INform Volume 76, Issue 2 (Winter 2023) by Indiana Music Education Association

Volume 76, Issue 2

A Quarterly Publication from the Indiana Music Education Association

VO L U M E

I S S U E

T A B L E

O F

C O N T E N T S

Notes from the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

SCHOOL OF MUSIC, THEATRE, AND DANCE From the classroom to the recording studio to the stage of the Metropolitan Opera, Anderson University alumni are living out their dreams. Visit our campus, come to a performance, and discover how you can grow in the School of Music, Theatre, and Dance at Anderson University.

Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 2024 PD Conference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Circle the State with Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 EDITORS JON NOWORYTA, KAYLA SMITH, MICHELLE BRINKMAN IMEA EXECUTIVE COMMITTEE JOHANN SLETTO President KEITH ZIOLKOWSKI President-Elect JULIE MANERS Immediate Past President

MAJORS:

Step 1: Submit an AU admission application anderson.edu/apply

A R E A R E P R E S E N TAT I V E S AREA 1 STEPHEN DEAN AREA 2 KYLE WEIRICH AREA 3 MICHAEL BENNETT AREA 4 MICHELLE BADE AREA 5 ALYSSA ANDERSON AREA 6 JONATHAN EDWARDS AREA 7 ANDREA DRURY AREA 8 NICK SCROGGINS

Step 2: Submit an audition application anderson.edu/my-audition

I M E A C O L L E G I AT E R E P S TORI CONRAD ABBY JARMAN

Dance Instrumental Performance Music Business Music Education Music

Musical Theatre Songwriting Theatre Voice Performance Worship Arts

APPLICATION PROCESS:

R E C O R D I N G S E C R E TA RY BEN BATMAN

AUDITION DATES: Music and Musical Theatre Nov. 17, 2023, Feb. 16, Feb. 19, Feb. 23, & March 1, 2024

Dance Nov. 3, 2023, Feb. 16, Feb. 23 & March 1, 2024

S TA F F LANE VELAYO Executive Director KYLE HICKMAN Assistant Executive Director ALICIA RANKIN Operations Manager IMEA Executive Offices PO Box 30558 Indianapolis, IN 46230 Phone (317) 342-4100 Fax (317) 342-4109 office@imeamusic.org

QUESTIONS? Contact Michelle Holmes: 765.641.4543 msholmes@anderson.edu

X: @INMusicEd Facebook: facebook.com/INMusicEd

House Bill 1608: Examining Responsibilities and Possibilities for Music Educators . . . . . . . 16 A Place for Difficult but Necessary Conversations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Involving Students with Special Needs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 A Choir’s Dream Home: 40 Years in the Making . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 The Value of Uncertainty in Music Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Membership Spotlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Article Submissions INform Magazine invites submission of articles by teachers on all aspects of music education. If you are interested in submitting an article, please contact a member of the editorial committee: Alicia Rankin (office@imeamusic.org).

20 3

NOTES FROM THE EDITORS

Kayla Smith is the co-director of The Lawrence Central Choirs and the Department Chair for Performing Arts. In addition to teaching, Kayla also serves in Lawrence Township as the Secondary Performing Arts Regional Specialist for the district. Her passions of aligning music curriculum and educational justice for all students drive her educational and administrative work. She presents frequently on issues of equity and deep meaning in music classrooms for IMEA and ACDA. Smith completed her Bachelor’s of Music Education at the Indiana University Jacobs School of Music. She earned her Master’s of Music from Ball State University in 2014 and her Master’s of Education in School Leadership from the Harvard Graduate School of Education in 2022.

he past few years have transformed our field as the COVID-19 pandemic rocked our worlds and our music classrooms. It changed how we rehearse and how we perform. It decimated numbers in many programs, and it forced us to examine our practices and relationships with students, families, and the community. Society took a step back to examine the ways we interact with one another, focusing on equity, access, and inclusion in areas like race, nationality, religion, gender, sexuality, and disability. Because music educators are wellversed in many of these conversations, we continue to open our hearts and classrooms to more diverse students than ever before. Music allows us the opportunity to confront difficult topics with grace and sensitivity. Through courage and kindness, we make our schools and communities better places by providing students safe spaces to explore their own and other’s identities and experiences. While the love and joy of our profession continues to bloom, the recent legislation has put barriers in the way of this progress. 4

In 2023 alone, Indiana legislators passed more than 100 new education bills. This upheaval of legislation requires us to once again examine how we address the needs of the students who call our band rooms, choir rooms, orchestra rooms, piano labs, auditoriums, and music classrooms home. No longer do we have the flexibility to support students openly. We are required to “out” some students to their families by reporting name changes. The ability to speak freely on racial and gender oppression is stifled, even for a diverse population of students. As our libraries become censored and textbook fees dissolve, music educators must return to our highest purpose: educating the hearts of our students. This edition of INfORM addresses accessibility, from inclusion of students with exceptionalities to navigating how to respect our students as the autonomous, beautiful humans they are. Despite a challenging political outlook, we will continue to nurture our students through music education. I am optimistic we will continue to rise above the turmoil. A U T U M N 2023

