. I still do some clinic work for Fulton and surrounding counties and adjudicate too. Watching the continued growth of the orchestra programs in Fulton, and really the entire state, has been a great joy. I support all the Georgia performance groups that continue to perform locally, at the state level, and nationally. The growth over 40 years has been phenomenal.

WHAT ADVICE DO YOU HAVE FOR THOSE WHO ARE CONSIDERING BECOMING MUSIC TEACHERS? Get as much teaching experience as you can before starting full time jobs. Keep performing on your own instrument to help stay in touch! Once you’re teaching, find mentors who can help and evaluate your teaching. Stay open and not defensive about their suggestions. Learn to speak “administrative” because they’re not going to really understand you. Let them know that you realize you’re not the only thing going on in a building, you’re just a small slice of the pie – but without you, they aren’t a whole pie! Be a lifetime learner and go to as many conferences and training workshops as possible, even after you’ve been doing it for a while. This helps you to grow and also helps alleviate burnout. I still go to conferences, and I’ve been retired for over ten years. There’s always something new to learn!

G EO R G IA M U S IC NE WS | S P RING 2022

WHAT ADVICE DO YOU HAVE FOR THOSE WHO ARE RETIRED OR ARE ABOUT TO RETIRE FROM TEACHING MUSIC? In preparation – you don’t have to have the biggest house on the block. Live below your means and put money away towards your retirement in those 403B accounts and also save to avoid having your own kids go into debt from their college expenses! Learn how to handle finances now so that you can have fun in retirement later and avoid being in debt. Take long range goal planning seriously and see a financial planner who is fee based well before retiring and then after as well. Remember to keep a good work/play balance so that you’ve got good health going into retirement instead of being forced into retirement because of poor health. The job is not your entire life! Love your spouse, significant other, and kids! The kids are only small once! Once you’re retired, offer your help and services to other orchestra directors even if they can’t pay you. Don’t be preachy or lecture, and if they’ll let you, show them from the podium. Count your blessings instead of dwelling on the bad/ hard stuff and finally, look back on your career and remember the joys! There are many!

AMPLIFY JOIN THE LARGEST COMMUNITY OF MUSIC EDUCATORS IN THE COUNTRY!

AMPLIFY IS AN EXCLUSIVE ONLINE SOCIAL NETWORK JUST FOR NAfME MEMBERS. •

Discuss and Share – Younger educators can find ideas and share what they have learned. Experienced educators can mentor colleagues new to the profession. Plus, download resources relevant to your career—all in one platform.

•

Network with Educators – Wherever you are, you can reach out to colleagues in other states and countries. Search a directory of your fellow 60,000 members. HOW TO GET STARTED:

• • • • •

Go to community.nafme.org. Edit your profile using your NAfME.org member username and personal password. Control what is visible on your profile. Join/subscribe to communities of your choice – you will automatically be enrolled in Music Educator Central. Control the frequency and format of email notifications from Amplify.

Visit Amplify’s FAQ section: bit.ly/AmplifyFAQ (case-sensitive). Reach Member Services at: 800-336-3768 or memberservices@nafme.org. Bookmark Amplify on your browser: community.nafme.org.

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

Reflect + All-State

THE GEORGIA SENATE CELEBRATES MUSIC IN OUR SCHOOLS MONTH FIRST ROW (L-R): Sara Womack (GMEA Advocacy Chair), Matt Koperniak (GMEA President), State Senator Sonya Halpern (District 39), Sarah Grant (Atlanta Symphony Orchestra Director of Education), Shea Burns (Georgia Music Advocacy Corps). SECOND ROW (L-R): State Senator Jason Anavitarte (District 31), Ric Ross (Music Education Group, Inc.), Sarah Erickson (Atlanta Public Schools), James Caldwell (Music Education Group, Inc.).

On March 22, Georgia Music Educators Association president, Matt Koperniak, and Advocacy Committee Chair, Sara Womack, joined Senator Sonya Halpern to commemorate a resolution commending GMEA and recognizing Music In Our Schools Month. They were joined by Georgia Music Advocacy Corps representatives and partners in music education. A portion of the resolution appears below. “NOW, THEREFORE, BE IT RESOLVED BY THE SENATE that the members of this body commend the Georgia Music Educators Association for its concern and efforts to enhance the quality of music education in Georgia schools and recognize March 2022 as Music in our Schools Month BE IT FURTHER RESOLVED that the members of this body celebrate the observance of Music in our Schools Month as an opportunity to support the purposes and practices of music education and encourage teachers, students, and citizens to participate.”

SEE THE COMPLETE RESOLUTION

Introducing the

FRED AND DINAH GRETSCH SCHOOL OF MUSIC at Georgia Southern University. The Gretsch Company has added Georgia Southern University to its family with the newly named Fred and Dinah Gretsch School of Music. The collaboration will ensure the Gretsch Company’s historic impact is appropriately documented and preserved, while also allowing our legacy to continue through the next generation of leaders in the music industry. GeorgiaSouthern.edu/music

FRED AND DINAH GRETSCH SCHOOL OF MUSIC

ACTIVE

THINKING

NOT

JUST

ACTIVE

DOING

IN THE ENSEMBLE CLASSROOM B R I A N

G EO R G IA M U S IC NE WS | S P RING 2022

N .

W E I D N E R

R E P R I N T E D W I T H P E R M I S S I O N F R O M N AT I O N A L A S S O C I AT I O N F O R M U S I C E D U C AT I O N ( N A F M E ) . THE ORIGINAL ARTICLE PUBLISHED ON JUNE 20, 2021 CAN BE FOUND HERE.

Brian N. Weidner presented on “Active Thinking (and Active Doing) in Ensemble Classrooms” during the NAfME 2021 PreK–12 Learning Collaborative in February 2021. Band, choir, and orchestra classrooms easily become spaces where students are physically active but mentally asleep. When the conductor steps on the podium, the students often cede all responsibility for thinking and fall into the lull of following the directions that are given to them. Fortunately, if we are intentional about our actions, ensemble teachers can easily create collaborative ensembles where active student thinking is encouraged and even required.

M O D E LIN G AND C OAC H I NG Our role as teachers is to provide cognitive apprenticeship for our students where we first model and then coach students through processes of critical thinking (Weidner, 2018). One approach for modeling in the rehearsal is the think aloud, and it is easily brought into the director-centric ensemble. Instead of telling students how to adjust their performance, we explain: 1. 2. 3.

WHAT WE ARE HEARING WHY WE WANT TO CHANGE WHAT WE HEAR HOW WE WILL MAKE THAT CHANGE

This simple sequence demonstrates our thought processes to our students, so that they have a clear model of musical critical thinking. “The more frequently we ask instead of tell, the more actively our students are thinking about the musical experiences they are having and the deeper they move into understanding the music they make.” Coaching comes into the rehearsal when we move from telling students what to do next to asking them what they hear, why they want to change it, and how to make that change. This process of Socratic questioning reinforces the cognitive skills that were modeled by the teacher and draws students through all of the musical processes (Tutt, 2007). The more frequently we ask instead of tell, the more actively our students are thinking about the musical experiences they are having and the deeper they move into understanding the music they make.

C O LL A BORATI VE REH EARSAL P L A N N ING Once critical thinking is a common element of the ensemble, students can make meaningful decisions about the rehearsal. In the traditional model of ensemble rehearsal, the director selects the music, studies the score, and prepares the rehearsal before the students ever join the teacher in the shared rehearsal space, where decisions are typically dominated by the conductor (Morrison & Demorest,

2012). If we want students to become independently capable musicians, we must provide them with opportunities to consequentially impact the music rehearsal by sharing its planning. Collaborating in the rehearsal starts with the teacher coaching students through the considerations that are made as an ensemble director (Berg, 2008). What do you see? What do you look for that could cause trouble? What do you want to bring out of the music? This leads to the presentation of specific strategies for addressing issues and giving those strategies specific names, so that students know both how and why to chunk, to ta-ka-di-mi, or to simplify the music that they are working on. Once students have familiarity with common rehearsal tools, they are able to share in the rehearsal planning process. This can happen before class through the use of exit or entrance slips, online discussion boards, or shared Google Docs that ask students to note what they want to work on and how to go about that task. This shared decision-making can also happen in real time. Apps like PopInNow allow for real time crowdsourcing where students can provide immediate feedback on what should happen next in rehearsal. This can also be done through Whack-a-Mole rehearsals, where students physically stand up and stop the rehearsal when they have an observation to make. Importantly, once we allow students to contribute to the rehearsal, we need to make sure that we follow through on their observations. If students are taking the risk to suggest a new plan of action, we need to honor that plan and support the students’ problemsolving processes.

PO SIT IVE FAILU RE EXPERIEN CES When we ask students to take risks, we are also opening up the possibility that they will fail. But failure does not come in just one flavor—it varies from preventable, negative failure to ambitious, praiseworthy failure (Edmondson, 2011). While we may be tempted to jump in when we see

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

ACTIVE THINKING...

students make the wrong choice, we need to support students in their mistakes and teach specific strategies for coping with failure socially, emotionally, and musically. When students do not succeed, we need to teach them how to diagnose their problems and move past them. This means that we normalize failure by modeling it ourselves, making it visible in the classroom, and providing students multiple opportunities to be successful.

TA K ING T HE F I RS T S TE P If you are new to using your classroom for collaboration, start by re-creating your ensemble as an active thinking space by incorporating modeling of your thinking and asking students guiding questions. Once your students become accustomed to being accountable for critical thinking in the rehearsal, the possibilities for constant cognitive engagement through collaboration are limitless!

REFEREN CES Berg, M. H. (2008). Promoting “minds-on” chamber music rehearsals. Music Educators Journal, 95(2), 48–55. Edmondson, A. C. (2011). Strategies for learning from failure. Harvard Business Review, 89(4), 48–55. Morrison, S. J., & Demorest, S. M. (2012). Once from the top: Reframing the role of the conductor in ensemble teaching. In G. E. McPherson & G. F. Welch (Eds.), The Oxford handbook of music education (Vol. 1, pp. 826–843). Oxford University Press. Tutt, K. (2007). Using questions to teach the national standards in rehearsal. Music Educators Journal, 93(5), 38–43. Weidner, B. N. (2018). Achieving greater musical independence in ensembles through cognitive apprenticeship. Music Educators Journal, 104(3), 26–31.

