Volume 75, Issue 4
A Quarterly Publication from the Indiana Music Education Association
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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.
MAJORS: Dance Instrumental Performance Music Business Music Education Music
Musical Theatre Songwriting Theatre Voice Performance Worship Arts
AUDITIONS DATES: Music and Musical Theatre Feb. 18, Feb. 21, & March 4
Dance Nov. 5, Feb. 18, & March 4
APPLICATION PROCESS: Step 1: Submit an AU admission application anderson.edu/apply Step 2: Submit an audition application anderson.edu/my-audition Also accepting audition videos at anderson.getacceptd.com
QUESTIONS? Contact Michelle Holmes: 765.641.4543 or msholmes@anderson.edu 2
W I N T E R 2021
VO L U M E
75
I S S U E
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EDITORS WENDY HIGDON CHRISTA JONES IMEA EXECUTIVE COMMITTEE JULIA HEATH REYNOLDS President JOHANN SLETTO President-Elect JULIE GRAY Immediate Past President A R E A R E P R E S E N TAT I V E S AREA 1 STEPHEN DEAN AREA 2 SARA PULSE AREA 3 MICHAEL BENNETT AREA 4 MICHELLE BADE AREA 5 KEITH ZIOLKOWSKI AREA 6 JONATHAN EDWARDS AREA 7 ANDREA DRURY AREA 8 NICK SCROGGINS I M E A C O L L E G I AT E R E P S JESSICA BAKER MACKENZIE MARTIN
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T A B L E
O F
C O N T E N T S
R E C O R D I N G S E C R E TA RY BEN BATMAN
Notes from the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
S TA F F LANE VELAYO Executive Director
Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 60-Second Interview with Marcia Yost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
MATTHEW D. ALTIZER Operations Manager
Incorporating Chldren’s Literature in the Elementary Music Classroom . . . . . . . . . . . . . . . . 10
IMEA Executive Offices PO Box 30558 Indianapolis, IN 46230 Phone (317) 342-4100 Fax (317) 342-4109 office@imeamusic.org
What Do Word Association Surveys and Bobble-Heads Have in Common?! . . . . . . . . . . . . . . 20
Twitter: @INMusicEd Facebook: facebook.com/INMusicEd
Structured Steps to Composition in the General Music Classroom . . . . . . . . . . . . . . . . . . . . . 16 Commissioning a New Work: 101 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
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: Wendy Higdon (whigdon@ccs.k12.in.us) or Christa Jones (christajeanjones@gmail.com).
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NOTES FROM THE EDITORS
In his inspirational book, The Courage to Teach, Parker Palmer states, “If we want to grow in our practice, we have two primary places to go: to the inner ground from which good teaching comes and to the community of fellow teachers from whom we can learn more about ourselves and our craft.” Educators have been working harder than ever to meet the academic, social, and emotional needs of our students. As we continue to serve our academic communities, we must also reserve time for both personal and professional self-reflection and rejuvenation.
Wendy Higdon
IMEA continues to provide support and meaningful professional development opportunities for its members, including online and in-person conferences and workshops, advocacy assistance, and—of course—INform Magazine! We hope to see you at our state professional development conference in Fort Wayne this January. Allow yourself the opportunity to reconnect with friends, soak up the wisdom shared by our outstanding presenters, feel the sparks of professional inspiration, and just relax in the company of fellow music educators.
Christa Jones
This edition highlights four fantastic Featured Article authors. Learn how your musical instrument dealer can help you and your program succeed, direct from George Quinlan, Jr., in “What Do Word Association Surveys and Bobble-Heads Have in Common?!” Michelle Brinkman provides step-by-step lesson ideas for “Incorporating Children’s Literature in the Elementary Music Classroom,” including books and creative ideas for the winter season. Dr. Joshua Ganger inspires us to contribute to our field and support contemporary composers in “Commissioning a New Work: 101.” Is composition possible at the elementary level? Absolutely! Find out how in “Structured Steps to Composition in the General Music Classroom” by Calyanne Crouch. Let this winter season be a time to reignite your passion for teaching; also be sure to care for yourself through rest and relaxation. Parker Palmer reminds us, “...the personal can never be divorced from the professional. ‘We teach who we are’ in times of darkness as well as light.”
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Wendy &Christa Wendy Higdon Editor
Christa Jones Editor
W I N T E R 2021
PRESIDENT’S MESSAGE
Vaccinated and ready to mingle, but still with so much caution. I know I am not alone in hoping that COVID would be past us as we entered the fall of 2021. But here we are, still being creative and figuring out ways for our students to make music safely. We know it has not been easy and that the waters have been difficult to navigate. Somedays, you may have all your students present; the next—your tenor section has been quarantined. Teachers and students alike have had to be resilient. Your drive and determination to have music happening in the classrooms is what the profession is all about. The IMEA board is very aware of the challenges we are all still facing. We are trying to be positive and realistic with our offerings and in-person programming. Student and member safety and health is our priority, but man, do we miss seeing everyone’s faces. As I type this message, the plan is to see each other once again—IN PERSON—in Fort Wayne in January. So, let’s get excited and mark our calendars. If our ability to rally together through this pandemic tells me anything, it is that we are going to have a FABULOUS time gathering once again (safely, of course). Whether you love coming for the clinics, performances, food, or networking, we are gearing up to provide all those things again for you, as we have in the past. As you make plans for the next few months, please take a moment and review the other programs that IMEA has to offer. Our board members and program coordinators are working tirelessly to plan our usual in-person performance
opportunities. If you are debating about Circle the State with Song or Festival and Clinic, we are hoping to see you and your students in person! If you have questions or concerns, please do not hesitate to contact someone on the board. We are here for you. My last thought is this: Thank you. Thank you for doing what you do. Thank you for finding the strength and joy to go into the unknown every day and make music with your students. What you are doing will make such a lasting impact for your students, so thank you.
Julia Health Reynolds
NUGROHO DWI HARTAWAN
Julia Heath Reynolds is Associate Professor of Music at Indiana State University where she teaches courses in Elementary and Secondary General Music and Music in Special Education and coordinates student teaching. Previously, Dr. Heath Reynolds taught at Boca Raton Community High School in Boca Raton, FL where she directed a large and diverse program including marching band, jazz band, symphonic band and implemented an inclusive music class for students in special education at the high school. As a member of NAfME, AMTA, and ISME, Dr. Heath Reynolds is active in the field of music education and has presented research and workshops at the state, national, and international level. Dr. Heath Reynolds is currently serving as President of the Indiana Music Education Association and serves as the chair for the NAfME Children with Exceptionalities Special Research Interest Group. She holds a BME, MME, and PhD in Music Education from Florida State University. Her research focus includes music for special learners in primary and secondary schools, teacher training, and nonverbal communication in the music classroom.
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prelude:
Are We Live or Are We Virtual?