Jon Noworyta is Assistant Professor of Music and Director of Bands, Instrumental Activities, and Educational Outreach at the University of Indianapolis (UIndy). There, he administers all aspects of the woodwind, brass, and percussion area, teaches basic and advanced conducting, teaches courses in music education, and conducts the Symphonic Wind Ensemble, Pep Band, and opera. A versatile conductor who is equally comfortable with orchestras as well as wind and brass groups, Noworyta is the Director of the Crossroads Brass Band of Indianapolis, IN, the Artistic Director of the Queen City Freedom Band (Cincinnati), and the former Assistant Conductor of the Cincinnati Chamber Orchestra. Prior to UIndy, Noworyta spent 21 years as a public school music educator. Ensembles under his direction have performed at local, state, national, and international venues including the Midwest Band and Orchestra Clinic, the Music for All National Concert Band Festival, Chicago’s Symphony Center, the Kennedy Center, at various European venues, and most

notably Carnegie Hall. Noworyta holds degrees from Baldwin-Wallace College (BME), Northwestern University (MM), and the Cincinnati College-Conservatory of Music (DMA). His additional studies in conducting have taken place at the Eastman School of Music, the New England Conservatory, and the Juilliard School. Michelle Brinkman is the K-5 music specialist at Nora Elementary School (MSD of Washington Township) in Indianapolis. She has 27 years of teaching experience from preschool to middle school. Michelle earned a Bachelor’s with Honors in Music Education and a Master’s of Music. in Musicology from Ball State University and completed her Orff-Schulwerk and First Steps in Music Certifications at Anderson University. Prior to her current position, Brinkman taught general music in Lawrence Township. She was also part of the Artistic Staff with the Indianapolis Children’s Choir, primarily teaching in the Early Childhood, Preparatory Choir, and Outreach programs. Michelle has presented at the American Orff-Schulwerk Professional Development Conference, Music Educators Professional Development Conferences in Indiana and Texas, and presented Orff workshops throughout the Midwest. She has served as President of the Indiana Orff-Schulwerk Association. Michelle is a two-time recipient of the prestigious Teacher Creativity Grant from the Lilly Endowment.

prelude:

PRESIDENT’S MESSAGE

Mark your calendars with these IMEA dates!

IMEA will continue to publish further details and information at IMEAmusic.org. •

2024 IMEA Professional Development Conference January 11-13 in Fort Wayne Early Bird Registration ends December 13 Hotel Room Blocks are open. Limited availability – they will go fast! For more information visit:

conference.imeamusic.org

•

2024 Circle the State With Song Festivals Registration Deadline: December 6, 2023 February 10 – Area 2, Area 3, Area 3A, Area 4, Area 8 February 17 – Area 5 February 24 – Area 1, Area 2A, Area 4A, Area 6 TBD – Area 7, Area 8A For more information visit:

circlethestate.imeamusic.org/

he newness and excitement of starting a new year has worn off. The long days of summer have started to give way to shorter, crisper days of fall. By now you have remembered how much energy it takes to get the year going, and teaching has started to settle in again like a comfortable pair of shoes. I remember finishing last year and thinking, “I don’t remember being this tired.” Last year my message to you was about my goal of being positive. This year my goal is to “live a purposeful life.” Part of this for me is to reframe my brain. The stress is real: deadlines, meetings, parent teacher conferences, performances, etc. However, I have chosen my path. This realization gives me power over my stress. Furthermore, I am living a life of purpose. The stress is a reminder that what I am doing is important. This became evident to me last summer as I was able to 6

attend the NAfME National Assembly. I looked forward to this event each year, despite the fact it comes with the stress of figuring out family calendars, summer band calendars, transportation, meeting agendas, and the like. The National Assembly also provided me an opportunity to connect with fabulous music educators from across the country. It gave me a chance to connect with lawmakers and discuss policies vital to a continued quality music education. I encourage all of you to reframe your brain, and think about your stress as purposeful. One of the highlights of my year is always the IMEA Professional Development Conference. While this event certainly brings a certain amount of stress, it is a pleasure to be able to reconnect with colleagues, attend amazing performances, and learn a few new tricks from the fabulous speakers. I hope your year continues to be purposeful, and that you find the positives in your stress.

•

Festival & Clinic February and March Dates TBD

•

Folk Dance Festival April 20, 2024

•

Music Theory Bowl May 8, 2024

•

Composition Competition Entry deadline is June 5, 2024

Interested in serving in a volunteer leadership role? IMEA Board Openings • Composition Competition Chair • Special Learners Chair For more information, contact us at

office@imeamusic.org.

Circle the State With Song Coordinator Openings IMEA is currently looking for an elementary and middle school teacher to fill two open coordinator spots: • Area 7 Middle School • Area 8A Elementary If you are interested or would like more information, contact State Chair Lindsay Bollhoefer – lindsay.bollhoefer@nwsc.k12.in.us.

Johann Sletto President, Indiana Music Education Association (IMEA) A U T U M N 2023

Come Join Us! 2024 PD CONFERENCE

Conference dates: January 11-13, 2024 Locations: • Grand Wayne Convention Center 120 W. Jefferson Blvd., Fort Wayne, IN 46802 • Allen County Public Library 900 Library Plaza, Fort Wayne, IN 46802 • Courtyard by Marriott 1150 S. Harrison St., Fort Wayne, IN 46802 • Embassy Theatre 125 W. Jefferson Blvd., Fort Wayne, IN 46802 • First Presbyterian Church 300 W. Wayne St., Fort Wayne, IN 46802 • Hilton Hotel 1020 Calhoun St., Fort Wayne, IN 46802 Learn What Fort Wayne Has to Offer Fort Wayne, IN has always been a wonderful host city for this annual program. Before, during or after the conference, you will find the city has much to offer in terms of sights, restaurants, and attractions. Pre-Conference Sessions We will be joined this year by Emily Maurek and Andrew Himelick of Feierabend Association for Emily Maurek Andrew Himelick Music Education for the Pre-Conference program. The workshop will take place on Thursday, January 11 from 10:00am-4:00pm EST. The schedule includes:

Clinician Sessions We are fortunate to offer over 130 sessions at this year’s conference over the course of three days. Sessions offered cover teaching topics such as all-interest, band, choir, general music, orchestra, and tech/conducting. Featured clinicians include:

Dr. Becky Marsh

Dan Anderson

Dr. Francis Cathlina

Greg Gilpin

Dr. Jeffrey Doebler

John Jacobson

Jonathan Busarow

Josh Pedde

Dr. Penny Dimmick

• 10:00am-12:30pm: First Steps in Music (Emily Maurek) • 12:30-1:30pm: Lunch • 1:30-4:00pm: Conversational Solfage (Andrew Himelick)