ABOU T T HE AU T HO R Brian N. Weidner is the assistant professor of instrumental music education. He holds a Ph.D. in Music Education from Northwestern University with additional degrees in music and education from Olivet Nazarene University, Northern Illinois University, and Illinois State University. Before coming to Butler, he was a lecturer in the music and education departments at Lake Forest (IL) College. Previously, he taught at McHenry (IL) High School for 12 years, serving as its Fine Arts Coordinator and Director of Bands. He has published articles in the Journal of Research in Music Education, Music Educators Journal, Bulletin of the Council for Research in Music Education, International Journal of Music Education, Journal of Music Teacher Education, Psychology of Music, and regional journals and has presented nationally and internationally. He is also the author of Brass Techniques and Pedagogy. He currently serves on the Advisory Committee for the Music Educators Journal and as facilitator of the Critical Examination of the Curriculum ASPA for SMTE. His research focuses on the development of independent musicianship through large music ensembles and processes of disruption in music teacher education.

G EO R G IA M U S IC NE WS | S P RING 2022

NAfME is ME! 2022 NATIONAL CONFERENCE NOVEMBER 2-6 National Capital Area National Association for Music Education

Save the Date for the 2022 NAfME National Conference

We look forward to seeing you at the 2022 conference at the Gaylord National Resort & Convention Center in National Harbor, Maryland, near Washington, DC. Registration will open in April. The theme of the 2022 NAfME Conference is NAfME is ME! NAfME is Music Education, a vibrant diverse community of music educators. NAfME is ME is the unique, valuable contributions, perspectives, and participation that all NAfME members embody every day at the local, state, and national level. Make your plans to network with colleagues from around the world—from collegiate preservice music educators, to those teaching at the PreK–12th grade levels, to those in higher education and research. And enjoy performances by the six 2022 All-National Honor Ensembles. Visit bit.ly/NAfME2022 to learn more.

1-800-336-3768 | memberservices@nafme.org

Cel

G EO R G IA M U S IC NE WS | S P RING 2022

lebrating

Cecil WILDER Though it might be a surprise to some, GMEA Executive Director Cecil Wilder is not a native Georgian. Born in Alabama, Cecil’s family moved around the southern part of the state in his youth. When it came time to pick an instrument in the summer of fourth grade, and his father wanted him to play the cornet. As he was tallest student in that band class, however, his director, Lacey Powell, assisted Cecil in his “choice” of the trombone. Upon enrolling in Wetumpka High School, Cecil planned to discontinue his band studies. A conversation (initiated by Lacey Powell) with Cecil’s new high school band director entirely changed that course of events. As a result, with the encouragement of high school band director, Truman Welch, Cecil began performing professionally at the age of 15 in local jazz and dance bands, as well as traveling shows like the Ringling Brothers Circus and Holiday on Ice. After graduating high school in 1962, Cecil attended Auburn University to major in music education. His college education was funded by scholarships and his gigs as lead trombonist with the Auburn Knights, a well-known college dance band. As a senior, he was tapped into the Kappa Delta Pi Education Society. In 1966, shortly after receiving his Bachelor of Science in Education, Cecil married Ann Romine, another Auburn music education graduate, and took a job as assistant band director with his former high school band director, Truman Welch, in his hometown of Wetumpka.

In 1967, Cecil and Ann moved to Columbus, Georgia, so Cecil could take a job as band director at Rothschild Jr. High School. During this time, he finished his master’s degree in education from Auburn (1970). After teaching at Rothschild for two years, a job opened at Columbus’s Kendrick High School. Mr. Wilder’s tenure at Kendrick lasted eight years. Though busy with high school band responsibilities, Cecil also served as music director, conductor, and arranger for the Miss Georgia Scholarship Pageant, an affiliate of the Miss America Pageant. He played principal trombone in the Columbus Symphony Orchestra and picked up the position as adjunct Assistant Professor of Low Brass studies at Auburn University. During this period of their lives, Cecil and Ann also became the parents of two lovely daughters, Betsy and Deborah. The Wilder family moved to Jonesboro, Georgia, in 1977, so Cecil could take the position of band director at Jonesboro Senior High School. While in his early years at Jonesboro Senior High School, Cecil was elected to Phi Beta Mu National Bandmasters Fraternity. Later, he was nominated for and elected to the position of Georgia Music Educators Association (GMEA) President and served in that capacity from 1985 to 1987. Cecil became a co-director for the Clayton County Youth Symphony and was appointed lead instrumental teacher for Clayton County Schools. Amazingly, considering his many school and professional responsibilities, he also

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

maintained an active- and quite successful- trombone private studio. During his years in education, Cecil was twice named Star Teacher: in 1977, at Kendrick High School and in 1996, at Jonesboro High School. In 1991, Mr. Wilder was among ten teachers selected for the Summer Fellows Program in Music Education at Northwestern University. While there, he studied trombone with Frank Crisafulli of the Chicago Symphony Orchestra, trained in conducting with John

Mississippi (1980), the National Conference of the American School Band Directors Association (1981), the Tri-State Band Festival at Florida State University (1982), The Southeastern States Band Clinic at Troy State University (1983), the MidWest International Band and Orchestra Clinic (1985), JanFest at the University of Georgia (1987), and the Georgia Music Educators Association Conference (five times). This outstanding record of excellence has earned Mr. Wilder invitations as clinician and adjudicator throughout the Southeastern United States and Europe. After becoming GMEA’s Executive Director, Mr. Wilder continued to serve his new population, music teachers, with the same sort of grace, charm, and brilliant wit that had captivated his students. To that end, Cecil was awarded the Georgia Music Educators Association Distinguished Career Award in 2002 and then held the position of President of the Auburn University Band Alumni Association from 2002-2004. He was named an honorary member of Tri-M in 2005. In 2010, Cecil was inducted into the Georgia Phi Beta Mu Hall of Fame. The GMEA Executive Committee, led by then President Frank Folds, launched a successful initiative to have Mr. Wilder named a Lowell Mason Fellow by the National Association for Music Education (NAfME) in 2015.

Paynter, and attended the Arnold Jacobs Master Class. Upon retirement from teaching in 1996, Cecil began his 26-year tenure as Executive Director of the Georgia Music Educators Association. Within the next year, he became lead trombonist with the Atlanta Seventeen, a professional jazz orchestra. Cecil remains an active member of this not-for-profit (as any earnings are donated) organization. Bands and orchestras under Mr. Wilder’s direction accumulated a record of 34 “Superior” and four “Excellent” ratings at GMEA Large Group Performance Evaluations. Mr. Wilder’s bands and orchestras received invitations to perform at the Southern Instrumental Music Conference at the University of Southern

G EO R G IA M U S IC NE WS | S P RING 2022

Those who do not know Cecil well might presume his only passion is music education, a characterization that could not be further from the truth. Cecil lives to travel and has been to all 50 states, plus Europe, Australia, Iceland, Mexico, and New Zealand. Since his wife, Ann, was employed with and retired from Delta Airlines, it was a perfect pairing. His travel fever combines perfectly with a voracious reading habit. A lover of history, science, religion, fiction (author Dan Brown is a favorite) and philosophy, Cecil delves into all types of tomes and then shares his illuminations with those who care to listen and learn. If his propensity for study were not enough to know that he is personification of the words “lifelong learner,” consider Cecil’s love of computers and technology. Many GMEA members do not realize that Cecil Wilder is the person who nudged

GMEA from the paper age into the cloud. As soon as an opportunity presented itself to create a technologybased system, Cecil was on board, and moved GMEA forward with the development of Opus. Lover of all good music, that is Cecil Wilder- and one can have quite a lively debate with Cecil regarding what constitutes “good.” He has an enormous collection of recordings, and unlike many teachers who do not care to listen, that IS what he does. His favorites are classical and jazz. What couples beautifully with recordings? The photography that Cecil also finds appealing. But, above all of these beloved hobbies, Cecil is a husband to Ann, a father to Betsy Stuart and Deborah Disher, and a grandfather to Ben Disher and Evan Disher. He relishes his time with his family and, at least when speaking with those of us who know him best, shares the sense that family takes highest priority. Now, in closing, a hypothetical question to ponder: If Cecil had it to do over again, would he be a high school band director? Though his former life was certainly band-heavy, would he take the sideways leap

toward high school orchestra if he were starting now? Those who know and worked with him during his years as Co-Director of Clayton County Youth Symphony are aware of Cecil’s love of orchestral literature. High school orchestra music is excellent, the hours are much better than those of a high school band director, and, realistically speaking, there is a great deal less dust to worry about. Another interesting discussion point might be whether he would be in a history classroom rather than on the fine arts hall. Cecil’s range of knowledge would render him a master in either department or, in fact, at almost any educational task he undertook. It was reassuring to have this learned man at the helm of GMEA, knowing that for so many years our organization was on solid financial footing and that profound and discerning advice was but a phone call away from numerous inquiring officers. What can GMEA members say about the man who signed on when things were truly bleak, then brought the organization to one envied by most other states? Cecil, you’ve been a statewide treasure.