Mark your calendars with these IMEA Dates! IMEA will continue to publish further details and information at IMEAmusic.org • EL/MS Circle The State With Song • Deadline to register December 8 • All sites are currently scheduled to be in-person • More information at: circlethestate.imeamusic.org/ • 2022 IMEA Professional Development Conference • January 13-15 in Ft. Wayne • Registration portal now open • Hotel Room Blocks now open • Pre-Conference Workshop information on conference website • Folk Dance Festival • March 23, 2022 • Music Theory Bowl • May 11, 2022
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IMEA is currently planning all programs and conferences to be LIVE! At this time, IMEA continues to actively monitor the COVID regulations and the CDC and state health department responses to activities allowed during the ongoing COVID pandemic. Currently, IMEA is planning to continue moving forward with all student and educator opportunities for the 2021-2022 school year, including the performances at the 2022 IMEA PD Conference in Ft. Wayne this coming January. When we do make decisions regarding performances, we are doing so with the chairs, coordinators, and Board of Directors for some level of local control based on the feedback of the teachers in their area. This won’t make everyone happy as some will view it as too cautious or not cautious enough, but we hope that some majority consensus will come through that allows us to then work with local health departments to host a safe event. We are comforted by the knowledge that we hosted all of the All-State and Honor Ensembles in May and June in a safe environment that saw no outbreak of COVID cases. We will use that knowledge and the advice of state and local health departments and the CDC to make as safe a decision as possible when it comes to our events as always.
What’s Up with My New Membership? You may have noticed an invoice coming directly from IMEA to renew or rejoin your membership. Have no fear, this is real! Working in partnership with NAfME, all NAfME and IMEA membership will be run through your member portal at imeamusic.org. You have the option to pay with credit card or through check and still receive all of your membership perks and benefits from both IMEA and NAfME. Reach out to the IMEA Office if you have difficulty navigating the new system and need assistance with your outstanding invoice or would like to join.
W I N T E R 2021
Ball State Masterworks Concert - Hilbert Circle Theatre, 2019
Undergraduate Audition Dates
Bachelor’s Degrees
Saturday, November 6, 2021
Music Education Music Media Production Music Performance Jazz Studies Bachelor of Arts/Science in Music
(all instruments and voice for Spring 2022 or Fall 2022 admission; application due Oct. 15)
Saturday, January 29, 2022 (voice and keyboard)
Sunday, January 30, 2022 (strings, woodwinds, brass, and percussion)
Saturday, February 12, 2022 (strings, woodwinds, brass, and percussion)
Sunday, February 13, 2022 (voice and keyboard)
Monday, February 21, 2022 (all instruments and voice)
Master’s/Doctoral Degrees* Conducting Music Composition Music Education Music History and Musicology Music Theory Performance Piano Chamber Music/Accompanying Woodwind Performance
Application Deadline: Saturday, January 1, 2022
Artist Diploma in Music Performance*
Video auditions also accepted. To learn more and to prepare, visit:
Certificate in Entrepreneurial Music
*Graduate auditions are handled on an individual basis
Available at the graduate and undergraduate levels
bsu.edu/music/auditions
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BY KATY THORNTHWAITE
AN INTERVIEW WITH
MARCIA YOST Director of Arts, Goshen College
has shaped my life. My undergrad degree in Music Education at the University of Indianapolis led to later studies and a masters degree in music education and choral conducting. What are some of the different music education positions that you have held? I began my career teaching elementary music for six years in the Fairfield School corporation in Goshen, IN. I then moved to Goshen Community Schools, where I taught both middle school and high school. As the programs grew, I spent most of the next 34 years teaching at the high school level, working with my colleagues to create an incredible music program that received national recognition.
What is your musical background? I began studying music in the first grade with piano lessons. I stayed with piano until I was about 11, at which point I became enamored with the guitar. Once I got a guitar, that became my focus. I started playing the french horn in the band and continued playing in bands and orchestras through college. I sang beginning at a young age and became very passionate about vocal performance, which ultimately led to my studying vocal performance and music education in college. Student teaching became a pivotal time in my life. I loved teaching! From that point on my passion for teaching 8
Describe your current work as a music educator. My current work as a music educator is committed to giving back to the profession I love. I teach the music education courses at Goshen College, where I have the opportunity to share my educational experience with college students. I also work to engage with music educators in the region to create opportunities for collaboration and sharing. My schedule allows me to take advantage of opportunities to clinic with choirs around the midwest. I see these clinics as an opportunity to reinforce the fine work done by choral colleagues and be a support to colleagues when they need a chance to breathe. Another one of my passions in music education is centered around our county El Sistema-inspired program called “ECoSistema.” This cooperative program with Goshen College, the Boys and Girls Club, and Horizon Education Alliance has been a joy to be involved with since its inception. This is truly a program that helps to make music accessible to all. W I N T E R 2021
What advice do you have for people studying to be music educators? My advice to young educators is to be patient with yourself. Building a program is tough work and takes time. Most importantly, knowing that you are building knowledge and not just reputation is what it should always be about. I also would advise young educators to be careful with what you create. You need to always be asking yourself, “will this be sustainable—physically, musically, and financially?” It is very possible to have an excellent program without selling your soul. What part of your job brings you the most joy? At this point, I experience the most joy in watching the passion of new music educators grow. We are working in a field that has the power to change lives and perspectives. Young teachers who go into the field at this point are truly inspirational to me. Teachers are my superheroes, particularly as they have survived and shared their creativity in the last 18 months.
Marcia Yost is currently serving as the Goshen College Director of Arts. However, she is retired from a 40-year career in public school music education where her passion for music helped build a highly recognized music education program for the Goshen Community Schools. Her current position at Goshen College includes visioning for the college arts programs and furthering engagement and outreach through these programs. Her work includes helping to establish Elkhart County and Goshen College as a hub for Music for Social Change and widening Goshen College’s footprint in the arts community throughout the state. Marcia Yost is also a sought-after choral clinician, adjudicator, and speaker. Ms. Yost holds a Bachelor’s Degree in Music Education from the University of Indianapolis and a M.M. from Western Michigan University. Katy Thornthwaite is a senior Music and Secondary Education double major at Goshen College in Goshen, Indiana. Originally from New York, she has spent the past three years living in Goshen and hopes to teach music in the area after graduating in the spring of 2022. She studies voice and is involved with the Chamber Choir, Voices of the Earth, plays French Horn in the Symphonic Orchestra, and has interned with the EcoSistema program at the local Boys and Girls Club. She is currently student teaching in an elementary general music classroom and enjoys every minute of it.
SUMMER 2022 UKULELE IN THE MUSIC CLASSROOM June 20–24 | 1 Cr. (VIRTUAL)
Lorelei Batislaong
DALCROZE ORFF EURHYTHMICS CURRICULUM June 27–July 1 | 2 Cr. Beginning and Intermediate
July 5–8 | 2 Cr. Pre-Req Orff Level II
David Frego and Marla Butke
Lisa Sullivan
ORFF ORFF SCHULWERK SCHULWERK MASTER CLASS LEVEL I & II “HOLDING SPACE: THE GESTALT OF ORFF SCHULWERK” July 11–15 | 2 Cr. Pre-Req Orff Level III
Roger Sams
July 11–22 | 3 Cr.