A U T U M N 2023

All-State Performing Ensembles Friday • • •

11:00am - All-State Handbells 12:00pm - Junior All-State Jazz AND All-State Jazz (follows immediately) 4:30pm - Middle School/Elementary Honor Choir

• • • •

Saturday

•

• • • • • •

•

9:00am - Junior All-State Band 11:30am - All-State Orchestra 1:30pm - Honor Band 3:00pm - All-State Percussion 4:00pm - Junior All-State Orchestra 6:00pm - All-State Honor Choir

Invited Performance Ensembles Friday • • • • • • • •

10:30am - Carmel Middle School 11:00am - Smoky Row Orff Ensemble — Josh Southard, Director 11:00am - UIndy Jazz Faculty — Mark O’Connor, Director 12:30pm - Northridge High School Percussion 1:00pm - PFW Clarinet Ensemble — Dr. Kylie Stultz-Dessent, Director 3:30pm - Meridian Street Blues — Michael Richardson, Director 4:30pm - Discovery Middle School Honors Band — Murray Weaver, Director 7:30pm - Intercollegiate Band

Saturday • • • • • • 10

9:00am - Cantate - Chris Ann Lessly, Director 9:00am - Crossroads Brass Band — Jon S. Noworyta, Director 10:30am - Brownsburg Wind Ensemble — Chris Kaflik, Director 11:30am - Crown Point High School Chorale and Advanced Treble — William G. Woods, Director 11:30am — Carmel Middle School 8th Grade Wind Ensemble — Rebecca McElhannon 12:30pm - Fort Wayne Area Community Band — Dr. Scott Humphries, Director

12:30pm - Director’s Jazz Orchestra — Chris Taylor, Director 1:30pm - ICC Indy Voice — Josh Pedde, Director 1:30pm - Northridge High School Percussion Ensemble — Joshua Flynn, Director 3:00pm - Lake Central High School Wind Ensemble — Elliot Smith, Director 3:00pm - Devil’s Advocates Jazz — Kyle Broady, Director 4:00pm - PFW Choral Ensembles — William Sauerland, Director

Download the Conference Mobile App To access the schedule for the Professional Development Conference, please download the MemberClicks Conference App on your device. Outside of physical performance programs, everything will be communicated via the app. The app is available on both the Apple Store and Google Play. • Once you’ve downloaded the app and setup your profile, you’ll enter the code 553147 to access the event. • Within the app, you will find a list of fellow attendees, the hour-by-hour schedule, education session descriptions, information about clinicians, exhibitors, venue details, resources, and links to surveys. • Participant materials related to each session will also be available in the app. We encourage you to set up your profile and add a photo. The networking begins on the app and continues in-person at the program. We will also send periodic updates throughout the conference via the app.

Research and Best Practice Poster Presentations Each year, we feature a variety of research and best practice posters presented during the conference. This is a great opportunity for researchers to present their hard work collecting current information for the betterment of music education. Submissions were due on November 15, 2023.

EXHIBITORS

For questions about poster presentations, please contact Dr. John Egger at eggerjo@pfw.edu. Marketplace Participants The 2024 Marketplace is where educators go to learn about products, services, and partners that can benefit themselves and their classrooms. We encourage you to join us for this opportunity on-site. Marketplace hours: • Friday, January 12 - 10:00am-4:30pm • Saturday, January 13 - 10:00am-3:00pm Contact us If you have any questions about the Conference, please contact the IMEA staff: Lane Velayo, Executive Director — lane@imeamusic.org Kyle Hickman, Assistant Executive Director — operations@imeamusic.org Alicia Rankin, Operations Manager — office@imeamusic.org

Conference QR Code For the full schedule of sessions and performances, head to conference.imeamusic.org.

A U T U M N 2023

What is Circle the State With Song? For 32 years, Circle the State with Song (CSWS) has been an integral part of Indiana’s choral landscape. This program is a statewide choral festival for elementary and junior high/middle school choirs. Nearly 5,000 youth from hundreds of different schools participate in Circle the State With Song each spring at one of 12 sites throughout Indiana. Over 15,000 community members attend these concerts annually. IMEA annually announces the repertoire for the Festival at the beginning of the school year and music educators spend months preparing their students for the festival events in February and March. Each of the 12 designated areas of the state has an Area Coordinator that promotes the Festival and recruits schools to participate. IMEA has commissioned seven pieces of choral music for CSWS festival choirs. The challenging repertoire helps elevate the music instruction at the participating schools, and it also provides an exciting and culminating experience for the youth. During the festival, the participating schools rehearse and perform together under the director of a highly experienced clinician. The primary objectives of the program include: • Provide students with an exciting and quality choral performance with other students from their area. • Allow music teachers an opportunity to observe and learn from the clinician working with the students, 12

plus to share and discuss vocal pedagogy with other teachers • Provide students the challenge and opportunity to sing quality children’s choral repertoire. • An outgrowth of the festivals is IMEA’s commitment to further the cause of good choral music.

Elementary and Middle School CSWS Performances: • February 10, 2024 - Areas: 2, 3, 3A, 4, 8 • February 17, 2024 - Area: 5 • February 24, 2024 - Areas: 1, 2A, 4A, 6 • TBD - Areas: 7, 8A To see what area you are in, please use the following map:

Lindsay Bollhoefer is a 2005 graduate of Ball State University. She spent two years teaching kindergarten through eighth grade general music, choir and band in the Phoenix area before moving back to Indiana to teach middle school and high school choir for a year. For the past fifteen years she has been teaching elementary general music and choir at Northwestern Elementary in Kokomo, Indiana. Lindsay began working as an area coordinator for Circle the State with Song in the spring of 2014. She has spent the past five years as Assistant State Chair for the IMEA Elementary Honor Choir and is in her first year as State Chair. Lindsay was honored to be the IMEA Outstanding Elementary Educator for 2023.