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

G EO R G IA M U S IC NE WS | S P RING 2022

Cecil WILDER

tributes Long, long ago and far away, I had the pleasure of teaching with Cecil at Jonesboro High School. We taught together for seventeen years, and it was an amazing experience. I cannot possibly describe the awe that I had for him. Cecil is one of the most brilliant, musically talented, and creative people I have ever known. I was always thrilled at how well his bands played. He would prepare the kids and they would knock the socks off their judges at LGPE and other competitions. His students loved working for him. They would get a total kick out of his remarks to them during class, or after school practice, and had a running comment board called “Wilder’s witticisms.” No matter what his position, Cecil is first and foremost a family man. He is devoted to his wife, Ann, both of his girls, Betsy and Debbie, and he adores his grandchildren. I witnessed this dedication to his family, as his daughters attended Jonesboro High School and were part of his band program. In 1996, as President of GMEA, I hired Cecil as the Executive Director of the organization. He has served our membership with integrity and enthusiasm. I am deeply grateful for his service and know that we have been in very capable hands during his tenure. DIANE WOODARD, 1995-1997 GMEA PAST PRESIDENT I offer my heartfelt congratulations to Cecil on his retirement. Cecil has been a champion for music education and will leave behind a great legacy that deserves recognition, celebration, and applause. This profession that we dedicate so much of our lives to is not void of stress. At times we find ourselves stretched so thin. Cecil always seemed to handle stressful situations with great poise and control. In one stressful moment of my presidency, Cecil offered one of his musings or “Cecilisms.” “It is a lot easier running the circus, if you don’t also have to be a clown.” That memory still makes me laugh today. Cecil, I hope you enjoy your retirement and have many opportunities to “clown” around with all your loving family and friends. 1997-1999 GMEA PAST PRESIDENT, ELDEN MOATES

I first met Cecil Wilder in 1982, when I was a first-year teacher at Morrow High School in Clayton County. As a new teacher, I was so fortunate to be surrounded by master band teachers…. David Gregory, Larry Volman, Ed Davis, Ron Biffle, Bill Swor, Michael Puckett, Frank Tanner, Julian Creamer among others…and, of course, Cecil Wilder. So many of the Clayton County programs had performed at the GMEA conference and at the Midwest…all incredible programs. Cecil was always so incredibly approachable and helpful to a young teacher who had very little knowledge about “band”. As I began my involvement with GMEA, first as state Band Chair, then Vice-President and eventually President, Cecil was the calming force, always available with expert advice and sage wisdom…that was always…ALWAYS…spoton. Cecil’s institutional knowledge of GMEA is unmatched… and his shoes will be impossible to fill. The legacy he has created will live on for many generations. I have learned so much from watching Cecil lead an organization and for that I am eternally grateful. A job well-done, Cecil! On to the next great chapter! RANDALL COLEMAN , 2001-2003 GMEA PAST PRESIDENT I first met Cecil in 1977, when I left Jonesboro High School as assistant band director to open Adamson Junior High. That is when Cecil began his long tenure as head director at Jonesboro High. At that time Cecil was the music director for the Miss Georgia Pageant and arranged most of the music for the contestants. I immediately realized his compositional talents, as he turned out the arrangements very rapidly; all being very fine. I had the great fortune to be asked by him to play bass in the Miss Georgia Pageant Orchestra for a couple years. One of my fondest memories was playing brass quintet music with him and several other Clayton County band directors. Cecil, Ann, Marcia, and I were also charter members of the Jonesboro United Methodist Church orchestra started by our mentor, Lloyd Tarpley, in 1988. Cecil’s leadership as Executive Director of GMEA since 1996 has been exemplary. He was always on the cutting edge with technology and his vision was second to none, coming up with time and money-saving ideas. For example, GMEA was GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

one of the first MEA’s in the country to go paperless. Cecil also has superior intellect and was able to recall EVERYTHING. I vividly remember receiving a phone call from the GMEA nominating committee chair in 2002 asking if I would consider running for President. My response was, “I’ll let you know tomorrow.” I immediately called Cecil to make sure he wasn’t planning to retire. As members of GMEA, we have all benefited from Cecil’s knowledge, vision, and leadership. Thank you, Cecil, for your wisdom, foresight, and guidance. ED DAVIS, 2003-2005 GMEA PAST PRESIDENT I first met Cecil in my first year of teaching in the Fall of 1982 while teaching an orchestra class in his band room at Jonesboro High School. In the 40 years since then - through my years teaching in Clayton County and in GMEA leadership positions - Cecil has been a friend and mentor and always a great source of wisdom and wit. A conversation with Cecil is always a treat and I look forward to even more Cecil conversations as he moves on from the GMEA Executive Director position. GMEA is one of the nation’s strongest MEA’s because of Cecil’s steady guiding hand - thank you for all you have done for all of us! DR. RICHARD BELL, 2007-2009 GMEA PAST PRESIDENT One cannot hold a GMEA State position without being in significant contact with Cecil- especially during the first year in office. Though I called him constantly when I was Vice-President of Performance Evaluations to ask his opinion about tough decisions, Cecil always took the time to thoroughly vet each situation. He never told me what to do, but simply showed me the possibilities that could result from each decision. Though I already valued our friendship from our years together in Clayton County, working with Cecil as GMEA President and as a member of the Executive Committee led me to a new understanding of and appreciation for his sense of fiscal management, expertise at working with people, facility in running a very large MEA, not to mention his amazing ability to pull up the correct quote for every situation. Cecil was rather legendary at national Executive Director meetings, and though he attributed that to his unforgettable height, I know it was because of the same “Cecil” qualities I so admired. Cecil has been an unforgettable mentor and I prize the time we spent together. DR. BERNADETTE SCRUGGS, 2009-2011 GMEA PAST PRESIDENT

G EO R G IA M U S IC NE WS | S P RING 2022

Cecil, thank you seems inadequate for my appreciation of you and your tenure as Executive Director. For every office I have held at the state level, you have been a mentor, sage, and friend. I wish you all the best in whatever comes next. God Bless you! FRANK FOLDS, 2013-2015 GMEA PAST PRESIDENT When fate or destiny led me to Georgia a number of years ago, it was quite a new experience with this Music Educators Association. I stepped into an effective, well-oiled machine of an organization that held its membership in the highest regard. GMEA existed to ensure that music education was made available to every student in the state. That kind of mission, commitment, and dedication to music education can only come from the top down. I became acquainted with the source of that leadership in Cecil Wilder. The dedication I saw in him became a motivation and inspiration to me to take up that mantel as a music educator and do my best to see that music found its way into the very soul of every student who came through my door. I became involved in the organization and some years later found myself on the threshold of President-Elect of GMEA, preparing to lead as President. As my term began, I consistently looked to Cecil for guidance and direction in how best to serve in that capacity. With patience, kindness, and an occasional telling grin, he would gently guide me though the currents and eddies of leadership and decision making; always and only for the betterment and edification of the organization, its members, and the young lives that we each encountered every day in the classroom. Cecil Wilder embodies the vision and mission of the Georgia Music Educators Association. It was that role model that stays in my sights daily as I serve as an officer of this wonderful and effective organization and to stand by the side of its gifted and passionate Executive Director. Thank you, Cecil for making a difference, not only in the young lives that sat in the classrooms, but in the lives of those of us who stood before them each day. DR. JOHN ODOM, 2015-2017 GMEA PAST PRESIDENT

I met Cecil Wilder when I was an undergrad and since that time, he has been an incredible mentor. His acts of service to our profession inspired me to get involved and serve in the same way. I attribute many of my accomplishments to Cecil’s support and encouragement. While traveling to the NAfME

National Conference with Cecil, I became even more assured of his reach and impact, as people from all over the country spoke to him and asked for his input. In the future, when thinking back on the time I worked closely with him, I am certain I will remember some of his more notable “Cecilisms,” including two of my favorites: “Nothing is foolproof to the well-trained fool," and "Make an exception and a line forms." EVELYN CHAMPION, 2017-2019 GMEA PAST-PRESIDENT

Another whispered sentiment from a GMEA Board Meeting: "This is a really good solution to a problem no one knew we had." "The guy that invented fiberglass sousaphones had to be the same guy that invented one-ply napkins." I don't recall the context of that comment- it was probably just mentioned in a chat. DR. KERRY BRYANT, 2013-2015 GMEA ALL-STATE VICE PRESIDENT

I would like to thank Cecil for his outstanding service to our association. I have long admired his levelheadedness, his great vision, his dedication to excellence in all our areas, and the prudence with which he handled GMEA's financial wellbeing. I have met only a few educators who were outstanding in so many areas. He always had ideas when problems arose. I will be forever in his debt for the many times he helped through challenging situations when I was Orchestra Chair. Thank you, Cecil! DR. JAMES BARKET, ORCHESTRA DIVISION STATE CHAIR, 2005-2007 I was so lucky to be able to become friends with not only Cecil, but also his family, including his lovely wife Ann, and both his amazing daughters. Betsy, his eldest, was a graduate assistant with me in band at University of South Carolina and Deb, bless her heart, ran my color guard at Jonesboro High School when I took over that band program from Cecil. I will always remember some of the really funny one-liners that Cecil said. He probably will have no recollection of ever having said several of these, and that's because he says them all the time when you're around him! But here are a few that I remember, probably slightly different from verbatim because of the years that have gotten by... "Only folks I know who like change, are babies with wet diapers." He said that several times, when modifications were made that GMEA membership was less than thrilled about... "Me thinks he doth speaketh much and sayeth nothing." Cecil leaned over and said that to me in a meeting once. I spent the rest of the meeting laughing to myself...

Cecil Wilder has been an integral part of the GMEA family for many years. First as a teacher and member, and then as the executive director. I remember the first time I heard him talk about GMEA and its history, I thought ‘wow, he really knows a lot about our organization!’. I am always amazed to hear the stories that Cecil shares and the wealth of knowledge that he holds for GMEA. I had the pleasure of serving with him on the executive board several years ago and enjoyed learning from his extensive knowledge and experience. Congratulations to Cecil on this huge milestone!!! 2017-2019 GMEA ALL-STATE VICE-PRESIDENT, AMY CLEMENT When thinking of Cecil Wilder, my mind often returns to a gymnasium in Clayton County in the 1980s. The Jonesboro Symphonic Band was performing La Belle Helene at festival, and I remember being impressed by the music being made on the "other side" of the county. I was a young tuba player at North Clayton Junior High and my dad had taken me and some of my friends to hear the high school bands. During the four decades since, it has become clear Cecil is one the wisest people I have ever known. Following every meeting or conversation, I found myself reflecting on the things Cecil had just taught me. The last several years have provided me more opportunities to speak with him one on one, and those conversations continue to be enlightening. GMEA has truly benefited from his leadership, but since I was a kid, I have simply benefitted from having known Cecil Wilder. 2019-2021 GMEA ALL-STATE VICE-PRESIDENT, ALAN FOWLER

When I was describing to him how a particular trumpet player I heard in a band show sounded, Cecil declared, "That's a sound that cuts steel at fifty yards."