Josh Southard, Lisa Sullivan, Aaron Ford, and Meeghan Binder
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ALSO OFFERING Master of Music Education Core Courses: Music Theory, Music History, and Bibliography & Research
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BY MICHELLE BRINKMAN
Incorporating Children’s Literature in the Elementary Music Classroom One of my favorite things to do is weave my love of books and reading into my music lessons. There are so many possibilities for what you can do with children’s literature in the elementary music classroom! This article will touch on six ways to use children’s literature in your lessons and give some examples of how to integrate children’s books into your music class.
— Continued on page 11
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W I N T E R 2021
Vocal Exploration Books that have pictures to sing are fabulous for vocal exploration with younger students. Some examples of these kinds of books include Slow Snail by Mary Murphy, in which students can sing the silvery trails that the snail leaves as she travels. In The Straight Line Wonder by Mem Fox students can also sing the different pathways or could also explore how to move in straight, curvy, and zigzag directions. How to Speak Moo! by Deborah Fajerman invites children to explore different musical elements, such as fast and slow or loud and soft while “speaking moo” throughout the story. Everyone is Yawning is an adorable book with flaps to allow the reader to open and close the animals’ mouths like they are yawning. Young children enjoy practicing their yawns along with the animals.
Movement Exploration Using picture books is a great way to encourage movement exploration with students. This is the Way by Charles Fuge is a lovely book that features a very active little boy and his adorable animal friends. Younger students will enjoy discussing the different ways the animals in the story move and then exploring moving like those animals. Here is a suggested playlist of music to accompany the story:
Playlist: 1. Elephant: “Pharaoh’s Waltz” from Music for Creative Dance, Volume 2 by Eric Chappelle 2. Dinosaur: “Fossils” from Carnival of the Animals by Camille Saint-Saens 3. Mouse: “Minute Waltz” by Frederic Chopin 4. Ladybug: “Dancing Digits” from Music for Creative Dance, Volume 1 by Eric Chappelle 5. Anteater: “Golliwog’s Cakewalk” from Children’s Corner Suite by Claude Debussy 6. Frog: “Caribbean Leaps” Music for Creative Dance, Volume 2 by Eric Chappelle 7. Orangutan: “Skippity Jig” Music for Creative Dance, Volume 4 by Eric Chappelle 8. Owl: “Pastorale” Music for Creative Dance, Volume 2 by Eric Chappelle 9. Bumblebee: “Flight of the Bumblebee” by Nicolai Rimsky-Korsakov 10. Dream: “Lullaby” by Johannes Brahms
Instrument Exploration/ Soundscapes William’s Winter Nap by Linda Ashman is a delightful story about a little boy who is having trouble getting to sleep because various woodland creatures keep knocking on his cabin’s door looking for a place to get out of the cold. This is also a wonderful story to use for an introductory lesson in improvisation at the barred (Orff) instruments. Here is one idea for how to use the story: • Teacher reads the story and invites students to say/pat (alternating hands while patting) the phrase “Yes, we’ll scooch a bit. There’s room for more, I’m sure we’ll fit!” each time it occurs in the story. • Once students can say and pat the phrase, move to the barred instruments. • At barred instruments, set up in F pentatonic (remove E’s and B). • Ask students to play the repeated phrase from the book on D (students are going to play in la-based F pentatonic, so D is our tonal center). • Students practice playing the repeated phrase again on any two notes of their choosing, but they must begin and end on D. • Continue this process of adding a note until students are able to improvise with all the notes of the pentatonic scale (beginning and ending on D). • Discuss with students that melodies sound best when they have notes that repeat or move by step or skip. • Choose unpitched percussion instruments to play on sound effect words, such as “tap,” “knock,” “boom,” “ping”, and “crunch.” • Divide class into groups—one group at barred instruments improvising on the repeated phrase, one group playing unpitched percussion on the sound effect words, and one group acting out the characters in the story. • Teacher reads the story again with each group performing their part. Another winter-themed story for instrument exploration is Bear Snores On by Karma Wilson. In fact, there is an entire series of Bear books that would all make great additions to the music classroom. In this particular story, all of Bear’s friends end up having a party in his cave while he is trying to hibernate for the winter. One idea for using this book is for students to practice low E on the soprano recorder. There — Continued on page 12
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are also many “sound effect” words in the book begging for unpitched percussion instruments to be added to create a soundscape. A possible outline for a lesson using this story is as follows: • Students play the following recorder melody:
• Teacher reads Bear Snores On. Students play recorder melody each time “and the bear snores on” happens in the story. • Identify “sound effect” words throughout the story (e.g., howl, growl, spark, pop). Students choose unpitched percussion instruments to go with the words. • Read story again, playing the recorder melody and adding the unpitched percussion—all instruments play on “but his friends snore on.” At the end of the book, allow students to act out the different animal characters in the story (using puppets, masks, hats, etc.).
• After melody is learned, add the accompaniment provided in the book (simplify if needed). • Students create a rhythm composition using Rhythmic Building Bricks (Consider using this set by David Row on Teachers Pay Teachers: https://www.teacherspayteachers.com/Product/Rhythm-Centers-and-CompositionRhythm-Sort-Food-Edition-3090268) • Students figure out a way to play a melody based on their rhythmic compositions. • Perform a rondo with Erstes Spiel #12 as the A section and student compositions as the contrasting sections.
Introduction to a Lesson
Songtales
Muncha! Muncha! Muncha! by Candance Fleming tells the story of three naughty rabbits and their antics as they outsmart Mr. McGreely to overcome all of the obstacles he has put in their way to keep them from his vegetable garden. This cute story is a great introduction to learning a piece at the barred instruments with the following process: • Read story, adding the melody from Gunild Keetman’s Erstes Spiel am Xylophon #12 at various points using text based on the story (text by Michelle Brinkman).
Song Tales are a great way to end a music class with younger students! These stories allow students to simply just listen and calm down before heading back to their classroom. GIA Publications has a wonderful set that corresponds with John Feierabend’s First Steps in Music Series. There are also many picture books that can be found of various folk songs and popular songs that make great song tales. Another possibility for a song
We are hungry bunnies going munch!, munch!, munch! Pat______________________snap clap pat We are hungry bunnies going munch!, munch!, munch! Pat_____________________ snap clap pat Peas and corn! Lettuce, carrots too! Tap head or shoulders___________ We are hungry bunnies going munch!, munch!, munch! Pat_____________________ snap clap pat • Once students can sing melody and perform body percussion, go to barred instruments. • Set up barred instruments in C pentatonic (remove F’s and B). • Teach the Erstes Spiel am Xylophon #12 melody by rote. 12
— Continued on page 14 W I N T E R 2021
Purdue University College of Liberal Arts
Patti and Rusty Rueff School of Design, Art, and Performance
Division of Music
BA in Music Concentrations in
Music Technology General Music Studies
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tale is to use a book with no words, just pictures, like Snowman’s Story by Will Hillenbrand. Show students the pictures from the story while playing a piece of instrumental music, such as “The Snow is Dancing” from Children’s Corner Suite by Claude Debussy. After the children have looked and listened to the story, invite them to share what they imagined. Using scarves, ribbons, or foam snowflakes, students could create movements like snowflakes falling as an extension activity. The possibilities are endless!