An additional outgrowth of the CSWS festival is the IMEA All-State Children’s (1990) and Middle School (1993) Honor Choirs. Each of the Honor Choirs is a select group of approximately 150 singers chosen by audition recording and teacher’s recommendation. After two days of rehearsal, the Honor Choirs are featured guest performers at the Indiana Music Education Association State Conference in Fort Wayne. In 1992, the IMEA All-State Children’s Honor Choir was selected to perform at the MENC (now NAfME) National In-Service Conference in New Orleans, Louisiana. Important 2023-2024 Deadlines: Elementary & Middle School CSWS Registration Deadline: Wednesday, December 6, 2023 2023-2024 Clinics & Performances: • High School All-Region Choir Clinics: • North Site: November 7, 2023 - IU South Bend • Central Site: November 8, 2023 - Marian University • South Site: November 9, 2023 - AIS-Diamond

A U T U M N 2023

“The State Chair for Circle the State with Song is Lindsay Bollhoefer. The Elementary and Middle School Assistants are Grace Sommerfeld and Christina Huff, respectively. As State Chair, Lindsay Bollhoefer oversees Circle the State with Song at a state level and runs the elementary and middle school Honor Choir at the IMEA Conference in January. She is also an elementary coordinator for area 3A. The Assistant State Chairs help oversee the management of the elementary and middle school specific choirs, assisting teachers from those areas and managing the logistics for everyone during the experience. They also co-coordinate Area 4, running their own Circle the State with Song festival at Marion High School.

Who is a part of Circle the State With Song? Teachers from all across the state participate in Circle the State with Song. 30 teachers are Coordinator/Co-Coordinators for the 12 elementary/middle school sites and 3 Coordinators for the high school All Region Choir sites. We are currently in need of Area Coordinators for Area 7 (middle school) and Area 8A (elementary). If you are in these areas and are interested in Coordinating please contact the State Chair at lindsay.bollhoefer@ nwsc.k12.in.us.

Christina Huff is in her twentieth year of teaching, and is currently in her twelfth year as the 7th and 8th grade choir director at McCulloch Jr. High School in Marion, Indiana. Previously, she taught at Indiana Wesleyan University and at Northwestern Community Schools in Kokomo, Indiana. At McCulloch, the band and choir have been awarded the ISSMA Total Department JME All Music Award every year it has been offered. The size of the choral program has doubled as she has worked to add more opportunities for student involvement, 13

Music Conservatory

DEGREE PROGRAMS Bachelor of Music Music Education l Music Therapy l Music Performance l

including honors choir, jazz choir, and gospel choir. Over 50% of the students at McCulloch are now involved in choir, band, or both. Christina is a graduate of Indiana Wesleyan University (2003) and The Ohio State University (2004). She is a member of the National Association for Music Educators, American Choral Directors Association, and Indiana Music Education Association. She is the assistant state chair for the middle school honor choir and Circle the State With Song for IMEA. She also serves at Lakeview Wesleyan Church in Marion as the choir director. Grace Sommerfeld is a 2016 Graduate of Indiana Wesleyan University. She began teaching elementary music at Bluffton Harrison Elementary School in Bluffton, Indiana in fall of 2016. In 2018, she took her first group of students to Circle the State with Song, and became a coordinator during the 2019-2020 school year. This is her first year as the Elementary Assistant. She volunteers for her church’s worship team and assists with the high school’s worship team. 14

Bachelor of Science

How can I get involved in Circle the State With Song? If you are interested in participating in Circle the State with song, please email the Assistant State Chair for your grade level: • Elementary- Grace Sommerfeld: gsommerfeld@bhmsd.org • Middle School- Christina Huff: chuff@marion.k12.in.us This year IMEA will be offering a professional development opportunity for anyone interested in finding out more about Circle the State with Song. We will be offering 3 PGP points for attending a rehearsal and concert at one of our festivals across the state. During your visit we will also provide an Intro to Circle the State with Song session where we will give you more information about how you can get your school involved and answer any questions you might have. We are very excited to offer this “Try Before You Buy” experience and we hope that you will join us! Be on the lookout for more information from IMEA closer to our festival dates.

Music Management l Music in Liberal Arts l

Certificates Musical Theatre l Jazz Studies l

Music scholarships are available to outstanding students who apply and audition for the Music Conservatory.

Ensemble Participation Grants are available for non-Music majors who perform in a music ensemble.

For more information about the UE Music Conservatory or auditions, please call 812-488-2742 or visit music.evansville.edu. Find us on Facebook at facebook.com/music.evansville.edu! For admission information, call 1-833-BeAnAce (833-232-6223).

A U T U M N 2023

B Y B R A N D O N M AG I D A N D L A U R E N K A PA L K A R I C H E R M E INDIANA UNIVERSITY

HOUSE BILL 1608: EXAMINING RESPONSIBILITIES AND POSSIBILITIES FOR MUSIC EDUCATORS he Indiana House Bill (HB) 1608 went into effect and was signed into law on April 28, 2023 and went into effect on July 1, 2023. This article aims to provide an overview of the bill, as well as offer ideas and resources for music Brandon Magid educators committed to supporting LGBTQ students. HB 1608 applies to public schools, including charter schools. The law has two main regulations. First, “A school, an employee or staff member of a school, or a third-party vendor used by a school Lauren Kapalka to provide instruction may not Richerme provide any instruction to a student in prekindergarten through grade 3 on human sexuality.” Music educators working with students in PreK through grade 3 should therefore avoid any instruction on these topics, including the selection of repertoire, storybooks, or other materials that addresses them. However, the bill clarifies that teachers are not “prevented” from responding to student questions on such topics. Second, schools must notify at least one parent if the student requests to change their “name or pronoun, title, or word to identify the student.” The school must make this notification within five business days following the date of the student’s request. This notification process does not apply for students who are emancipated minors. Since the responsibility for notifying a parent ultimately falls to the “school” and not to the individual teacher, music educators should know who at their school is expected to notify the parent. Schools are handling this delicate situation differently. In some cases, 16