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

Whilst attending Jonesboro Senior High School (JSHS) in the late eighties and early nineties, I was a member of the Clayton County Youth Symphony. I was one of those so fortunate to learn from and work under the baton of Mr. Cecil Wilder. He was always very “honest” at the podium. He did not sugarcoat any musical problems, nor did he ever ignore any of them. The corrections could seem stern, but we knew we were becoming better musicians because of them [him.] Our Orchestra class met in Mr. Wilder’s JSHS Band Room during his planning period. He would often share his insights, discuss the news, and tell jokes to us “string students.” He would occasionally serve as a substitute teacher for our class when necessary. More so, what I remember most, is that he shared his love of the beauty of string instruments. He made us feel just as important as his amazing Bands were. For the last 25 years, I’ve had the honor and privilege of working with him through various GMEA positions and have always enjoyed my one-on-one discussions with him at the numerous GMEA Office Buildings, on the phone, in online sessions, and at our In-Service Conferences. I am so appreciative of what Ceil Wilder has done not only for me personally, but for so very, very many students, parents, teachers, administrators, and government officials – all for the betterment of music education in Georgia! SAM LOWDER, 2019-2021 GMEA STATE ORCHESTRA DIVISION CHAIR

When I look back on my years of teaching choral and general music, I see a distinct method for infusing my teaching with enthusiasm and professionalism, continued study, professional development and memberships in professional organizations. As the most visible of professional organizations, GMEA was intricately woven through the school calendar as a standard towards excellence in teaching. How would my days in the classroom have played out without the annual GMEA January Conference reprieve and renewal in Savannah, 6th Grade Honor Chorus, District Honor Chorus, and All State events? What would my professional life been like without the opportunity during these experiences, to build strong friendships and professional collegial relationships? Thankfully, that was not to happen! And so now, as a retired music educator, I offer my sincere gratitude and thanks to GMEA, which as an organization, offered so many opportunities for us all. During my tenure, GMEA had been blessed with a solid office staff, strong volunteer leadership, and most importantly, the expert consistency of the Executive Director, Cecil Wilder. Cecil

G EO R G IA M U S IC NE WS | S P RING 2022

had a natural warmth and humor that harnessed the intensity and passion in the elected leadership and general membership, helping to make GMEA creative, positive, and productive. I remember sitting in leadership and convention meetings as a new chairperson watching the GMEA “machine at work” with honest admiration and respect for all involved. Cecil greased that wheel. We felt efficient and things got done. I was honored to attend a couple of NAfME, then known as MENC, national leadership conferences. With pride, I listened as GMEA was held up as one of the largest and most active state organizations. Cecil represented our state with intelligence, clarity, presence, and not a little Southern charm. Finally, I remember Cecil fondly as one of the best story tellers and historians of music education. It was good to savor the vivid stories of past music educators. Perspective was gained when you heard stories of others who have dedicated themselves to the profession. Cecil had the memories and could spin the stories to enthrall ready listeners. And now, we honor Cecil among those greatest of educators as one who has, for countless years dedicated his life to GMEA, Georgia music educators, and students. Thank you, Cecil, for the ways you have touched and blessed us all. Thank you for challenging us, for believing in us, and for pointing GMEA towards a solid, bright future. MARY BUSMAN, FULTON COUNTY CHORUS AND GENERAL MUSIC, RETIRED As historians look back over the era that Cecil has led GMEA, they will see a time of great demands that were met with determined leadership. Cecil successfully helped our association navigate through some treacherous changes in Georgia's educational expectations, as testing became a primary measurement of education. Changing times normally call for changing leadership, but Cecil proved more than equal to the new tasks laid on our association, guiding each newly elected set of officers to help our association "adapt and overcome." While many areas in our association have benefitted from Cecil's leadership, two stand out to me. Many newer members may not be aware that at one time, paper and postage were the largest single budgeted expense for our association. Cecil skillfully guided us into the electronic age and brought in the OPUS program that would eventually take on the task of all the mass of forms and communications our growing association would need to survive in the 21st Century.

Also, under Cecil's leadership, we were able to standardize our district LGPE's by creating trained Head Adjudicators that made sure GMEA Procedures were followed. As Cecil retires, he leaves our association on solid footing, prepared for the challenges ahead.

colleague, mentor, and above all, a dear friend. Cecil has always been there for me whether it be to offer advice, lend a listening ear, or offer a shoulder to cry on. I am a better person for having known him and I wish him all the best life has to offer.

DERIK CLACKUM, GMEA HISTORIAN, 2013-2022

KATHY SAUCIER, GMEA HEAD ADJUDICATOR-ORCHESTRA DIVISION

I came to know Cecil Wilder early in my career at Georgia State University. I filled multiple roles on various GMEA boards as I transitioned into life in Georgia and academia. Cecil welcomed me into those roles as an equal partner, even though I had less "Georgia-specific knowledge" than anyone around me. This model of subtle, gentle mentorship informed my later work when I would welcome students and colleagues from other states and countries to GSU. Boards of Directors and professional associations can be exclusionary; Cecil made certain that GMEA would, instead, embrace and nurture all music educators at all points in their careers. Bravo!

Among the many people who pass in and out of our lives are a special few who leave a lasting impression. Cecil, you are an exceptional music educator whose service to GMEA will impact myriad teachers and students for generations to come.

DR. PATRICK FREER, PROFESSOR OF MUSIC, GEORGIA STATE UNIVERSITY, CMENC ADVISOR

Congratulations to Cecil Wilder for his amazing journey as the leader of our state music organization. We cannot thank you enough for your commitment and dedication. You truly gave of yourself for music education. Your many years of service and love of GMEA and what it stands for can never be overstated. I will never forget, during my graduate school experience in Chicago, hearing many colleagues from around the country speak highly of the Georgia Music Educators Association. That is indicative of great leadership. Thank you, Cecil, for keeping this big machine running and advocating for the importance of music education. Enjoy your second retirement and take pleasure in the memories of all the lives you have touched! REID HALL, RETIRED BAND DIRECTOR, EVANS HIGH SCHOOL, COLUMBIA COUNTY

It is impossible for me to put into words how much Cecil Wilder means to me. I first met him over 30 years ago when I was just beginning my teaching career. He has been a

ANDY BELL, GMEA DISTRICT 1 CHAIRMAN, RETIRED I encourage you to enjoy retirement, again! DR. ADRIAN FORD, BAND DIRECTOR, ML KING MIDDLE SCHOOL To ALL GMEA members, all music students, and their families across the state, We should all hoist a glass of iced tea in the general direction of Cecil Wilder. The state of music in Georgia is quite strong thanks to the tireless efforts of Cecil these past 20+ years. To try and count the number of musical concerts and events that have come under his and the GMEA umbrella for these many years would be a herculean task to tabulate. His scope and the endless grey-haired wisdom that he brought to the task, helped keep our organization from the brink of collapse more than once. He guided us through many legislative sessions where he made sure everyone knew that music MATTERS. He helped navigate through the tough times of 911, the real estate collapse, moving convention to Athens and, most recently, the pandemic. He did so with a calmness and sweet, wide-faced grin that let all of us know that it was “gunna” be okay. As a young teacher in the late 1980’s, I left my home state and moved to Georgia. I longed to belong to a positive teaching climate where master teachers would help us young pups learn the business of being great music teachers. Many of us found wonderful leadership from Cecil and others around GMEA. I learned many of the “tricks of the trade” from Cecil and other Clayton County mentors. The “tricks” I picked up; I still use today. I will always be grateful that Cecil and his colleagues shared so willingly the way we can use music to help shape the lives of our students. Cecil’s band program

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

was one of the finest in the state at the time. I wanted mine to sound like that and he was willing to help. Thank you, Cecil, for your willingness to share your talents with the young pups like me and countless others. Lastly, I would be remiss if I didn’t also thank Ann and the rest of the family who have shared Cecil with our entire state for these many years. I pray they get to spend some good quality time with the man we have stolen from them for these many years. MATT FULLER, GMEA HEAD ADJUDICATOR-BAND DIVISION I wanted to thank you, Cecil, for your years of service as Executive Director. I really appreciate your quick responses to emails and your kindness to teachers. I always felt that I had a friend in you at the GMEA office! Our organization will be bereft without your guiding hand and willingness to be helpful. DEBBIE LOONEY, GMEA HEAD ADJUDICATOR-CHORAL DIVISION Congratulations, Cecil, on your retirement as Executive Director of GMEA. Thank you, for your many years of service to GMEA, and to the teachers and students of Georgia! Of the many tidbits of wisdom I heard from you, I will always remember your reminder to the GMEA council to put students first when we made decisions. I tried to remember these words first and foremost in my teaching. When I put the kids first and did what was best for them and their orchestra experience, everything else fell in place.

G EO R G IA M U S IC NE WS | S P RING 2022

Thank you for impacting my career in such a positive manner! As members of the GMEA family, we send you along with well wishes as your new life pages are written. Congratulations on your next adventure! SYDNEY MELLARD, GMEA HEAD ADJUDICATOR-ORCHESTRA DIVISION

I wish you all the best in your retirement years. Thank you for your dedication and hard work to help us strive for excellence in youth symphony and marching band. I have a lot of good memories from those days. I loved the trips to Williamsburg, Savannah, etc., to the many hours of hard work on the grounds of Jonesboro High School. Thank you for your support and encouragement. ALICIA T. POWELL, LOVEJOY HIGH SCHOOL ORCHESTRA Cecil, you were my trombone private lesson teacher in high school and Ann was my assistant band director while I attended Fayette County High School. You and Ann were such huge supporters of me, not only in high school but also during my career as a music educator. I also greatly appreciate you for your assistance and advice during my three years as the GMEA Band Division State Chair. Your love for music in Georgia runs deep and you have touched many lives over the years. Thank you for your service! NEIL RUBY, GMEA PRESIDENT-ELECT, 2023-2025

Cecil, thank you so much for your many years of service, guidance, and expertise regarding all things GMEA. I appreciate your strong leadership as Executive Secretary/ Treasurer for our state music organization. During your tenure, you have continued to move GMEA forward while at the same time honoring the traditions set forth by previous leaders and music educators. You have always managed to see the whole picture regarding music education in our state. Thank you for being a "gentle giant" leader for Georgia Music Educators Association. CANDY WHITE, GMEA HEAD ADJUDICATOR-BAND DIVISION Thank you for all the “Cecilisms,” words of encouragement, and genuine caring. You will be greatly missed, my best boss ever!! I’m wishing you only the very finest of what is to come!