Composer and Musician Biographies There are many excellent composer and musician biographies written for elementary students. One way to integrate these books into the music classroom is to feature a “Musician of the Week” for the students. This only takes the last 5-8 minutes of class and includes reading one of the biographies and showing a short performance of their music. This is a fantastic way to expose students to many different musicians from various genres throughout the year. Students also enjoy being able to peruse these biographies at their leisure, and having a book display that is changed seasonally is an excellent way for them to do this.
REFERENCES Ashman, L. (2017). William’s Winter Nap. Disney-Hyperion. Fajerman, D. (2014). How to Speak Moo! Barron’s Educational Series, Inc. Fleming, C., & Karas, G. B. (2002). Muncha! Muncha! Muncha! Pocket Books. Fox, M., & Rosenthal, M. (1997). The Straight Line Wonder. Mondo. Fuge, C. (2009). This is the Way. Gullane Children’s. Hillenbrand, W. (2014). Snowman’s Story. Two Lions. Keetman, G. (1969). Erstes spiel am xylophon. B. Schott’s Söhne. Murphy, M. (2013). Slow Snail. Candlewick Press. Wilson, K., & Chapman, J. (2005). Bear Snores On. Scholastic/Weston Woods Studios, Inc. Michelle Brinkman holds a B.S. with honors in Music Education and a M.M. in Music History/ Musicology from Ball State University, and she completed her Orff-Schulwerk certification at Anderson University. She is the K-5 music specialist at Nora Elementary School (MSD of Washington Township) in Indianapolis, Indiana. She has presented at numerous conferences and workshops and is a two-time recipient of the prestigious Teacher Creativity Fellowship from the Lilly Endowment. Michelle is Past President of the Indiana Orff-Schulwerk Association.
If your students are looking for a choral program and there is not a children’s choir in your area, the ICC Connects program offers singers a full ICC experience wherever they live.
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W I N T E R 2021
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/educatorsINF2
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B Y C A LYA N N E C R O U C H
Structured Steps to Composition in the General Music Classroom It all stems from two short words: change something. Incorporating this key phrase can have a powerful impact on your students and your own teaching philosophy. Tasking your students to immediately compose or create something new can feel overwhelming for them and sometimes for us as teachers. Yet the phrase “change something” lowers the stakes, cultivating a culture of playfulness, while still demanding action. It builds a base of creative problem solving across content and makes composition much more accessible to our students. “Change something” is adaptable across nearly all of our activities and can be repeated and recycled in each class while still yielding a refreshing result. Finding key phrases that resonate with your students sets a base for the classroom culture. For me, “change something” has been the base of our approach to composition. Anyone can compose, but the process can feel especially overwhelming for our younger musicians. Before planning any composition activities in your lessons and units, check to see if they are, as ADHD expert Lynne Edris says, “TUB.” Too big? Undefined? Boring? We will deal with those first two elements together, and rely on our energy, rapport, and classroom culture to tackle the latter. By taking well-scaffolded baby steps and repeating the process often, we can not only empower our students to compose with confidence, but also create a classroom culture where mistakes are welcomed and students know they are free to try, fail, and try again. Start with a pattern. Pattern is a keyphrase that resonates with my students. Challenging students from the beginning to create a rhythm, melody, or even just using the term “notes” can tense the energy in the room. However, kids understand the word pattern; it lowers the stakes and makes them successful more quickly. Starting with a fourbeat body percussion pattern and having students change just one action is an efficient and easily repeatable method to have students change something, dipping their toes in the waters of composition. Once they are confident about changing one action, challenge them to change one beat. Similarly, changing one word in rhythmic speech or poetry is an excellent starting point. This can serve as a method of practicing creative changes, such as substituting your 16
favorite city in the song L’il Liza Jane. It can also form the basis for a composition process that has a much larger end goal, such as the poem Winter Outside (Spoken), compelling students to change the single word descriptor in the first line.
Winter Outside Spoken Calyanne Crouch
= 80
Out - side
it
is WET
Out - side
it
is
gray
I
3
wish that
it
was sun - ny,
I
would
go
out
and play!
From here the process builds up, adding body percussion and identifying the rhythm of the poem. Once the written rhythm is identified, it can be transferred to a melodic instrument, first freely, then restricted to just one note as in Winter Outside (Recorder Example 1). As students approach their comfort level with each step, the process is expanded. After playing the entire sequence on one note, change — Continued on page 15 W I N T E R 2021
Winter Outside
to another note for just one specified word. Then try using those two notes in an order of the students’ choosing, as in Winter Outside (Recorder Example 2). Next, use three notes. Keep the option to stay on the previous tasks for those who need more practice at that level, while allowing those who are ready to continue forward to add more notes. Structuring the option to compose by adding in one note at a time not only builds students’ confidence but also increases their agency in the music classroom.
Recorder Example 2 Calyanne Crouch
= 80
Out - side
it
is WET
Out - side
it
is
gray
I
3
Winter Outside
wish that
Recorder Example 1
it
was sun - ny,
I
would
go
out
and play!
Calyanne Crouch
= 80
Out - side
it
is WET
Out - side
it
is
gray
3
wish that
it
was sun - ny,
I
would
go
out
and play!
I
Still, sometimes student compositions don’t come out sounding as harmonious as we would like. Students can feel a bit defeated when their hard work doesn’t end up as planned. Adding specific parameters can increase student success, all while keeping the composition musical. Assigning specific beginning or ending notes or phrases will highlight key melodic concepts. Returning to a specified rhythm or note technique builds confidence through repetition. And, of course, never be afraid to narrow your pitch set. — Continued on page 18
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The use of the recorder has a natural tendency to narrow the pitch set for us, as students must learn the techniques to play each note. Approaching composition by empowering students to choose their two favorite notes has formed a wide base for success in my classroom. When presenting notes to choose from, try organizing them as “top hand notes” and “bottom hand notes” as pictured in the recorder diagram. Though we all push for left hand on top, using the key phrases of top and bottom hand has yielded more immediate success for my students. Choose one top hand note and one bottom hand note when giving an example to model the comfortable addition of the right hand. Once the students find success here, challenge them to add one neighbor note, as in Winter Outside (Recorder Example 3). This keeps the challenge accessible without being overwhelming and, of course, keeps it musical. Once these decisions have been made, applying the text or rhythm is a logical next step.
Winter Outside Recorder Example 3 Calyanne Crouch
= 80
Out - side
it
is WET
Out - side
it
is
gray
I
3
wish that
it
was sun - ny,
I
would
go
out
and play!
