Idaho Music Notes€¦ · T.J. Eriksen 2018 Music Educator of the YeGary Pawelkoar page 7 2018...

T.J. Eriksen2018 Music Educator of the Year page 7

Gary Pawelko2018 Young Music Educator of the Year page 7

Summer Music Opportunities for you and your students page 16-19

Plus.. Wayne Millett: Progress & Transition

Tom Kloss elected IMEA Pres-electPeggy Wenner Says Goodbye

Kathy Stefani’s Square PegTimeline for 2019 Honor Groups

Camille Blackburn Brings ItJeff Davis & Advocacy

Collegiate NAfME ArticlesLori Gray: Emotion & Meaning in Music

Bob Wicks on the Power of Fear

SCHERZO!

Idaho Music NotesVolume 58, 3 of 3 Idaho Music Educators Association

A State Unit of NAfME: The National Association for Music Education

Spring 2018IdahoMusicEducatorsAssociation

NationalAssociation

for MusicEducation

SPRING 2018 Idaho Music Notes 2

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CONTENTSPresident’s Page: Transition/ Tom Kloss Elected ...................... 6Music Educators of the Year ........................................................ 7Specialist’s Space: Farewell ......................................................... 82017-2018 IMEA Institutional Members ................................. 9President-Elect: The Square Peg/AS Timeline ........................ 10Camille Blackburn: Music Does Bring People Together ....... 12Advocacy Update: The Heart of Advocacy .................................. 13Collegiate IMEA: To the Future ............................................... 14Collegiate IMEA: Let’s Change the World .............................. 15SUMMER OPPORTUNITIES .............................................17-19Emotion and Meaning in Music ............................................... 20Fear: A Powerful Force .............................................................. 21Scherzo! Humor for the Music Educator ............................... 22

www.idahomusiced.org www.nafme.orgThe mission of the Idaho Music Educators

Association is to advance, promote, and advocate for standards-based Music Education in all

Idaho schools, to foster personal & professional growth of music educators, and to encourage

and enhance musical opportunities for all students throughout the state.

∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞DISTRICT PRESIDENTS

President District I - Tim Sandford - [email protected] President District II - Kathleen Tetwiler - [email protected] President District III - David Burton - [email protected] President-Elect District III - Mike Turner - [email protected] President District IV - Jason Eiler - [email protected] President District V - Greg Goodworth - [email protected] President District VI - Kristy Romano - [email protected] President Gem State - John Randall [email protected]

Photos courtesy of Colin & Karen Randolph

∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ SPONSORS INDEX

These are the people who keep our state dues low and enable us to put out

a quality magazine— please support them.

Blue Rider Music ................................. 3BYU-Provo ............................................2Central Washington University ..........5College of Idaho Cello Camp ........18, 21College of Southern Idaho ..................8Collegiate NAfME Advocacy .......13, 14Greif ’s Music .........................................8Idaho Bandmasters Assn ..............15, 18JW Pepper Workshops ......................18Lionel Hampton Music Camp .....15, 17Little Kids Rock ...................................18McGraw-Hill ........................................11Meadowlark Melodies .........................10Modern Band Summit ........................18NW NAfME ..........................................5Sun Valley Summer Symphony ..........17Treasure Valley Community College .........22 University of Idaho ..................15, 17, 23University of Portland .........................11Yamaha NW Mallet Camp .................18Yamaha .................................. back cover

∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ Editor’s Desktop

We’ve made it to the end of the school year. Here are some good articles for your reading enjoyment, as well as info on

summer opportunities to improve and refresh. Check out the timeline for

preparing your All-State musicians for the Honor Groups meeting in Rexburg next

January. See you in the Fall!—Ted Hadley, Editor

IDAHO MUSIC NOTESOfficial Publication of the Idaho Music Educators Association

A State Unit of NAfME: The National Association for Music Education

Spring 2018 Volume 58, Number 3 of 3Idaho Music Notes is published three times yearly—November, February, & May

Subscription price is included in IMEA/NAfME dues. Non-member subscription rates—$12.00 per year. Complimentary subscriptions available for sponsors and, upon request, to Idaho principals & school administrators.