parental notification comes directly from the teacher who the request was made to. In others, a counselor, principal, or other individual notify the parent. Public school music educators at all levels should know their school’s reporting process and immediately follow it should they receive such a request from a student. Students who identify as lesbian, gay, bisexual, transgender, queer, and questioning (LGBTQ) often face tensions at school. As a result of the recent legislation, feelings of alienation may be amplified. Music classrooms often serve as a welcoming and safe space for LGBTQ youth. While music educators are legally required to comply with the above mandates, they might also consider how they can continue promoting LGBTQ student well-being. Teachers may find the following examples and resources helpful in supporting LGBTQ music students, particularly during this time: 1. Stay visible. Music educators may consider the value

of Safe Space programs as a way to foster allies and supportive environments. Although music educators cannot guarantee their classrooms are always safe, The Gay, Lesbian, and Straight Education Network (GLSEN) developed a Safe Space Kit for teachers as they are often in charge of managing classroom environments and advocating for LGBTQ students at school. The kit includes concrete strategies to help teachers support LGBTQ students and to educate them about anti-LGBTQ bias, resources for further reading, and posters and stickers that display pride flags and triangles. Taking these steps indicate that a teacher’s classroom is a designated safe space. When safe spaces are clearly marked as such, LGBTQ students and individuals can feel confident music educators will listen to them, affirm them, and refer them to someone who can help further when needed. A U T U M N 2023

2. Address bullying. The majority of LGBTQ middle and

high school students report experiences of bullying either in person or online. A recent national survey conducted by `The Trevor Project identified the profound effects of bullying, including a drastic decline in mental health and higher likelihood of attempting suicide. Yet, LGBTQ youth who lived in accepting communities that provided access to LGBTQ-affirming spaces and/or received social support from friends and family, reported significantly lower rates of bullying and suicidal attempts. In spite of the fact that music educators cannot control everything that happens at school or at home, given the statistical likelihood of bullying among LGBTQ youth, they can be on the lookout for signs of bullying and take each instance seriously. Examples could include missing or destroyed belongings, faking illnesses, unexplained social avoidances, suddenly skipping lunch, declining academic performance or interest, or decreased self-esteem. 3. Monitor Language. Language itself can be a means of

including or excluding LGBTQ identities. A music educator might avoid language that relies upon gender binary categorizations such as “boys and girls” and “men and women.” Instead, teachers might look to use identifiers such as number schemes (e.g., 1′s, 2′s, etc.) or birthdays. Furthermore, a teacher might avoid

statements such as “Hey guys” when addressing the class as a whole, and they might consider “Hey, y’all,” “Hey, folx,” or “Hey, musicians” instead. RESOURCES: The Gay, Lesbian, and Straight Education Network (GLSEN) www.glsen.org The Trevor Project www.thetrevorproject.org Other online resources: Human Rights Campaign www.hrc.org Parents, Families, and Friends of Lesbians and Gays www.pflag.org The Jed Foundation www.jedfoundation.org Useful books and scholarship in music education: Garrett, M. L., & Palkki, J. (2021). Honoring trans and gender-expansive students in music education. Oxford University Press. Paparo, S. (2016). The ABC’s of creating the LGBTQ-friendly classroom. National Association for Music Education (NAfME). Southerland, W. (2018). The rainbow connection: How music classrooms create safe spaces for sexualminority young people. Music Educators Journal, 104(3), 40-45. 17

BY DREW X. COLES

A Place for Difficult but Necessary Conversations THE FOUNDATIONS OF MUSIC EDUCATION CLASSROOM

eading into each semester when I teach Foundations of Music Education at Teachers College, Columbia University (TC), I pause to take stock of where music education is now, where we’ve come as a field, and the origins of our institution’s guiding principles. It’s my belief that Foundations of Music Education (FME) classes can provide a safe and inclusive space for students to explore difficult discussions about a range of topics, including but not limited to: race, school and community politics, and culturally affirming teaching. At the end of the day, I want TC graduates to create safe and supportive teaching and learning environments of their own that encourage critical thinking and dialogue, and promote cultural understanding and awareness. I make a case below that FME classes create opportunities for better learning environments. First, FME classes should create a safe and supportive learning environment where students can feel comfortable expressing their opinions and sharing their experiences. The FME classroom can be a place where all voices are heard and diversity is celebrated. This environment is created through various methods, including setting class norms and expectations, establishing clear guidelines for respectful communication, and creating a culture of mutual respect and trust. The FME curriculum should encourage students to critically analyze music education practices and their relationship to broader societal issues. For example, discussions about the historical context of music education in the United States, including the role of race and eth18

nicity in shaping music curricula, provide students with an understanding of the complex dynamics that impact music education today. These discussions also encourage students to consider how these dynamics play out in their own classrooms and spark reflection on their own teaching practices. Secondly, FME classes should promote critical thinking and dialogue by challenging students to examine their beliefs and assumptions about music education. In an optimal sense, the curriculum encourages students to engage with different perspectives, including those that may challenge their own beliefs. By exploring diverse perspectives, students learn to think critically and gain a deeper understanding of the complexities of music education. For example, discussions about race provide an opportunity for students to critically examine the ways in which race interacts with music education. This may include discussions about how race influences student experiences in music classes, the representation of diverse cultures in music curricula, and the role of music education in promoting cultural understanding and awareness. The curriculum should emphasize the importance of culturally responsive teaching, which recognizes the unique cultural backgrounds of students and seeks to incorporate these backgrounds into music instruction. Finally, a FME curriculum should offer an opportunity for the creation and exploration of pedagogical tools like lesson plans and syllabi. For example, students may learn how to incorporate culturally relevant music into their lessons, or how to create a classroom environment that is inclusive and welcoming to students from diverse A U T U M N 2023