The composition process provides excellent opportunities for our students to collaborate, whether in person or digitally. A full class can compose together by offering ideas to write on the whiteboard, or by having a small board for each student or group. A “pair share” can provide immediate feedback. A group of four can easily compose by starting with having each student responsible for just one beat. In the past year and a half, we’ve seen that even our youngest students can collaborate with Google Workspace, especially the Jamboard feature, or other services like Padlet. These workspaces have made the essential job of collecting and saving ideas even easier, though my favorite idea collection is the low-tech, humble note card. Having a small notebook for each student or even taking pictures of the whiteboard are other strategies to document their ideas for further composition. Collaboration can flow naturally into our standards of revision in composition. Having a neighbor, group member, or friend ensure that the composition follows the given parameters gives an extra system of checks and balances for musicality. I find peer revision especially helpful for our enthusiastic younger students who feel they have gone above and beyond when they lengthen their phrases by a few beats. Checking to see if the composition feels comfortable and sounds good is worthwhile, yet so is trying a different order of notes just for fun. A worthy lesson from pandemic education that fits nicely with the National Core Arts Standards is the practice of reflection. Recording and listening in the classroom, perhaps with using an app like FlipGrid or browser extension like Mote, is a precious practice that benefits from lots of modeling. Even consider modeling on your own main instrument for your students. Build in the time to really reflect with enthusiasm and curiosity. Prepare the culture of reflection with daily “change something” activities—Do you like what you changed? A typical timeline for composition in my general music classroom is about a month, or four forty-minute lessons, as outlined below. Seeing your students for shorter periods or multiple times a week could shorten or lengthen your own timeline. If composition is a regular feature of your curriculum, the unit length can vary greatly. Preview the targeted notes, rhythmic, or melodic content weeks in advance by incorporating it into your daily warm-ups. Lesson 1: Introduce content and “change something” Lesson 2: Collaboratively build or alter text or rhythmic phrase
The process is even simpler when applied to barred instruments, but consider keeping the “top hand” and “bottom hand” schema to increase bilateral coordination and break that right hand only habit. This may mean removing more bars than you theoretically need to, again to prevent choices from being overwhelming as well as keeping it musical. Re-attach the bars in the same order you would add a note on the recorder. This is especially appropriate for lower grade levels, though the students may require extra precaution to ensure bars are removed and reattached properly. 18
Lesson 3: Compose—Select your favorite notes and set them to the text/rhythm Lesson 4: Reflect and revise with curiosity If you reach lesson five and beyond, extend the process! The options are endless and have multiple pathways based on your goal. Notating each composition on the staff lends itself to a feeling of accomplishment for our students. Try using iconic notation or reducing the number of lines on the staff to ensure age appropriateness. Consider creating a W I N T E R 2021
Winter Outside Orff Arrangement Calyanne Crouch = 80
Spoken Out - side
it
is WET
Out - side
it
is gray
it
be?
I
wish that
it
Could
it
was
sun - ny,
I
would
go out
and play!
Recorder
Metallophone Could
it
be?
Could
be?
Could
it
be?
Sleigh Bells Snow!
Snow!
Snow!
Snow!
Tubano Look!
Is
it snow-ing?
Look!
Is
it snow-ing?
full arrangement or “Orffestration” to customize using the instrumentation available to you, such as in the score for Winter Outside (Orff Arrangement). This also emboldens student choice by allowing students to sing or play a different part if the original task did not resonate with them. From an arrangement, refine to performance accuracy and try playing in rondo, canon, or your favorite form. Performances can take all sorts of shapes in the pandemic landscape, from an audio or video recording to share with parents or playing for homeroom teachers during pick-up times. Students can also perform for invited staff and students, during community informances, and even in full concerts, when allowed. Our end goal with composition isn’t just fulfilling the Create strand from the National Core Arts Standards; it’s about creating a culture of curiosity and reflection that is open to change. Taking baby steps with significant structure can support our students in the journey of trying something new, letting them know that it’s okay to make mistakes and it’s okay to think differently and succeed. Many of our students won’t become music professionals and may not even have formal music education after elementary school, but we want to empower them all to interact with music in a meaningful way throughout their lives. We know that all of our students will encounter change throughout their futures. We want to give them skills and opportunities to approach life with confidence and know that their actions can shape their lives for the better. And with composition, we can do just that. l
Look!
Is
it
snow - ing?
REFERENCES Lynne Edris, Productivity & ADHD Coach. (2021). Lynne Edris, Productivity & ADHD Coach. https://coachingaddvantages.com/ Slidesgo. Second Grade Weekly Planner [Google Slide Template]. Retrieved September 3, 2020 from https://slidesgo.com/theme/second-grade-weekly-planner Swick, T. & Smith, J. (Hosts). (2021, September 24). Dr. Martina Vasil & Dr. Bryan Powell (Ep. 6) [Video Podcast Episode]. In Ta Ta Titi Talk. Swick’s Classroom. https:// www.youtube.com/channel/UCf6UyH3PUnihsTahvGw_vww Calyanne Crouch teaches 3-5th grade General Music and leads the Visual and Performing Arts team at the American School of Tegucigalpa, in Tegucigalpa, Honduras. Her percussion performance background influenced her love of the general music classroom and Orff Ensemble, completing levels and specialized study in Orff Curriculum and Design at VanderCook College of Music. She researched the use of small group recorder instruction while completing her Masters at SUNY Buffalo State. She frequently contributes to MusicConstructED.com. 19
BY GEORGE QUINLAN, JR.
What Do Word Association Surveys and Bobble-Heads Have in Common?! Popular author Daniel Pink opens his book To Sell is Human: The Surprising Truth About Moving Others with an interesting tale about Norman Hall, the last surviving Fuller Brush salesman in existence. The Last One—a genuine “old school” salesman! (If you’re not familiar with this company, we’re not surprised. The Fuller Brush Company flourished during the mid-20th century using a door-to-door sales model.) Daniel follows with a discussion about a wordassociation survey he developed entitled “What Do You Do at Work?” He posed a simple question: When you think of “sales” or “selling” what’s the first word that comes to mind? More about this later… If you ask a typical classroom teacher, “What Do You Do at Work?” their response might be, “I teach 4th grade” or “I teach High School Spanish.” But, we realize as band and orchestra directors, you often wear many hats. You are often an emergency instrument repair technician, a fundraiser, a career or academic counselor, a motivational speaker, a logistics coordinator…and, oh, you also teach music—often all before noon on any given day!
You’ve Got a Friend in Me... As a retailer devoted to school music service, our goal is to help make participating in band and orchestra easier for students, parents, and teachers. Recognizing the busy lives of the parents and students, we help by providing service at school on a dependable weekly basis to save them time and travel. School music dealers provide high-quality instruments at affordable rates, large selections and inventories of music and supplies, customized websites for your ensembles, and most importantly, dependable, high-quality repair service with quick turnaround all coordinated by your friendly educational representative. That person is known for being service-oriented, prompt, and having a strong musical background. 20
Often, educational representatives become more than just our rep by sharing best practices and ideas learned from other schools in the area. They also take time to get to know your school secretaries, business office and administration personnel, custodians, and other important people in the district to navigate and facilitate the varied ordering and delivery processes for your school. It’s not uncommon for our reps to pair “like-minded” directors together to learn and share ideas based on conversations during their weekly visits. Sometimes, it’s the intangible things they do that create the most loyalty. Often, it’s just “being there”—a trusted colleague to listen when you’ve had a challenging day. We realize that our visit together might be the only adult conversation you may have the entire day!