Cecil, no doubt there are those who will be able to celebrate all of your achievements as peers and co-workers in ways that we never could. However, we're grateful to have known you in more of a personal way in and out of the office. The fact that you always have supported our desire to keep our family first is something we are incredibly appreciative of and will always cherish. A lasting memory that we will always hold dear is when we came to the office after receiving some devastating news. Rather than asking questions you just went in for a comforting hug. Proof that the little things really do matter. Thank you for letting us learn and grow over the past 15 years. Hopefully we'll get to see your journey evolve into something grand! BRANDIE + RYAN BARBEE, GMEA STAFF

ALETA WOMACK, GMEA BOOKKEEPER

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

I N

M E M O R I U M

DR. GWYN SPELL

Beloved GMEA member Dr. Gwynelle M. Spell died on January 13 in Panama City, Florida, due to complications of Parkinson’s disease and Dementia. Gwynelle Mashburn Spell was born on August 2, 1941 in Panama City, where she graduated from Bay High School and Gulf Coast Community College of Panama City. Dr. Spell earned a Bachelor of Music Education degree from the University of Montevallo (Alabama), a Master of Music Education degree from the Florida State University, and a Doctor of Education degree in music from the University of Georgia. During her impressive 33-year career, Dr. Spell taught students of all levels, from pre-school through college. She began her teaching career at Everitt Junior High school in Panama City then served on the faculty of Valdosta State University and the University of Georgia. While teaching at Valdosta State, Dr. Spell was invited to address the 1974 graduates of her alma mater, Gulf Coast Community College, becoming the first woman to speak at a GCCC commencement. Dr. Spell later held the position of Supervisor of General/Choral Music

G EO R G IA M U S IC NE WS | S P RING 2022

for Cobb County. In her 12-year tenure as music supervisor, Dr. Spell supported music programs in 88 schools that served more than 80,000 students. Upon retiring from her supervisor role, Dr. Spell continued to share her music education expertise as a presenter and clinician for Silver Burdett Ginn Publishing Company. Throughout her career, Dr. Spell was also an active church musician, festival adjudicator, clinician, and presenter. She served as a director for the GMEA Junior High All-State Chorus and the Statewide Elementary Honor Chorus. In addition to her many contributions as a music educator, Dr. Spell also held several leadership roles within GMEA. She was a member of the Executive Committee for seven years and served as president from 1991-1993. She was also the recipient of the 2001 GMEA Distinguished Career Award recognizing her significant career achievement through outstanding contributions to education through music. Donations in honor of Dr. Spell may be made to First United Methodist Church of Panama City, Bay Arts Alliance, Panama City Music Association, or any institution that provides music education.

RE MEM B ER I N G D R. SPELL Where do we start to talk about a respected friend that we loved and treasured? My wife, Carol, and I met Gwyn in Athens, GA, in the fall of 1977 when we moved into the same apartment complex to start graduate school. Gwyn had come from a masters’ degree at Florida State University and teaching career at Valdosta State University to pursue her doctorate and was a vivacious, caring, and wise woman with whom we started a wonderful, life-long friendship. Happy were the Friday nights we bonded over a poorfull-time-graduate-student potluck of what we had in our refrigerators! Gwyn and I spent long hours discussing ideas and processes for music education research. We shared a great many interests beside music: art, history, antiques, travel, and a general curiosity of this world in which we all live. As we moved to Spartanburg, SC, to start our music teaching careers and Gwyn went to Cobb County schools as the supervisor of choral and general music, we called and wrote to each other often and visited as often as hectic music-teaching and performing schedules and distance allowed. Many years of dinners, concerts, music conferences, art shows, and other travel adventures ensued, and we finally rejoined one another in Atlanta in 1999. Gwyn made everyday things special and memorable – a glass of juice over breakfast or brunch often came poured in her best stemware. And she often remarked that music education had given her unimaginable (in her youth) opportunities for travel, meeting people, and experiencing the world, such as her performance trip to Europe with a UGA choir one summer.

former president Jimmy Carter when she retired from Cobb County in 1996. Never one to rest on her laurels, she spent the next few years traveling the country and sharing her knowledge in music teacher clinics for Silver Burdett Ginn Publishing. She finally completely retired back to her beloved Panama City, Florida, where she was born and raised, to be with her extended family. As she undertook a house-building project on a lovely lake, her normal learning curiosity kicked in. She visited almost every day at the building site, taking refreshments to the workers so they would know she appreciated them and they would do their best for her, and also learning how her new house was put together from the foundation up – parts of the house she would never see again once it was finished. She stayed involved in music through the First United Methodist Church, the Panama City Music Association, and the Bay Arts Alliance. To sum it all up, our cherished friend, Gwyn Spell, was a curious life-long learner, a person of faith and generosity, and a fervent believer in the power of music education. She did an extraordinary job empowering thousands of youths, along with many other music professionals -- as a teacher, administrator, clinician, and GMEA member and president. She lived a fulfilled and fulfilling life and is a wonderful role model for us all.

Carol Spell, Southeast Director of Quality and Learning, Ernst & Young LLP, Retired, and

Mike Spell, Orchestra Director, DeKalb School

Gwyn was recognized numerous times for her contributions to music education, including by the Georgia chapter of the American Choral Directors Association’s Wendall Whalum Award in 1996, by GMEA as president from 1991-1993, and with the Distinguished Career Award in 2001. Her contributions were recognized with letters from several U.S. congress representatives and

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

RE MEM B ER I N G D R. SPELL I could list all the milestones of Gwyn’s career and impress with the myriad roles she played in the music education world. That would not capture the essence of Gwyn. She wasn’t the least bit vain about her accomplishments, so I would rather try to capture her qualities as a leader and especially as a friend.

At Gwyn’s in-service meetings for the Cobb County choral and/or elementary teachers, she had numerous door prizes. She got fabulous contributions from local merchants/music stores/ food chains etc. So, most attendees went away that day with something special. The meetings were lively and informative.

Gwyn had a knack for bringing people together. As a leader, she nudged rather than directing, inspired rather than ordering. She was the embodiment of a leader. As president of GMEA, she molded an especially cohesive team of division chairs. We planned and commiserated, but she gave us the gifts of enthusiasm, confidence, and good humor. We laughed as much as we worked.

When she was GMEA president, Gwyn invited the Big Chicken Chorus to sing for GMEA conference. It’s the only time I recall that genre being included. They were quite good and lots of fun!

People gravitated toward Gwyn because they knew she cared. (And she was especially good at “herding cats”!) She cared about excellence in music education. She cared about her colleagues’ well-being. She nurtured the teachers she supervised. When you worked under her guidance, you knew she had your back when things went off the rails. We all followed her lead because we knew she truly cared about us personally. She was a mentor, a supporter, and an exemplar. One of the blessings of life is to work and play alongside someone whom you admire and love. I am privileged that I could call Gwyn my friend. That enduring bond lasted for almost forty years through our working years and our retirement. She called a small group of us the “treble makers.” We did get into some good “treble” together! She was one of a kind, and she will have a special place in my heart forever.

Susan Merritt, ASO Vice President for Education, Retired, and Gwinnett County Schools Fine Arts Coordinator, Retired

During her presidency, the 1996 Olympics was the MAJOR event in the USA as well as Atlanta. She invited the Atlanta Olympic Band to perform for a special session. In their beautiful uniforms, these superb musicians surrounded the audience playing stately Olympic themes. The percussionists rose from the pit, and the wind instruments played from the balcony as well as surrounding us in the theater. Also, the Olympic symphonic band played concert selections on stage. All of it was thrilling. Gwyn was super organized and a dedicated worker for Cobb and GMEA. I never worked in Cobb County but met Gwyn in grad school at UGA, was a friend, and served as a guest clinician for various in-service meetings, etc. I know she had high expectations of all who worked in the county. She expected people to work hard!

Janet Johnson I met Gwyn many years ago at a musical convention in New Orleans. We were at Pat O’Brian’s with mutual friends. Someone in our group asked her to sing with the pianist there. Up she got and gave quite the performance! Fabulous…. Gwyn had such a wonderful spirit! She was funny, smart, talented and caring! She followed through on any job she started. She was a great leader and GMEA was lucky to have her! When Gwyn was music supervisor in Cobb County, she gave the job 100%...I feel so lucky to have had her as my friend and colleague, and I truly miss her!

Judy Pritchett, Henderson High School 34

Choral Director, Retired G EO R G IA M U S IC NE WS | S P RING 2022

(L-R) Susan Merritt, Judy Pritchett, Janet Johnson, and Gwyn Spell

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

THE STORY OF HOW TWO BANDS BECAME ONE FAMILY

W R I T T E N

T R AV I S

D OW N S

Last spring, head directors Patrick Erwin at Hillgrove High School and David Roth at Kell High School, both located in Cobb County, Georgia, were planning to take their programs to Hawaii together to participate in the 2021 Waikiki Holiday Parade. Because the programs were similar in many aspects, the directors decided to take things a step further – combining their bands into one marching band unit for the entire 2021 fall marching season. And thus, “KellGrove” was born. Coming back from the 2020 Covid school year, both Erwin and Roth wanted to create something fresh, unique, and exciting for their students. Talk about thinking outside the box!

G EO R G IA M U S IC NE WS | S P RING 2022

They announced the new adventure to their students late last spring. What is remarkable about this story is the show design itself. Hillgrove percussion director Chris Romanoski had the idea of selecting music celebrating the Hawaiian culture for the trip. After several ideas and conversations amongst staff members, they landed on the perfect concept.