backgrounds. One of my deepest fears as an educator is advancing such a vast distance between theory and practice, or even between different iterations of practice, that my pedagogical and andragogical efforts leave students and graduates figuratively stranded when they seek to employ the things they have learned in my classes. More specifically, we should consider enabling the direct application of the tools we teach. A student would walk away from an FME class with a plan outlining how to discuss, work through, and develop trust around a sensitive topic. Ensuring there is curricular space for the development of this type of artifact may prove helpful for the next generation of practitioners. During every new semester, I dig deeper into what an FME class can be for our students, their future students, our field, and our world. By engaging in these discussions and practices, I have found our students develop a deeper understanding of music education and its role in promoting social justice, cultural awareness, and equity for all. Drew X Coles is a producer, serial entrepreneur, educator and scholar. Drew serves as a member of the faculty at Teachers College, Columbia University where he directs a hybrid graduate degree program in Music and Music Education and teaches courses in pedagogy, entrepreneurship, and production.

His scholarly interests include; the construct of success as it applies to post-secondary students, culturally responsive pedagogy in the music classroom, the use of technology in the applied studio, mentorship in music higher education, Jazz pedagogy, improvisation pedagogy, comprehensive musicianship coursework and curricula, artistic entrepreneurship, and quantitative research methods in music education. Drew holds a Bachelor of Music degree from the Crane School of Music at the State University of New York at Potsdam, a Masters degree in Jazz Performance from Queens College of the City University of New York, and an M.B.A. from the Metropolitan College of New York. Drew earned his Doctorate in Music Education at Teachers College, Columbia University after defending his dissertation on the perceptions among musicians on the construct of career success. Additionally, Drew holds certificates in Strategic Management from the International Business Management Institute, Financial Markets from Yale University, Leading for equity, diversity, and inclusion in higher education from the University of Michigan, and Disruptive Innovation from Harvard Business School. 19

BY HANNAH FAN

INVOLVING STUDENTS WITH SPECIAL NEEDS

lementary Music teachers see almost every student in a school building, except those in separate special education classes. Students with disabilities are often excluded from school extracurriculars like band and orchestra, especially at the secondary level. After all, students with disabilities now make up 15% of the public school population, equating to 7.3 million students. Like many of her fellow music teachers, Julie Duty, Founder and Executive Director of United Sound, wanted to include everyone, but her training to become a band director did not include robust courses that discussed best practices for teaching students with disabilities in a general music setting, let alone in an instrumental classroom. This lack of knowledge, coupled with the prospect of including special education students in a music class in which their peers were already four years ahead, was daunting–even for someone with the most sincere desire for inclusion. After leaving the classroom, Julie found she was not alone; there was a vast and growing population of teachers who wanted to include every child. Many of these educators had written their own curriculum and created separate, adaptive music classes. Others were simply frustrated that time, scheduling, or limited knowledge and resources prevented them from finding a student-centered solution. United Sound was founded to help educators address the three main hurdles to authentic inclusion: 1. Teachers receive little to no training working with disabled students and are not prepared to include every child. 20

In an ensemble setting, there is not enough staff to provide the individualized instruction that will enable students with disabilities to learn and flourish. 3. There are no available “out of the box” curriculum solutions to make inclusion easy. 2.

Through a robust peer mentorship model, United Sound addresses the three primary needs of the educator, combats the isolation and separation of students with disabilities by creating the perfect reverse-inclusion environment for them, and does it all in a way that adds very little to the plate of an already overburdened music teacher. United Sound is 100% student led. After an initial meeting at the beginning of the school year between the special education and band/orchestra teachers and our United Sound team, teachers allow students to flex their teaching skills, guiding them as mentors in the classroom setting. In this peer mentorship model, current band students (Peer Mentors) take the leadership role and guide their assigned special education/disabled student (New Musician) to success. Encouraging students to become Peer Mentors for New Musicians is easier than one might think. This program utilizes our own method books that simplify musical skills to more accessible formats, encouraging more student engagement. The ratio of Peer Mentors to New Musicians is 3:1, which allows one mentor to focus on proper technique, one to focus on music tracking (“reading”), and one to provide additional support where needed. As a group, the students work collaboratively A U T U M N 2023

to compose parts for the band or orchestra repertoire that reflect all the New Musician has learned. Additionally, Peer Mentors who are selected President for their school’s United Sound chapter attend monthly online meetings with the United Sound team where they can ask questions, bounce ideas off each other, and celebrate their accomplishments. As a result of Peer Mentorship, New Musicians play on instruments of their choice on parts written to meet them exactly where they are, alongside their peers in regular class performances–an empowering and enriching experience for all. Quantifying the benefits of United Sound is difficult because there have been so many points of pride for both New Musicians and Peer Mentors. Students who enter the program as New Musicians gain an understanding and proficiency in an instrument that they’re passionate about while playing music they enjoy. Peer Mentors further their own understanding of musical literacy through teaching. They also gain independence, confidence, and empathy in leadership roles among their peers. These programs boast a 96% retention rate 21

across the 30 states and 80+ schools in which United Sound operates. Year after year, schools continue to offer and benefit from “kids helping kids” through Peer Mentorship. New Musicians often report acquiring additional nonmusical skills as a result of participation in United Sound’s program. One student, after years of playing the cornet, noticed that her face muscles had strengthened and her speech therapist noted a marked improvement in her diction control. The math skills of other New Musicians improved as a result of extended rhythmic counting and eye/vision tracking due to reading music. Perhaps the most meaningful benefit we’ve seen after almost a decade of United Sound is the social change we’ve seen in our schools. Students get to play

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alongside peers with disabilities, students with disabilities are included in public music performances for their schools, and connections are made between students who may not have had classes together otherwise. Our participants often form strong friendships that persist outside of club hours. United Sound was founded to bring about positive social change through music, and so far, that is exactly what we have done. Setting up a United Sound chapter in your own school is simple: completing an application from both a music ensemble director and a special education teacher in the prospective school. United Sound peer mentorship has positively changed many students’ musical experiences and we hope to continue impacting students by breaking down barriers so that music can truly be for everyone.