ISO—Instrument Shaped Objects One delicate subject we often discuss with educators relates to sub-standard, poor-quality instruments available on the market, particularly online. Often referred to as an ISO (Instrument Shaped Object), it will usually set a student up for failure when not properly monitored. Parents always want to do what is best for their child, but they need expert information to make good decisions. Teachers ARE experts at knowing which instruments perform best for students. Even first-year teachers may have twelve years experience as musicians, far more than most parents. Without proper guidance from you, parents will make decisions based on other factors like online reviews, fancy colors, or clever advertisements… not to mention a free pair of gloves! Please stress to parents that your goal is to have their child succeed in music, and their instrument is a key part of their success. The instrument must be of high quality, easily repaired, and play with — Continued on page 21 W I N T E R 2021
good tone and intonation. Most teachers provide suggested brands for their parents’ consideration. Without guidance from you, the expert, we cannot blame parents for making uninformed decisions.
We Want You to be Happy… It’s true that WHERE you buy is as important as WHAT you buy. This is a common expression and is particularly relevant for musical instruments, especially for beginners. School-oriented retailers pride themselves on having top-notch, in-house repair technicians (our company employs over 50 band and orchestra technicians) to serve students in their communities. Older, high-quality instruments can always be repaired, but ISO’s frequently do not play when “new and out of the box,” have limited availability of parts, and will not “hold” the repair. If a trusted repair technician refuses to try to repair an ISO, it is because they know the customer will be unhappy
in the long run. For example, if a flute has soft keys, they are easily bent and get out of adjustment far too easily. How many times can you bend an Ab key on an ISO until it breaks off altogether?! A good technician will get the instrument in working order, but within a short time, the student will likely bend another key, and the parents will blame the technician for not doing the job properly. Knowing the parents will not be happy about the situation, many technicians prefer their dissatisfaction be directed appropriately at the seller of the ISO by explaining: “ultimately you won’t be happy with this instrument. We may get it to play today, but it will break again, and you’ll be unhappy. We don’t want you to be disappointed with our work. I’m trying to do what’s best for your child.” An astute band director once said, “Buy Nice, or Buy Twice.” Fortunately, the largest online seller has a very liberal return policy, so encourage parents to get a refund and invest it into a better instrument!
— Continued on page 22
21
What we Practice, Improves… As a professional educator, you will likely recruit a beginning band or orchestra class about 30 times in your career. Many of the best practices in recruiting techniques are developed by trial and error over many years. Educational representatives love sharing these great ideas. In fact, a typical educational rep will be involved with 30-40 school recruitment campaigns each year. They truly become recruiting experts! Reps are eager to share ideas about instrument demonstrations, “fitting” techniques, online and other resources, and traffic management for rental events. They become skilled at helping organize your beginner registration. Ideally, parents will get the information they need, receive the best guidance from the experts, and enjoy the convenience and efficiency of enrolling their child in music while obtaining a good instrument (typically by rental) and supplies. After all, this is the first impression parents will have about you and your program. First impressions are lasting impressions, so let’s work together to make sure it’s the best it can possibly be.
team work hard to surpass your expectations to become your trusted advisor and partner in Music Education. To demonstrate and celebrate this unique “win-win” relationship, the winning directors received custom-made bobblehead dolls of themselves with their Q&F rep! l
You’re not alone… Most people involved in the school music industry once played in band or orchestra and now understand the benefits music provides for kids. As businesses, we support many organizations whose mission is to improve music opportunities for students. You may recognize NAMM (National Association of Music Merchants – Music Products Industry), NASMD (National Association of School Music Dealers), NAPBIRT (National Association of Band Instrument Repair Technicians), ASTA (American String Teachers Association), Music Achievement Council, Music for All, the Midwest Clinic, and your state and local Music Education associations like IMEA, ISSMA, etc. An entire industry is there to support you and your efforts to bring music to the next generation. Please let us know how we can help!
Back to Daniel Pink… Based on the first-word response to “sales” or “selling,” almost every response in the word association survey was negative, with “pushy,” “annoying,” “difficult,” and “yuk” being the most common responses. In fact, the most frequent somewhat positive word to describe a salesperson was “necessary.” If this is true, why do music educators place such a high value on their relationships with their reps? Music education representatives transcend the stereotypical salesperson. Instead, they build trusting relationships with the directors they serve that often last for decades. In fact, for several consecutive years, we ran a Facebook contest asking directors to complete this sentence—I Like my Quinlan & Fabish rep because… We were encouraged and delighted to read the heart-warming narratives and poems, listen to the songs, and view the videos paying tribute to our team of Q&F reps. The men and women on our Q&F rep 22
George Quinlan, Jr. currently serves as President & CEO (and part-time 35+ year veteran educational rep) of Quinlan & Fabish Music Company, a regional chain of five retail stores serving schools in Indiana. He currently serves as Treasurer for The Midwest Clinic, Past President of the National Association of School Music Dealers, Chairman of the VanderCook College of Music Board of Trustees, a member of the Music Achievement Council, and Artspeaks204—a grassroots arts advocacy group. He has served two terms on the Board of Directors of the National Association of Music Merchants (International Music Products Association) and the South Shore Brass Band. In 2013, he and his father were recognized with the Don Johnson Music Industry Service award, and Q&F was recognized as 2014 Retailer of the Year by Music, Inc. magazine. Quinlan & Fabish Music Co. has been recognized as one of the leading school music retailers in the United States. Q&F has made participation in band and orchestra easier for parents, students, and teachers as a trusted partner in Music Education since 1959. W I N T E R 2021
INDIANA WESLEYAN UNIVERSITY INTRODUCES
MARCHING BAND
MAJORS BACHELOR OF MUSIC Composition Performance
SCHEDULE YOUR VISIT SOON!
BACHELOR OF SCIENCE Music Education
BACHELOR OF ARTS Applied Music Music Therapy Songwriting Worship Arts and Music Ministry
For a complete list of visit day options, go to indwes.edu/visit. Ask about the Marching Wildcats and our special visit day with a Spotlight on Music happening Monday, February 21.