SPONSOR DEADLINES—OCTOBER 1, DECEMBER 1 & APRIL 1; RATES ON REQUEST.EDITOR & MANAGER—TED HADLEY, 824 Northview Drive, Twin Falls, Idaho 83301

208-733-1079 H / 208-600-3052 C / [email protected] / www.idahomusiced.org/©2018, IMEA

IMEA OfficersIMEA President - Wayne Millett [email protected] President-Elect - Kathy Stefani [email protected] Past-President - Ron Curtis [email protected] Secretary - Quentin DeWitt [email protected] Executive Director - Karen Randolph [email protected] Webmaster - Wayne Millett [email protected] Publications Chair - Ted Hadley [email protected] State Solo Chair - Eva Hale [email protected] Representative - Kevin Howard [email protected]

Content Area ChairsString Chair - Kevin Howard [email protected] Chair – Scott Anderson [email protected] Chair - Christy Taylor [email protected]/Gen Chair - Shirley Van Paepegham [email protected] Chair - Lori Gray [email protected] Chair - Jeff Davis [email protected] Chair – Joel Sandford [email protected] Ed/Research Chair – Thomas Kloss [email protected] Chair – Jose Rodriguez [email protected] Schools Chair – Robbie Hanchey [email protected] Schools Chair – TBA TBATri-M Chair - Aaron Marshall [email protected] Music Educators - Gale Maxey [email protected]

Honor Group ChairsAll-State Mixed Choir Chair - Robert Wicks [email protected] Orchestra Chair – James Phillips [email protected] Band Chair - Aaron Marshall [email protected] Treble Choir Chair – Lindsay Lowe [email protected] Jazz Choir – Corrina Steinbach [email protected] Elementary Choir — Stephanie SantAll-State Middle School Choir — Melody Portraz

NAfME OfficersNorthwest NAfME President - John Combs [email protected] President - Denese Odegaard Fargo, North DakotaNAfME President-Elect - Kathleen Sanz Tallahassee, FloridaNAfME Past President - Glenn Nierman Lincoln, Nebraska


CWU is a AA/EEO/Title IX Institution. For accommodation: [email protected]

CWU Department of Music 509-963-1216 • [email protected]

SUMMER MASTER OF MUSIC EDUCATIONCentral Washington University invites you to join us for our Summer Master of Music Education Program. This program is geared toward the working teacher by allowing teachers to complete the requirements for this degree in three summers. By spending three weeks on campus each summer taking graduate classes, our program allows music educators to take the next step in their careers without having to quit their job. Check out our website for more information:

CWU.EDU/MUSIC/SUMMER-MASTER-MUSIC-EDUCATION


Lastly, I would like to thank Ron Curtis for his service to IMEA and the board. He has done a wonderful job serving on the board. Ron has been a great leader, mentor, and friend. His expertise and wisdom has been invaluable to me in filling his shoes. We are very excited that he will continue to serve as our All-State Manager.

Wayne Millett, President, Idaho Music Educators Association

All-State/Inservice ConferenceJanuary 31–February 2, 2019Brigham Young University-Idaho

Rexburg, IdahoVisit the IMEA website today:

www.idahomusiced.org SESSION PROPOSALS

AUDITION MATERIALS

IMEA Election ResultsTom Kloss, IMEA

President-ElectOur new IMEA President-Elect Thomas

E. Kloss is the Associate Professor of Music Education and the Associate Director of Athletic Bands at Idaho State University. He received his Bachelor of Music degrees in music education and saxophone performance at the University of Arizona in Tucson, AZ. He received his Master of Music

and Ph. D. in music education from Arizona State University, where he taught courses in instrumental pedagogy, research in music education, and string methods. He is also certified in Kodaly (Level 2) and Orff (Level 1) elementary methods.

His research interests include the effects of band teacher turnover, oral histories of retired music educators, and student centered learning in large ensemble classes. He has presented research at several venues, including the Society for Music Teacher Education Symposium, MENC Biennial Conference, and the Idaho and Arizona Music Educators Conferences, and has been published in Update: Applications of Research in Music Education, Arizona Music News, Research and Issues in Music Education, Praxis: Sam Houston Journal from the Center for Music Education, and Idaho Music Notes.