“The show was called ‘Ohana and reflected the coming together of two different groups spread 15 miles apart,” said Roth. “It was truly a collaborative effort that reflected our desire to expand our family. ‘Ohana means the family you choose, and this year we have all added loved ones and treasured friends from across the county into our family.” How did they make it work? Planning, planning, coordinating and more planning. Erwin and Roth first discussed their programs’ strengths and weaknesses with Will Pitts, their music arranger, to ensure solid ensemble arrangements. They took special care to coordinate with both percussion directors to balance out the battery, acoustic, and electronic front ensembles. Both head guard instructors collaborated to coordinate staging and visual work between the two guards. Erwin and Roth had the drill arranged in such a way that both groups could stand alone in the beginning stages of the show, becoming more integrated as the show developed, and could still perform each Friday night at their respective football games independent of each other. Leadership teams from both bands met in mid-July and began with some bonding activities. The bands met separately during part of their band camps, but then combined on some days. Both bands also participated in bonding activities when they met during band camp. Parents were highly involved, providing support not just for the kids at their school, but

taking care and ownership of all the students. Roth and Erwin communicated daily, sharing notes of their progress from rehearsals and setting weekly goals with their students and staff. “Kell and Hillgrove didn't have the same exact weekday rehearsal schedule,” said Erwin. “We were on Mondays and Kell had sectionals some Mondays. Every single Monday, one of Kell's staff members, Bryan Hopps, would come to Hillgrove to help out. He just wanted so much for the kids to be good that he donated his time to us.” The staff collaboration, which took place in the pre-planning stages and beyond, between both schools laid the foundation of “family” and carried over to the members, truly bringing ‘Ohana to life. What was the best part of this experience? Erwin and Roth answered the question in unison. “Seeing how the students came together,” they said. “It was so emotional. Watching the friendships and relationships grow, knowing we gave our students this opportunity. It was special.”

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

Special thanks to Patrick Erwin and David Roth for sharing this story with us and creating an incredible opportunity for your students, expanding “family” between two communities.

HILLGROVE BAND STAFF:

Patrick Erwin and Jeremy Lumpkin - Directors Lori Sweet - Director of Operations Chris Romanowski - Percussion Director Kyle Parciany, Ben Mayton, Jacob Morris Percussion Staff Mary Romanowski - Guard Director Megan Baker - Guard Staff Steven Bontempi, Jared Geer, Daniel Park, Akaash Patel - Band Staff

G EO R G IA M U S IC NE WS | S P RING 2022

KELL BAND STAFF: David Roth and Taylor Watts - Directors Drew Tucker - Percussion Director Taylor Poole - Percussion Staff Rebekah Chadderdon - Guard Director Sharon Gustafson - Guard Staff Andrew Solomonson, Bryan Hopps, Paul Dickinson, Billy Ryan - Band Staff

S T R A T E F O R T E

WIND IN NTO CHRIS JOHNS

E G I E S A C H I N G

D BAND ONATION INTRODUCTION

DEVELOPING MUSICIANS FIRST

I define intonation as the perception of pitch accuracy in relation to a reference pitch, melody/interval, or harmonic setting. Intonation is regarded in scholarly literature as an important, but challenging teaching concept among band directors (Powell, 2010; Scherber, 2014). Sound travels in waves in which higher pitches create faster frequencies and lower pitches create lower frequencies. When these frequencies do not match in either a unison or ratio series, audible “beats” occur, which is what is perceived as “out of tune”. This article explores background information, considerations, and instructional tools and strategies for band directors to become more comfortable with teaching wind band intonation.

Audiation is a term created by Edwin Gordon which refers to “the ability to hear and understand music for which the sound is not immediately present or may not have been physically present” (Gordon, 2001, p. 3). As educators, we have to balance the teaching of instrument mechanics with the internal realization of music. In my opinion, we should teach students to be musicians who so happen to play instruments. Developing internal music skills can be compared to adding tools to your students’ “tool-belt,” in which it is never too early to incorporate lessons that develop audiation, ear training, and comprehensive musicianship.

EQUAL TEMPERAMENT:

divides the musical octave into twelve equal semitones. When "cents" are seen on a tuner, this is a unit of measurement that divides each semitone by one hundred.

JUST INTONATION:

compares notes using small whole number ratios; tends to sound more pure and consonant

Singing is one of the few ways we can assess audiation, which, in the culture of your class, program, and vertical alignment, is paramount. Singing not only benefits pitch awareness, but also many other musical concepts such as tone, expression, and articulation. To encourage singing in the band classroom, band directors should consider meeting students at their comfort level and building upon that. Practical examples include starting with resonant humming while listening to a drone, then gradually progressing to an open singing syllable (ex: ah, oh), and

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

PRACTICAL EXAMPLES AND SUGGESTIONS GRADE LEVEL

INSTRUCTIONAL STRATEGIES FOR AUDIATION (SPECIFIC TO INTONATION)

MIDDLE SCHOOL

-Refer to the terms pitch, high(er), low(er), contour, and regularly talk about the melodic line and how it ascends and descends -Doing activities where students identify when two notes are matching pitch, Ex. A drone with a trombone -Regularly listening to/evaluating music performances -6th grade is the perfect time to incorporate singing, make it a regular thing! -Consider this sequence when learning a new line in a method book: 1. Clap/Tap/Count the Rhythm 2. Clap/Tap/Say the Note Names (encourage students to sing the melody as they’re saying note names) 3. Students air play (or buzz) while instructor plays (used to demonstrate tone, not to rote-teach) or with just a metronome (encourages students to think through the line) 4. Students perform the line

HS INTERMEDIATE

-Students regularly hum/sing (with proper voicing) for instrument calibration -Students are asked to hum or sing tonic of a chord that the ensemble is performing

HS ADVANCED/MASTERY

-Students regularly sing for pitch accuracy, tuning, expression, etc. -Students are able to sing intervals above given pitches -Students regularly sight-sing through chorales with correct pitch accuracy before performing them

TONE QUALITY AND IN TONE ATION INSTRUMENT TUNING TENDENCIES Pitch as a musical concept is simply the highness or lowness of a tone. While it is possible for a group of performers to have poor tone quality but still play in tune (and vice versa), for the purposes of pedagogy, teaching, and developing comprehensive musicians, developing audiation skills in combination with developing tone improves individual and ensemble intonation. Regarding tone, band directors should focus on proper setup, equipment maintenance, and quality breathing techniques. While tone can be a difficult concept to develop long-term, it is recommended for band directors to establish the positive and use as a means of comparison when extending the students’ range in both descending and ascending patterns. Additionally, it is important for directors to individually hear students over the course of the semester to give differentiated tone information. 42

G EO R G IA M U S IC NE WS | S P RING 2022

It is important for wind band educators to be as prepared as possible regarding the knowledge of each instruments’ tuning tendencies and to be aware of equipment-specific tendencies, embouchure/voicing adjustments, the effect of dynamics, physical environment, and mutes. While this knowledge should be communicated to students, if they are developing comprehensive musicians who can audibly hear and recognize “sharp/flat/in-tune,” they often can determine these tendencies on their own. Having students complete tuning charts (Garofalo, 1996) is also helpful, especially if you need an individual learning assignment.

INSTRUMENT TUNING TENDENCIES - WOODWINDS

INSTRUMENT TUNING TENDENCIES - BRASS

INSTRUMENT CALIBRATION Instrument calibration is determining the appropriate “length” of the instrument to minimize pitch tendencies that drift away from equal temperament. While this is important, it should be considered a starting part. It is not necessarily detrimental for students to use mechanical tuners, as long as they do not become dependent on them. For the majority of ensemble settings after the instrument calibration process, students should use their audiation skills to make pitch adjustments.

RECOMMENDED CLASS SEQUENCING (INTONATION-SPECIFIC) 1. Conceptual Warm Up /Fundamentals (Tone, Flexibility, Articulation) 2. Individual Tuning/Instrument Calibration 3. Ensemble Tuning/Exercises 4. Repertoire

GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

INTERVALLIC AND HARMONIC INTONATION Academic research (and best practices) generally agrees that “just intonation” is the listener preference for ensemble intonation. Beat elimination is considered the goal for accurate intonation and is cited as an effective teaching strategy in many scholarly works. While this is an integral part of teaching intonation, band directors should carefully consider their instructional priorities and long-term development of their students. For example, instead of teaching all of the just intonation tuning adjustments, it might be beneficial to simply focus on major or minor triads.

SCALE-DEGREE CHORALES Stephen Melillo authored Function Chorales in 1980. Scale degree chorales can easily be created and used for unison and harmonic intonation exercises.

TECHNOLOGY RECOMMENDATIONS

LONG TERM INSTRUCTIONAL SEQUENCING RECOMMENDATION

Many researchers and authors recommend electronic tuners, but do not guarantee a student will perform in tune due to the fluid and subjective nature of intonation (Garofalo, 1996; Powell, 2010). In Scherber’s dissertation (2014), several band directors describe also using tuners with clip-on pickup microphones that are used during both the initial tuning process as well as during the rehearsal. Denis & Stern (2019) describe Yamaha’s Harmony Director as a “specialized keyboard that can adjust pitch for varying needs, provide a flexibly metronome, and even transpose” (p. 42). Another effective technology tool for intonation is the “Tonal Energy” application, which has also been identified as an effective intonation tool (Scherber, 2014; Denis & Stern, 2019).

Based on the research literature and my experiences with expert band directors, it is recommended to teach musical concepts and then use repertoire to refine, enforce, and develop mastery throughout the course of a rehearsal cycle.

G EO R G IA M U S IC NE WS | S P RING 2022

CONCLUSION While there are a variety of ways to incorporate intonation pedagogy into band classrooms, it is important for band directors to be aware of all variables that affect student intonation performance and fully understand how these variables work together. The greatest suggestion is for band directors who feel they are struggling with teaching intonation to connect with veteran band directors who fully understand their teaching situation. Director mentorship can have a profound impact on directors’ attributes and instructional interventions to improve individual and ensemble intonation.