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BY INDIANAPOLIS CHILDREN’S CHOIR STAFF

A Choir’s Dream Home: 40 YEARS I N THE MAKI NG

The Indianapolis Children’s Choir (ICC) has been a household name in the central Indiana community and beyond for nearly 40 years, and big changes have led to the organization finally having a permanent home to call their own. For many years, the ICC’s office and rehearsal space resided at various locations across Butler University’s campus in addition to satellite ensemble locations across the city and state. As this choir with humble beginnings grew, so did their need for space to serve their singers and the community. “As we returned to normalcy following the COVID-19 pandemic, and looked at the program and new ways we wanted to engage both our singers and the community, we quickly realized we needed more space,” explained Joshua Pedde, Artistic Director of the ICC. This need led to the search for a new home which was a bit different than perusing some local open houses with a realtor. For the past several years, the topic of a move was discussed by the ICC’s Board of Directors, parents and families were surveyed, and the hunt for a new location took place. It took nearly two years to find the right space for the organization that would meet the aspirations for all involved. “After all the research and legwork, we took a leap of 24

faith to raise more funds than we had in our history and to solidify our presence in the community,” shared Pedde. The new ICC Performing Arts Center provides ample space for youthful voices to ring out. The two-story facility doubled the size of the choir’s former space, and boasts rehearsal spaces, classrooms, office space, an expanded music library, a conference center, free parking, and collaborative spaces for other arts partners. This larger space aims to meet the ICC’s goals of providing accessible and impactful. music experiencesNew program offerings are already on the schedule, like a toddler playgroup that incorporates musical play, and one-day experiences for children who may not otherwise be able to participate in choir. With added office space, the building also offers up another new angle for the ICC’s place in the arts world. The ICC has well-established connections in the Indianapolis music and arts community with collaborations for concerts, guest clinicians for rehearsals, performances for supportive fundraisers, and much more. This has always been viewed as a win-win, with exposure to new experiences for the ICC’s singers, and support for fellow arts organizations in and around Indianapolis. “The ICC has a long history of collaborating with A U T U M N 2023

organizations throughout the community and the ICC Performing Arts Center will allow us to pursue collaborations in new and innovative ways,” said Pedde. The ICC Performing Arts Center is a dream come true for this established organization. They plan to share that dream with the youth and arts community of central Indiana for many, many years to come. To learn more about the Indianapolis Children’s Choir’s new Performing Arts Center and the accompanying capital campaign, visit icchoir.org/capitalcampaign. Visitors are welcome to tour the facility during regular business hours, or by scheduling a tour by emailing info@ icchoir.org. The building is located at 9111 Allisonville Rd., Indianapolis, IN 46250. 25

BY MARISSA GUARRIELLO, MUSIC EDUCATION PHD STUDENT INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC

The Value of Uncertainty in Music Education

ducators often work tirelessly to find activities that not only excite and motivate their students, but also push student thinking to enhance skills and knowledge. However, due to differences in student learning styles, teachers inevitably run into situations where students might choose to not engage in activities that challenge their thinking and simply give up. Educators and guardians might cite a lack of motivation, stubbornness, or defiance as a reason for the refusal to engage in learning. However, one might consider examining another part of the human psyche that might be contributing to student learning difficulties: uncertainty. Uncertainty involves the possibility of variable outcomes or unpredictable results in a situation. In a classroom setting, uncertainty could be the lack of confidence in a skill or knowledge. Surely most people have experienced taking a test and being uncertain of an answer—it’s a horrible feeling! For some students, these feelings of uncertainty are pervasive in their learning experiences and affect their classroom engagement. Unfortunately, uncertainty is unavoidable in and out of the classroom. We encounter uncertainty in relationships, career and college choices, concerns about health, and many other aspects of life. However, uncertainty is also vitally important as it sparks curiosity, encourages innovation, and promotes hope. Our social structures, particularly in education, teach that uncertainty is to be devalued. Traditional education settings often teach students how to take tests, find the right answer, and function through a lens of 26

duality (e.g., right or wrong, yes or no, true or false, etc.). Additionally, teachers are evaluated on what their students certainly know—not their wonderings, new ideas, creative thoughts, or problem-solving abilities. In fact, educational standards and standardized tests aim to do the opposite—they aim to ensure everyone was certainly taught and therefore certainly knows the same information. An agenda of certainty leaves little room for creative thought, ingenuity, comfort with failure, and comfort with a lack of product (e.g., a final project, a grade, etc.). When uncertainty goes unconsidered, we find ourselves with a generation of students unable or uncomfortable engaging in difficult situations such as coping with failure and speaking extemporaneously in professional settings. To clarify, I am not promoting a world where answers should never be found—certainty is needed in education. However, using certainty as the only acceptable outcome for learning can be misleading when there are many uncertain experiences in our world. Educators should want to promote uncertainty so we can continue to examine our world and beyond. This article will offer suggestions for how teachers might examine the ways in which they can effectively include uncertainty in their classrooms to positively affect educational progression. Uncertainty is often faced in the wake of a risky situation. Risk, although potentially uncomfortable, is important for student learning experiences and should be considered when teachers plan for advancement in student learning. Risk is defined as “a situation involving the possibility of danger, harm, or loss.1 The danger A U T U M N 2023

that students are exposed to in educational settings is facing potential failure (e.g., danger of failing a playing test or losing a competition). However, success is also a possibility which makes school a setting riddled with uncertainty and subsequent anxiety. Educators can assist in helping students face risk in two ways. The first is encouraging students to consider their values or goals and take action to move toward them despite uncertainty and risk. This idea, which is called a “choice point”, has been developed by those in the psychology community. For example, a teacher might encourage students who want to pursue a future in music production to record, mix, and release music to the public regardless of the potential for negative feedback. In this example, students who follow the teacher’s advice value the potential positives of the experience more than the negatives, even though it could result in nerves, embarrassment, and negative feedback. The second way educators might assist in their students’ uncertainty is by reframing failure. Failure can be described as the absence of hitting a desired goal or expectation. I aim to reframe failure not as the opposite of success (success holds connotations too large to be addressed in this article), but rather as a starting point from which one can continue working towards the goal