PRESIDENT’S PAGE Wayne Millett

Transition & Progress 2019 All-State Announced

As I prepare to hand over the reins of the presidency to Kathy Stefani, I have been reflecting on all that has happened to IMEA over the past four years. It has been four years of change and growth for our organization. Hopefully it has been for the positive. Of course, no real growth occurs without some growing pains, and there have been a few. However, I feel that they have contributed to the overall health of IMEA since these changes have been driven by our mission and vision.

The year I became President-Elect and took over All-State was the year we started having All-State every year. Part of the reason that we did this was to stabilize our membership. Up to this time our membership rose or fell depending on whether we were holding All-State. Since taking this path our membership numbers have remained fairly steady. That is, of course, only one reason for taking such a bold move. The main reason was to give students more of an opportunity to participate in the All-State ensembles. This also led to the addition of the Jazz Band and Jazz Choir. With the demands of expanding All-State and producing the conference every year also comes the need for more help. I encourage you to become involved. Volunteers are always appreciated.

Next year’s All-State/In-service Conference will be held January 31-February 2, 2019 on the campus of Brigham Young University-Idaho in Rexburg, Idaho. The faculty and staff there have already begun work preparing for us and it promises to be a great venue. Madison School District will also be involved in providing rehearsal space for the student groups and the Gala Concert will be held in the auditorium of their beautiful new high school. Session Proposals will open the beginning of April and audition materials will be posted near the beginning of May with the audition window opening late August. Performing Groups will be able to apply this fall, but remember you can submit recordings of your Spring groups as well.


2018 IMEA Music Educator

of the Year

T.J. Eriksen

At the Conference Banquet in Moscow this February, David Burton, District III President, introduced West Ada Music Educator T.J. Eriksen as our 2018 IMEA Music Educator of the year.

T.J. received his master of music performance, bachelor of music performance and music education degrees from the Lionel Hampton School of Music, at the University of Idaho. While at the University of Idaho, Mr. Eriksen studied saxophone under Dr. Robert Miller, Dr. Yannis Miralis, James Pisano, and Dr. Vanessa Sielert. Receiving a full-ride scholarship during his undergraduate studies, Mr. Eriksen was a Lionel Hampton Scholar.

T.J. has taught for the West Ada School District since 2007. While at Eagle High School, T.J. has more than doubled the student enrollment in the band program. The Eagle High School Band program has received numerous awards for their outstanding performance in all aspects of the program, and has been featured twice at the Idaho Music Educator’s All-State Conference. The Eagle High School band program has enjoyed commissioning and premiering pieces by regional composers such Rob Walker, Jeff Chambers, Dr. Vern Sielert, and Daniel Bukvich.

T.J. has been an advocate for music education through the West Ada School district, Boise Philharmonic Youth Orchestra Advisory Board, Gene Harris Jazz Festival Advisory Board, the State Department of Education’s Humanities Standards Executive Committee.

T.J. belongs to multiple professional music organizations including Pi Kappa Lambda, Idaho Music Educators Association, The National Association for Music Education, and The North American Saxophone Alliance. Performing both jazz and concert repertoire, Mr. Eriksen enjoys all types of music and continues to perform in multiple ensembles throughout the Treasure Valley. He has performed with a variety of musicians including The Four Tops, The Jimmy Dorsey Orchestra, The Supremes, The Temptations, Claudio Roditi, Jeff Hamilton, John Clayton, Bill Watrous, Wycliffe Gordon, Chuck Findley, Randy Brecker, and Dave Liebman. Mr. Eriksen has performed with the Boise Philharmonic, Amuma Says No, Treasure Valley Concert Band, the Kings of Swing, $oul Purpo$e, and currently enjoys performing with the Boise Modern Jazz Orchestra and the Boise Saxophone Quartet. T.J. also enjoys adjudicating and working with bands around the Northwest.