SUGGESTED BOOKS AND ARTICLES Garofalo, Robert J. – Improving Intonation in Band and Orchestra Powell, Sean R. – Wind Instrument Intonation: A Research Synthesis De Stefano, Chip – Beyong Their Years: Intonation and the Young Band Denis, John & Stern, Jordan – Tuning with Technology

SUGGESTED METHOD BOOKS (SPECIFIC TO INTONATION) King, Jeff & Williams, Richard – Foundations for Superior Performance Hovey, Nilo H. – TIPPS for Band Melillo, Stephen – Function Chorales Newell, David – Bach and Before for Band Balmages, Brian & Herrings, Robert – Tuned In – A Comprehensive Approach to Band Intonation

REFERENCES Denis, J. M., & Stern, J. C, (2019). Tuning with technology: an unofficial guide to tonal energy and the harmony director. Agogic Press. Garofalo, R. J. (1996). Improving intonation in band and orchestra performance. Ft. Lauderdale, FL: Meredith Music Publications. Gordon, E. (2001). Preparatory audiation, audiation, and music learning theory: a handbook of a comprehensive music learning sequence. Chicago, IL: G.I.A Publications. Powell, S. R. (2010). Wind instrument intonation: a research synthesis. Bulletin of the Council for Research in Music Education, No. 184, 79-96. Scherber, R. V. (2014). Pedagogical practices related to the ability to discern and correct intonation errors: An evaluation of current practices, expectations, and a model for instruction (Publication No. 1617975057) [Doctoral dissertation, The Florida State University]. ProQuest Dissertations and Theses Global.

ABOUT THE AUTHOR Chris Johns is in his fourth year as the Associate Director of Bands at Walton High School in Marietta, GA. Previously, Mr. Johns was a band director in Gwinnett County and Fayette County (GA), and a former brass technician for the Spirit of Atlanta Drum and Bugle Corps. He holds a Bachelor’s Degree in Music Education from Columbus State University, a Master of Music Education Degree from the University of Georgia, an Education Specialist Degree in Music Education from Auburn University, and is a candidate for the Doctor of Philosophy in Music Education from Auburn University. Mr. Johns is also a 2020 recipient of the CDBNA Mike Moss Conducting Fellowship. At Walton, Mr. Johns is the lead teacher for the Symphonic Band, Concert Band II, Jazz Band II, and oversees the brass section for the Marching Raider Band while also assisting with the Wind Symphony, Concert Band I, and Jazz Band I. He is an active clinician and consultant and has arranged and written music for numerous bands that have competed in the BOA, WGI, and GMEA contest circuits. He is also a former member of Tara Winds, an Atlanta-based community band, and was a 2009 member of the Cadets Drum and Bugle Corps from Allentown, PA. Most recently, Mr. Johns was a recipient of the National Band Association Citation of Excellence and also presented at the 2021 AMEA Annual In-Service Conference. Mr. Johns’ professional affiliations include the Georgia Music Educators Association, the National Band Association, and the National Association for Music Educators. GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

To Be of Service... dr. David Gregory, NBA Past President "LIFE'S MOST PERSISTENT AND URGENT QUESTION IS, WHAT ARE YOU DOING FOR OTHERS?" Dr. Martin Luther King, Jr. This article originally appeared in the National Band Association Journal, Vol LVII, No. 2. Winter 2022 and is reprinted with permission.

The time in which we now find ourselves, the post-Covid world, is one of unprecedented opportunity to change our profession for the better. Ours is a profession which offers many venues through which diversity and inclusion can be expanded, and it is one that will continue to search for ways to be voices for those who do not have them and forums for those who cannot find them. In short, the profession of teaching, more specifically the teaching of music, will continue be one of the most significant means of epitomizing service to others. The legendary Dr. Martin Luther King, Jr. challenged the world with his immortal words cited at the beginning of this article. There is no uncertainty as to what he believed our purpose should be, either as individuals or as organizations: service to others. I believe it is most appropriate that we as professional music educators ask that same question of ourselves...and not be afraid to accept honest and realistic answers. My career-long mentor, Dr. William J. Moody, once said to me during one of my learning conversations with him that answers usually bring more questions. Upon that premise, and the statement of Dr. King, I base the following comments. I fear the line between being of service and self-service has become less and less clear. Internationally renowned maestro Ricardo Muti commented during an interview marking his 80th birthday: "Today, many conductors use the podium for excessive gesticulation, for show, trying to make an impression with an audience more interested in what they see than what they hear." I find that Maestro Muti's words ring

G EO R G IA M U S IC NE WS | S P RING 2022

uncomfortably true in our profession today, and the ease with which one may move from serving others to that of self-service is a slippery slope...one upon which balance and purpose easily can be lost. Teaching is about service to others; it is not about self-serving actions. The years of one's career, indeed one's life, fold easily upon one another. The years of my career certainly have done so, but during those decades a number of observations and questions evolved. And they persist even today.

THOUGHTS AND OBSERVATIONS

• Those more concerned with their personal and professional image than that of their students and their program have lost themselves in self-serving actions. • Those who regularly use social media to promote their personal agenda of clinic invitations, guest conducting appearances, personal accolades, and professional recognitions are the anthesis, if not the enemy, of service to others. • Conductors who regularly post on social media their "thanks" and "appreciation" for conducting invitations flirt with selfserving actions. It is obvious to most that the purpose of such posts is not to express sincere gratitude (which easily can be expressed to the director through a letter or email) but to solicit additional invitations... and subsequently we will see even more such postings on social media. • Composers whose works are performed and are recognized in the audience by the conductor but who "invite themselves" to the stage for bows and congratulations rather than standing and accepting the recognition are fully engaged in self-serving activity. The idea of service to students and our profession has been abandoned by them...if it ever were present. • Conductors whose personal reputations have been nurtured more and are better publicized than that of the programs they oversee possibly have crossed the line from serving others to selfservice. • Conductors who use their programs and professional organizations to promote selfinterests are not serving others. They are engaged in flagrant self-service.

• As professional educators we must realize that very little good is done for our students or our profession through rather juvenile postings on social media regarding awards we have been given, recognitions we have garnered, recordings of past performances of our ensembles, or self-aggrandizing name droppings of "great" and "grand" friends. Rather than helping our profession through such actions, I believe there is the very real risk of sending wrong and misleading messages to younger professionals. We are not called into this profession to serve ourselves, but rather we are charged with the responsibility of serving our students. • There are those directors who will not accept student interns because they are not paid by the respective college/university to do so. Perhaps they consider themselves above such things as serving future teachers because their concept of "service" seems to be measured in financial gain. • There are those who choose not to serve our profession by holding elected or appointed positions in professional service organizations because they do not receive payment for doing so. Theirs is a very short-sighted view of the true meaning of service to our profession. • Conductors who post video recordings of themselves on social media under the pretense of "hearing the progress" of the ensemble should understand that the video should not focus primarily on them. Even those of us who are the least media savvy recognize that ruse. • Are any of us worth exorbitant fees for clinics or conducting appearances? Are any of us really that good? Perhaps true service to others would address the issue of excessive clinician fees charged by those who have become self-absorbed and do not appear to have service to others as a priority. • Do we really believe others do not see our selfserving acts of self-publicizing, self-aggrandizing and bragging on social media for what they truly are: actions by someone who needs and desires affirmation and attention, regardless of the degree of shallowness? • Lastly, is there any evidence of service to others, especially our students, through detailed postings of personal and private health issues on social media...a practice that has become common place with many in our profession? Again, possibly actions by those who need and desire affirmation and attention. In cases of personal medical and health issues, those who need to know and should know, will know. GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

Is it not time that we as music educators take an honest and objective look at the messages we send to others in our profession through our actions and words? Should we set aside the touting of our personal accolades and focus more on how better to serve those entrusted to our musical care? I submit that if we did, ours would be a healthier and more student-centered profession...one with less "I/Me" and more "They/ Them," and that would be a very good thing. Those who should know of our accomplishments will know; the use of social media to honor oneself should not be part of our profession. Our purpose should be to serve, not self-service.

BUT ON THE OTHER HAND

• Teaching is our calling; guiding students is our goal; conducting is a tool...serving is our purpose. • Conductors/teachers/composers who find ways to bring out the best in others are the epitome of service. • Those who give time and talents to our profession through service in professional organizations, without expectation of personal recognition or accolades, personify the concept of a servant-leader. • Those who truly believe in the idea of giving to our profession through service to it are the ones with whom lies much of the hope for the future of our art form. (Remember President John F. Kennedy's "Ask not what your country can do for you. Ask what you can do for your country." Might we substitute "profession" for country?) • Those who serve understand the nobility of helping others become the best they can be. • Those whose goal is "to be of service" know the integrity and honor in doing for others. • Those who find students who appear invisible to others and paint them with bright colors are some of the greatest servers. • Those who find ways of bringing positive attention and recognition to others rather than seeking it for themselves innately exemplify the beauty of serving. • There are those who show up to work before other teachers arrive and are there long after most others have left for the day, sometimes in discouraging or less-than-ideal work environments...serving their students in ways difficult to measure.

G EO R G IA M U S IC NE WS | S P RING 2022

• Those directors who care for and make certain all their students are provided with the same performance and educational opportunities, regardless of socio-economic level, demographic factors, or other extenuating circumstances, quietly and without fanfare, are some of the greatest servants of students. • Those who refuse to give up on students who are underachievers or lack motivation, who keep encouraging and finding ways to help them succeed, never letting them lose hope in their potential...and then repeating those actions as many times as needed...those are the champions of service, and they neither ask for or seek recognition for their devotion to their students. Champions indeed... • There are many in our profession who do not need effusive personal and professional titles attached to their names; they are known for their service to others and to our profession throughout their careers. • There are many names that do not need to be seen on social media in order to be known for their true greatness; they have earned it through a lifetime of service to students rather than through self-serving and self-promoting actions. Think back through your career and remember some of those special servants-of-students who have been part of your life. Maybe even drop them a note or give them a call and thank them for their service to others. Service to others sometimes goes without due acknowledgement, but it never goes without appreciation from those who are the recipients. Being of service changes people, both those who give it and those who receive it, and it can change a profession...for the better. Those students we serve over our careers may not remember all the lessons we tried to teach, but they will remember the way we treated (served) them and how we made them feel about themselves.