of gaining knowledge. While failures can only be addressed after a risk is taken, teachers might consider how to help students cope with the uncertainty of failing before engaging in an activity to help them move toward their values and a risky situation. In this manner, the uncertainty and risk students face of potentially failing in school comes with less frightening implications, as it no longer signifies a lack of worth, but instead,a reflection of the continued work that needs to be done to reach an educational goal. To act on the reimagining of failure, I agree with Widener and Skolar 2 and suggest music classrooms celebrate failure. I am not suggesting you award students for failure or lie to them as if they did accomplish something. Rather, I suggest you celebrate failure (and the embrace of a risk) in a way that encourages students to keep moving forward towards their goals and values, which requires one to acknowledge and accept the failure as reality. Allowing students to feel the discomfort of risk, understanding what it means to potentially not succeed, and empowering them to move forward anyway is a skill useful in the classroom and beyond. On the other hand, the uncertainty of success through risky situations might also allow educators to reframe success. Is success only winning first prize or

AVOIDANCE/MOVING AWAY Moving away from the outcome you want as a result of wanting to avoid difficult feelings of uncertainty and risk.

MOVING TOWARD Moving towards the outcome you want and acting effectively to achieve goals even if it means dealing with difficult feelings of uncertainty.

CHOICE POINT Difficult feelings and thoughts that show up in response to the challenging situation

Values you want to live by and Strengths and Skills that can be used to move toward Values

CHALLENGING SITUATION 1 Oxford Languages. (n.d.). Risk. In Oxford Languages. 2 Brian N. Weidner and Ellen Skolar, “Teaching for a FAIL (First Attempt In Learning) in the Ensemble Classroom,” Music Educators Journal 108, no. 2 (December 2021): 23–29, https://doi.org/10.1177/00274321211060332, 24.

getting 100% on an exam? Or is success in risky situations about improvement, having the courage to try in the first place, or gaining the knowledge of an experience? Success is found in many forms. Finding success in risky educational settings does not include mastery. Perhaps a high school student failed at making a region orchestra. However, they were successful in going through the entire audition process, learning the repertoire to a standard high enough to audition, and had the mettle to give it their best effort. Through this experience, knowledge was gained. A teacher might choose to guide their students’ attention towards the success of the experience rather than the defeat. In this way, the student might not feel as though they can never try again but instead realize the new tools they now can use in risky audition situations in the future. Taking a risk and positioning oneself closer to the unknown is progress toward potential success. Uncertainty is not only acceptable in classroom situations, but it signifies there is a personal discovery to be made and allows one to change, evolve, and grow. Without stepping closer to uncertainty and choosing to avoid the risk altogether, failure by default is the only option. Reframing uncertainty as exciting, exhilarating, and full of possibilities can be freeing, and empowering further helping our students to gain confidence in their explorations of the world around them. Marissa is currently pursuing her Ph.D. in music education at the Jacobs School of Music at Indiana University in Bloomington, IN. Marissa is also currently the Director of Programming for Music at ArtsQuest in Bethlehem, PA where she enjoys working with artists of all genres from around the globe to bring them to her community. She was previously the orchestra director at Pennridge High School in Perkasie, PA. Her other previous positions include being the orchestra director for the Palisades School District in Kintnersville, PA teaching grades 3-12 and a director at The Woodlands High School and McCullough Junior High School in the Woodlands, TX. She holds degrees from Penn State University (BME, 2016) and The Eastman School of Music (MA, 28

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2019) in music education. In addition to her studies and public school teaching, she is also a violinist in various orchestras and runs a private violin and viola studio. During her final semester at Penn State, Marissa completed her honors thesis research on composer and performer Hans Gál, a Viennese émigré musician whose music was largely lost during World War II. She received four grants to complete this research. Her work on this topic was awarded the PMEA Award for Excellence in Research and Scholarship. Her most current research is focused on the intersection of music industry administration education in K-12 music education programs and the inclusion of creative activities in secondary ensemble classrooms. She enjoys collaborating with other teacher-researchers around the country to continue research efforts. Her masters field project was titled “Student

Perceptions of Composition in Secondary Ensembles” and is available by request or you can read the synopsis of it via the F-flat Books magazine/blog posts. She has co-authored “Hustle to the Start” (2021) and “The Creative String Orchestra” (2020) and has also written a number of articles, blog posts, and peer-reviewed articles for various publications. She co-hosts the F-flat Books podcast “Musicast” where she greatly enjoys speaking to musicians and music educators from around the world! You can find her presenting work and research at various conferences for music teacher education and research as well as working with young musicians around the country.

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CHRIS TAYLOR

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“ IMEA is an organization dedicated to all disciplines in music. They advocate for, provide resources to, and develop all levels of teachers. I was a collegiate member for 3 years and have been a professional member for 23 years.”

“ Music Education changes the lives of all those around us and I believe in the mission and vision of this professional organization. I have been an active member of IMEA since moving to Indiana in 2004. As a board member, I am thankful to serve our students and colleagues through continued support of music education and advocacy efforts within the state of Indiana!” FEATURE #3

DR. JEFFREY DOEBLER Director of Music Education and Bands, Valparaiso University

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“ Membership in IMEA and NAfME is extremely important for all music teachers at all levels. Although we should also be members of the professional organizations for our specialty areas, it is critical to be members of IMEA/ NAfME, first and foremost, because these associations represent our united profession. I have been a member of IMEA since I moved to Indiana in 1992. I have been a member of NAfME (formerly MENC) since 1982.” A U T U M N 2023

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