INDW ES. EDU/ M USIC
765 - 677-2 152
Scan the QR code or visit indwes.edu/marchingwildcats 23
4201 S WASHINGTON STREET | MARION, IN | 46953
BY DR. JOSHUA GANGER
COMMISSIONING A NEW WORK: 101 Creating new music is an extremely important part of music and music education. Commissioning a work may seem like a daunting task at first, but my hope is that this article will give you a simple outline that will spark a new idea. In my career as a performer and an educator, I have had the opportunity to help commission multiple works. Before even thinking about a composer, you first must have a vision for the piece. This will make the process of discussing the work with potential composers easier. My suggestion for this vision includes instrumentation, style, length, and purpose. Instrumentation is one of the most important parts of the vision for the work. As an educator, determining this part of the vision may not take as long as the others. Will the work be for band, choir, or a chamber ensemble? Not only will this decision impact the way the piece sounds, but it could also impact the cost of the commission. In some cases, the composer may charge more for the work depending on the size of the ensemble or accompaniment involved. Style is not only important for the vision of the work, but it is also essential when choosing a composer. You must have an idea of how you want the piece to sound. Will it be atonal or tonal? Will it be written in a baroque, renaissance, classical, romantic, or 20th-century style? The length of the work needs to be taken into consideration for multiple reasons, including endurance and pricing. 24
In most cases, the length of the piece will affect the cost. The longer the work, the more it will cost. I would also suggest taking into consideration where the piece would fit in a recital or a performance. This will guide how the piece is programmed and performed in the future by other ensembles after the world premiere. The purpose for the commission is, in my opinion, the most important part of the vision process. Why should this piece be written? Why should this piece be played? In 2015, myself and a group of 16 consortium members commissioned a new work for piccolo trumpet by Jim Stephenson. The purpose of this work was to fill a void within the trumpet repertoire. Most of the concerti currently performed on piccolo trumpet were not originally intended for that instrument. So, the goal for this work was to use the full range and capability of the modern piccolo trumpet. Once you have a vision for the work, the next step is finding and choosing a composer. Some people go into a commission with a composer in mind, while others have a vision for the piece but don’t know many composers personally. First, I would suggest compiling a list of any composers you know of and those your colleagues and mentors have suggested for this project. In my previous commissions, I took the vision that I had laid out and asked peers and mentors who they would recommend for the commission. Once I had W I N T E R 2021
compiled the list, I looked at each composer’s website, specifically looking at their biographies and recent works. Within their biographies, it is important to see who they have worked with in the past. With what ensembles have they worked? Have they worked with many ensembles similar to yours in the past? Within their recent works, you can listen to pieces they have written to see if their compositional style matches what you want in your piece. Next, narrow the list down to the composers you believe can create the piece you have outlined in your vision. Personally, I narrowed the list down to, at most, ten composers. Then, I contacted them through email. My purpose in contacting them was to gauge their interest and discover their pricing. In the email, I included my vision and timeline for the project and a request to find out their pricing and interest. Once you have received all the responses, if necessary, trim the list down even further by taking out those who are out of your price range, aren’t interested, or can’t meet the timeline. Next, do a phone or extensive email interview with each of them to find out their desires for this project. Also, if needed, find out if they are interested in allowing for a consortium to happen. If you are able to, I would also highly suggest at least reading, if not performing, some of their works with your ensemble in this stage of the process. While recordings can tell us a lot about compositions, we find out more through performing a composer’s works. Once you have decided on a composer, the process continues. No matter which composer you have chosen, make sure there is some sort of written agreement in the form of an email or, preferably, a contract. There are some commissions you might do in which no money is exchanged. I would still highly recommend having all matters in writing for the vision of the project and the timeline so you have something with which to hold both the composer and yourself accountable. Make sure that the details of the commission (length, instrumentation, etc.), consortium, payment plans (if any),
public release information, recording rights, and other important details within a commission are covered in the contract. Understand that some composers may ask for a down payment on the project once the contract is signed. As the commissioner, you have to fund the project. Outside of paying for the project on your own, there are a few different ways to fund the project. Grants are a great avenue to find and secure funding for new music. First, as an educator, check to see if your local arts council and statewide organizations have funding. These councils may offer annual or biannual grants to fund professional development. There are also larger established grant sources, like New Music USA, where you can apply to receive grant funding. Crowdfunding is another avenue that you could pursue. There are numerous outlets like Kickstarter and GoFundMe, among others. If seeking crowdfunding, consider that they withhold around 5% of your accrued funds. Finally, there is also the option of pursuing a consortium. A consortium is a group of individuals who come together with a common goal of funding a project. This is one of the routes that I have commonly pursued with my commissions. The first step in building a consortium is to create parameters. As the lead consortium member, you should be allowed to give the world premiere and release the world premiere recording (whether on YouTube, a CD, or another avenue), but you also need to give incentives to the consortium members. Allow them to give regional premieres within a certain time frame before the piece is released to the public. Also, consider giving the consortium members the ability to record and release the work first before those who purchase it publicly are allowed to. Consider how much it will cost to join the consortium and what they will receive for joining. They should receive the parts to the score, but is there anything else you can offer as an incentive to join? Make sure the price to join is low enough that people will be — Continued on page 26
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interested but high enough that you will achieve your goal of getting funding for the piece. The next step is to recruit members for the consortium. Start with the composer: ask them if they have connections with individuals who might be interested in joining. Compile their references with connections that you have made to make a list of people to contact. Send out individualized emails to each person telling them a little bit about the project to see if they are interested. If they respond with interest, then send them more information about the commission and the consortium. Once you have found funding and paid the composer, the commission does not end! The composer should send you a draft of the work. Look it over, read through it with your ensemble, and make sure that everything within the contract was met. Also, make sure that the piece is playable and all the markings are correct. The piece will have your name on it, so be sure it is easily understood in hopes that it will be performed for years to come. If you are leading a consortium, consider involving the other members in the draft process. Ask for their thoughts and allow for them to give feedback to the composer as well. The next step is preparing for the premiere. Make sure, within the timeline for the project, that you have given your-
self ample time to prepare properly for the premiere. Take your time! This is going to be the first time this piece is ever heard, so make sure to perform it as well as you can. The composer has likely put hours upon hours of work into this, so your ensemble should too. Be sure to tell your friends and colleagues about the great work written for you. See if they would be interested in purchasing and performing it. Not only will the composer garner interest as the piece continues to be performed, but your name will be on the score each time it is performed, which could gain you future connections. l Praised for his “impeccable accuracy and demonstrated versatility and sensitivity” (International Trumpet Guild Journal), Dr. Joshua Ganger performs internationally as a chamber musician, soloist, and ensemble member. In 2016, his debut solo album, “Songs of a Sojourner” was released through Summit Records. As an educator, Ganger has given masterclasses at numerous universities and presentations at the Indiana Music Education Association Conference and the College Music Society Pacific Southwest Conference. Dr. Ganger currently teaches at Indiana Wesleyan University, Taylor University, and Manchester University.
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W I N T E R 2021
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— Continued on page 26
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IMEA’s Membership and Advocacy
Programs for Students & Members
Connecting and inspiring music educators across the state towards advocacy for music in schools.
We offer an array of programs both for beginning student musicians, and seasoned performers and educators.
MEMBERSHIP: Membership with IMEA isn’t simply being part of a peer group. We go further. Whether that’s supporting and encouraging music outreach, helping our members continue their musical education, or fostering stronger educators for Indiana’s music students, we are proud to offer an expansive amount of resources and opportunities. Your $129.00 membership grants you access to both IMEA’s resources, as well as a National Association for Music Education (NAfME) membership. You’ll receive a subscription to our magazine, INform, along with information and opportunities for your students including the IMEA Honor Band, the All State Percussion Ensemble, our Elementary and Middle School Honor Choirs, and National Honor Ensembles. A DVO CACY : The heart of IMEA’s mission is advocacy. We want to grow a better environment for cultivating music and musicians in the Midwest. Only through standing up for the importance of music education in our schools, can we ensure that our students receive the opportunities and support they deserve. In pursuing this goal, we strive to provide resources and tools to help other advocates give voice to music education. Currently, we help support NAfME’s Think Beyond Bubbles: Be a Broader Mind initiative.