THE FIFTY-SEVEN DOLLAR CLINIC

Many years ago former Director of Bands at the University of Illinois and NBA Past President James Keene, then Director of Bands at East Texas State University (now Texas A&M UniversityCommerce), was asked to rehearse a high school band in a small town approximately two hours from his university. The call came to Jim on

Thursday for the following Monday evening, and the director mentioned nothing to Jim regarding an honorarium. Back in those days university band jobs did not pay salaries comparable to today's positions, so Jim asked the director if the booster club might be able to provide gas money for the rather long trip. The director assured Jim that they could pay him for his work so Jim headed out for the first-ever, two-hour rehearsal of this small band as they prepared for their yearly concert evaluation. When the rehearsal was finished, the director asked Jim if $57.00 would be enough payment for his services. Jim said it would and the director instructed the students to line up. Each student approached Jim, shook his hand, thanked him for coming to rehearse them, and placed a one-dollar bill on the conductor's stand. Jim said he was very moved by the sincerity of the gestures, but when he got to his car, he realized he only had $54.00. Apparently three students didn't have a dollar to pay. Jim says his memories of that evening so many years ago with that small band remain some of his most cherished. He had agreed to drive the long distance on a work night, with no assurance of financial reimbursement, and to work with the students in their first-ever evening rehearsal without promise of return or reward... actions that exemplified service to others.

• "The meaning of life is to find your gift. The purpose of life is to give it away." Pablo Picasso • "We make a living by what we get; we make a life by what we give." Winston Churchill

AND FINALLY...SOME QUOTES AND THOUGHTS

I close this article the way I began...by challenging us to search for ways to change our profession for the better. We cannot do so by allowing ourselves to be lured into the shallowness of excessive self-recognition and self-serving actions. We must not become so selfabsorbed with attempts at relevance and implied importance that we lose sight of our purpose, not only the purpose in our work but also the purpose in our life: to be of service to others. It takes very little substance, and even less character, to spend one's days honoring oneself. Such things are temporary and of little worth to our students and our wonderful profession. The true value and worth of a life spent in this profession are best measured through and in the lives of the students we serve. When the time comes, may we all be able to look back on a career filled with helping students and with service to others. Such would be a career, and life, well lived. A noble and worthy goal for all of us...

I find encouragement and assurance many times through the thoughts and statements of those who have given much to so many and are examples of service to others. Let me share a few of them.

• "The best way to find yourself is to lose yourself in the service of others." Mahatma Gandhi • "Perhaps the chief requirement of the conductor is...that he never interpose himself between the music and the audience; that all his efforts...be made in the service of the composer's meaning the music itself." Leonard Bernstein • "I like to see a man proud of the place in which he lives. I like to see a man live so that his place will be proud of him." Abraham Lincoln (Note: might we possibly insert "profession" for place and "work" for lives?) • Frederick II, King of Prussia, had a motto carved above the town gate of the Italian city of Capua: "Let those who intend to live honestly enter safely." Version 2 for us, "Let those who intend to serve honestly enter our profession."

• "Unless someone like you cares a whole awful lot, nothing is going to get better. It's not." Dr. Seuss • "For of those to whom much is given much is required." John F. Kennedy paraphrasing biblical scripture • "Life is good when you are happy, but much better when others are happy because of you." Pope Francis • "Those who are happiest are those who do the most for others." Booker T. Washington and once more because it is so powerful and challenging... "Life's most persistent and urgent question is, What are you doing for others?" Dr. Martin Luther King, Jr.

CODA...

My best wishes to all our devoted teachers. May you have a life filled with students whose lives you changed for the better, and for good, through your commitment to them and through the compelling beauty of music. You exemplify the best in service to others, and you inspire us to be better.

Fine'... GEOR GI A MUSI C N EWS | SP RIN G 2 02 2

10 QUESTIONS WITH VETERAN TEACHERS 1. PLEASE TELL US A BIT ABOUT YOUR MUSICAL BACKGROUND AND TEACHING EXPERIENCE. I got bachelor’s and master’s degrees from Auburn University in 1966 and 1970, respectively. My further studies were at West Georgia College, Georgia State University, and Northwestern University.

• Band Director, Rothschild Jr. High School, Columbus, GA 1967-69 • Band and Orchestra Director, Kendrick High School, Columbus, GA 1969-77 • Music Director, conductor, and arranger, Miss Georgia Scholarship Pageant 1969-1982 • Principal trombonist, Columbus Symphony Orchestra, 1966-1973 • Adjunct low brass instructor, Columbus College, Columbus, GA 1971-73 • Adjunct assistant professor of brass, Auburn University 1973-77 • Director of Bands, Jonesboro Sr. High School, Clayton County Schools 1977-96 • Conductor, Clayton County Youth Symphony Orchestra, 1987-96 • Lead teacher of instrumental music, Clayton County Schools 1991-1996 • Executive Director, GMEA 1996-present

2. WHAT FIRST DREW YOU TO MUSIC EDUCATION? I was fortunate enough to have a high school band director who took an interest in me and gave me many wonderful opportunities while I was in high school, including making it possible for me to work as a professional musician from the time I was 15 years old. This put me in contact with many adult musicians from whom I learned more than can possibly be taught in a classroom or rehearsal hall. These experiences gave me a love for quality music in many genres and an understanding of what it takes to excel as a performer. I don’t know that I ever looked back from that and I never considered anything else. 3. WHO HAS BEEN THE BIGGEST INFLUENCE ON YOUR TEACHING CAREER? WHAT LESSONS DID THAT PERSON TEACH YOU? There were several music faculty members at Auburn University who helped me become whatever I am today. Bodie Hinton, the band director, taught me how much more there is to music than notes and rests. Bill Walls, my trombone teacher, taught me to see things the way they are, not the way I want them to be and to never try to fake my way through anything, starting with a trombone lesson. Bob Richardson, a music theory teacher and jazz piano player, helped me develop my ears and understanding of harmony and the details of writing going way beyond the notes and chord changes. 4. WHAT HAVE BEEN THE BIGGEST CHANGES TO MUSIC EDUCATION IN THE COURSE OF YOUR TEACHING CAREER? When I started, the teacher was in charge in the classroom and the students, mine at least, respected that and did not question it. For me, at least, that remained pretty much the case until I retired in 1996. Since that time, students and parents seem to have come to expect a lot more and contribute a lot less to the process. There are probably a lot of reasons for that but I largely blame on the following: • The media for unfairly putting the blame for a lot of problems on schools that should really go on to families and the social and economic structure of the country in general • Local school board members who seem to increasingly feel that their first responsibility is to make parents happy without regard for what is best for students and teachers • Politicians who make saving tax money and their own re-

G EO R G IA M U S IC NE WS | S P RING 2022

CECIL WILDER election prospects the prime considerations in decision making When I started teaching it was expensive to publish and print a piece of music so publishers paid close attention to quality and durability when making publishing decisions. With today’s technology making publication so cheap, publishers can treat it almost like throwing Jello against the wall to see what sticks. This leaves it to the teachers to make better and more time consuming decisions about what music to buy. 5. HOW HAS YOUR TEACHING PHILOSOPHY EVOLVED THROUGHOUT YOUR CAREER? It became increasingly evident to me during my career that quality is the most important factor in selecting music for rehearsal and performance with students. Students learn to recognize quality subliminally and will come to be intolerant of music that does not meet their standards. This has little to do with genre (with a few exceptions) since there is quality music in most genres. There is too much really good music in the world to work on anything else just for the sake of pleasing an audience or, worse, getting a better rating a LGPE. Fortunately, this awareness of quality is transferable to other aspects of life and that makes it even more invaluable. 6. WHAT HAS BEEN THE PROUDEST MOMENT DURING YOUR TEACHING CAREER? Every time I saw a former student have success and happiness as an adult I was proud and felt rewarded for my time and effort. 7. WHAT WISDOM/EXPERIENCE/SKILLS DO YOU HOPE STUDENTS GAIN FROM THEIR TIME IN YOUR PROGRAM? I wanted them to be musically independent so that they could continue enjoying performing and listening to music for the rest of their lives. I wanted them to understand the value of hard work and integrity and to be able to apply that to everything they did. I wanted them to recognize and be sensitive to beauty in all things and all people so that they could have the best life possible and be able to see that there is value to treating everyone with the respect they deserve. 8. IS THERE A PARTICULAR MUSICAL WORK OR COMPOSER TO WHICH YOU FEEL ALL STUDENTS SHOULD BE EXPOSED? There are too many to name and never enough time to expose students to all of them. I have a particular affinity for Johannes Brahms but Mozart, Beethoven, Duke Ellington, John Philip Sousa, and countless others also make the cut. So much good music, so little time. 9. WHAT ADVICE WOULD YOU OFFER TEACHERS BEGINNING CAREERS IN MUSIC EDUCATION? Never make anything you do about yourself, always about your students and the music. If you do that, whatever you are seeking in the way of personal aggrandizement will accrue to you without your help. 10. WHAT STILL INSPIRES YOU ABOUT TEACHING? There is nothing in life more rewarding or inspiring than to take something of value that was passed on to you by someone and pass it along to someone else. What could be better?

Performance Hungry?

For grades 5-12

Amplify Their Music Mastery! Specifically designed to support performance programs, your students will be the best they can be in no time. Breezin’ Thru quickly closes learning gaps and amplifies your students’ mastery of musical concepts, while keeping things fun. And, it frees up valuable class and marking time, so you can do what you love most – getting students excited about performing.

Now Even Easier ✔ Google single sign-on option ✔ Post assignments directly to student accounts ✔ Kids get to drills in a single click ✔ Track due dates

Demo it today! BreezinThruTheory.com or call 1-855-265-3805

ALMOST SUMMER Y'ALL