“ Music not only impacts academic achievement, it also shapes the way our students understand themselves and the world around them. Let’s think beyond the bubbles and educate the whole student.” We also direct our members to other resources like: • SupportMusic.com • Mr. Holland’s Opus Foundation • Americans for the Arts • The Music Achievement Council • VH1 Save The Music • The MuSICA Database • The Children’s Music Workshop • The Dana Foundation • The President’s Committee on the Arts and the Humanities
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STUDENT PROGRAMS:
Circle the State with Song Circle the State with Song (CSWS) is 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 each spring at one of 12 sites throughout Indiana. Over 15,000 community members attend these concerts annually.
All State/Honor Ensembles This event gives students at the high school and collegiate levels the opportunity to participate in one of several All State Honor Ensembles. These ensembles perform at the IMEA Professional Development Conference in January each year.
The Future Music Educators Colloquium The colloquium gives students a chance to undergo an intensive, two-and-a-half-day workshop designed specifically for high school students to learn more about what it takes to become a successful music educator. This event is part of the IMEA Professional Development Conference and is held at the Grand Wayne Convention Center in Fort Wayne.
The Indiana Tri-M Honor Society The Tri-M Honor Society is an international music honor society for middle and high school students. The honor society recognizes students for their academic and musical achievements and rewards them for accomplishments as well as service activities to help inspire excellence and musicianship and leadership. Tri-M is a program of the National Association for Music Education (NAfME) and has more than 5,500 chartered chapters.
The IMEA Composition Competition The IMEA Composition Competition is an annual competition that offers young Indiana composers–grades 6-12–the opportunity to have their work evaluated by established composers/educators who provide written feedback. This event is designed to help these young composers learn and grow as creative musical thinkers and will take place in Fort Wayne in conjunction with the IMEA Professional Development Conference.
W I N T E R 2021
MUSIC — at — Indiana State Undergraduate Degree Programs • Music Education Major • Music Business Major • Performance Major • Composition Major • General Teaching Music Minor (for Elementary Education majors only)
• Music Industries Studies Minor • Music Minor Certificate • Piano Pedagogy Auditions for Admission and Scholarship Consideration Spring 2022 and Fall 2022 Admittance
• Friday, December 3, 2021 Fall 2022 Admittance
• Monday, February 7, 2022 • Monday, February 21, 2022 (President’s Day) • Monday, February 28, 2022 Prospective Student Interest Form
SCAN HERE To find out more, contact: School of Music, 300 N. 7th Street Terre Haute, IN 47809 812-237-2771 isu-music@indstate.edu indstate.edu/music
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The Music Theory Bowl
The Collegiate Leadership Symposium
Music Theory Bowl is a team-based program for high school students in Indiana, created as an opportunity to sharpen music theory knowledge and engage students who participate in music theory classes statewide. Music Theory Bowl is open to all Indiana high schools, regardless of whether the school has a Music Theory class.
This symposium is for members of CNAfME. During this annual meeting, leaders from CNAfME will gather in Indianapolis to discuss their agenda for the upcoming season.
The Children’s Folk Dance Festival The Children’s International Folk Dance Festival showcases thousands of children from across Indiana in grades three through eight performing international folk dances. Students learn the dances from music, P.E., and/or grade-level teachers throughout the academic year in preparation for the festival. This event is supported by the Kentucky Dance Institute.
The IMEA Festival and Clinic The IMEA Festival & Clinic provides an assortment of student groups with an opportunity to perform for a panel of clinicians and receive a masterclass with a master teacher.
The Southern Indiana Symposium and Clinic This event is a full-bodied professional development event for educators — specifically in the Southern Indiana area.
The Northern Indiana General Music Workshop The Northern Indiana General Fall Workshop is a one-day workshop for general music teachers that is designed to give them new educational tools and tips as they head into the academic school year. As a very interactive, hands-on workshop, teachers will explore ways to get their students involved in the classroom from music room games, dancing, and other fun activities.
The Beginning and Developing Teachers Workshop
Powered by DCI, the Marching Music Academy is a free educational event for Marching Band Directors and Instructors designed to help their skills as they go into the summer. IMEA, Drum Corps International, and the Scouts (our demo group) lead the event.
The Beginning and Developing Teachers Workshop as a tool to further develop your skills as a classroom music educator. Geared towards beginning and transitioning teachers who are looking for help with classroom management, new teacher assessments, planning music trips, or guidance on communication with administration. Learn from veteran educators, surround yourself with other educators who are new and/or further developing their skills, take in ideas and tools that you can immediately incorporate into your classroom!
Introduction to Orff-Schulwerk
The IMEA Professional Development Conference
Orff-Schulwerk is a process of teaching music to children by involving them in the creation of music. Through imitation, exploration, and improvisation, students develop musical skills and understandings. In this workshop, you will become immersed in the “Orff World” through singing, playing, exploring, moving, and most important, beautiful music-making. You will be introduced to the process through lessons appropriate for elementary school students, and occasionally extended to develop your own musical skills needed for artistic teaching.
The IMEA Professional Development Conference is the largest, more diverse professional development event for Indiana music educators. Welcoming music teachers of all levels and classrooms, this 2-day conference contains over 100 sessions and meetings with close to 100 clinicians.
MEMBER PROGRAMS:
The Marching Music Academy
The Fall General Music Workshop The Fall General Music Workshop is a one-day workshop in Indianapolis for general music teachers that is designed to give them new educational tools and tips as they head into the new academic school year. Through a very interactive, hands-on workshop, teachers will explore new ways to get theirstudents involved in the classroom from music room games, dancing, and other fun activities.
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Music in Our Schools Month Music in Our Schools Month® (MIOSM®) is NAfME’s annual celebration taking place in March which engages music educators, students, and communities from around the country in promoting the benefits of high quality music education programs in schools. MIOSM® began as a single statewide advocacy day and celebration in New York in 1973 and grew over the decades to become a monthlong, nationwide celebration of school music in 1985. l W I N T E R 2021
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Come See Our Brand-new Store Band and orchestra room now open!
Instrument Sales • Repairs • Rentals Sweetwater Band & Orchestra is the premiere location for your instrument needs. Our brand-new, state-ofthe-art store has a dramatically larger selection of instruments and accessories, an expanded service and repair department, and so much more! Our knowledgeable staff will help you find exactly what you need, whether it’s for a band, a student, or yourself.
Get more at Sweetwater • Music Education Technology Experts • Free Technical Support • Online Resources and Current Trends • Instruments, Software, Accessories, & More Music education is our priority. Trust Sweetwater to fill your classroom with the instruments and technology you need to help your students succeed in music education.
Music Educators Tec FALL/WINT ER
2021
Music Education
Visit Band.Sweetwater.com or call (260) 482-5533 for expert service and advice on all your orchestral needs.
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Visit Sweetwater.com/edu or call (800) 822-6752 for a free copy of our helpful guide. Plus, see the latest equipment, technology, and trends in music education.
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W I N T E R 2021