2018 IMEA Young Music

Educator of the Year

Gary PawelkoGary Pawelko, music teacher at Shelley High School, gradu-

ated from Skyline High School in 2011, where his music teacher was Bob Dunmire. Gary attended the University of Idaho, graduatingCum Laude in 2015 with majors in Music Education: Instrumental and Music: Instrumental Performance.

He was an emergency hire for Shelley School District #60 in the Fall of 2015, completing student teaching while teaching at Shelley. His University Supervisor/Mentor Teacher was Jan Eddington.

At the Conference Banquet in Moscow this February, Kristy A. Romano, District VI President, introduced Gary Pawelko, as the IMEA 2018 Young Music Educator of the Year, a new award for IMEA. Gary teaches at Shelley High School.

“As the Idaho District VI President, I have the honor and privilege to announce this next award. This educator has drive and passion that inspires my own teaching. This educator is al-ways looking for new ideas for improving teaching by observing and collaborating with other master teachers. This educator has a passion for student success and involvement. This educator is not afraid to ask for help and is always researching different educational strategies for student success. This educator is al-ways volunteering to help and willing to be a part of a team. The positivity that reflects from this educator is contagious. All I can do is smile when collaborating with this educator. This educator is one of the most caring people I know.

“Bestowing this award at the University of Idaho is extra spe-cial since this educator received a Bachelor of Music Education from this University. He is a third year educator, who started his first job as an emergency hire at the time of his student teach-ing. He is committed! When you’re new it’s easy to say you’ll do the extra stuff when you get comfortable, but he hit the ground running and even when he didn’t know how things worked, he didn’t miss an opportunity for his kids. He does whatever it takes to help them succeed, often without support.

“On behalf of the Idaho Music Educators Association, it is my pleasure to recognize my colleague and dear friend, Gary Pawelko, as the 2018 Outstanding Young Music Educator of the year! Congratulations, Gary!”

According to one of his students, “Mr. Pawelko teaches band and guitar and is a fantastic teacher. He cares about his students and takes time to understand where they are strug-gling and helps them the best he can. He goes out of his way to make learning fun. He goes the extra mile for his students. He is always in early and doing constantly a bunch of out of band actives just for the band. The band loves him and thinks that he is amazing. The band members all consider him not only a teacher, but also a friend.”


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SPECIALIST SPACE Peggy Wenner, SDE

FAREWELL & THANKS TO EVERYONE

It has been my great privilege to serve the music educators of Idaho for the past 18 years. This August I will end this phase of my career and retire to travel, write, and perform music. I have missed my personal musical growth and given most of my time to assisting my grandson in his piano study, but now I hope devote much time to keyboard, including tuning my harpsichord, practicing on a regular basis, and rejoining my church choir. My travel schedule for work has made it difficult to keep up with all the rehearsals required by our talented director.

Through the past 18 years, I have had much contact with the leadership in Idaho’s music association and been excited to visit several of your classrooms and concerts. The state and regional conferences have always provided me with a sense of pride in our music educators and their students. Often I have bragged to colleagues that their conferences cannot be nearly as enjoyable as my music, art, and gifted conferences. All of the areas of my responsibility have challenged me to act responsibly, creatively, and with the most determination to help protect the areas of the arts, world language, and gifted education— all much underfunded in Idaho and nationwide.

We have been through the initial standards adoption in 2000 and two additional standards reviews since that time, the most rewarding being the last one, where we were able to collect much statewide testimony and adopt the national arts standards in all five areas. We have also been through three textbook adoption cycles in my time at the SDE and a slew of Rotunda Concerts during Music in Our Schools Week. Yes, we have annoyed some legislators who thought the capitol should be entirely quiet—and running 1,500 children through 20 minute concerts just doesn’t cut the “quiet” rule!

It has been a great privilege to write quarterly articles for Music Notes. The endeavor has helped me review regularly the progress we have made as well as great needs to support music

education in our state.

Although I will be leaving, I know that several of you could provide leadership at the state level, and I encourage you to visit the jobs site on the SDE website and consider applying for the position when it is published. Granted, music is only one portion of the responsibility, but I know people who have more administrative experience than I had 18 years ago— and I think you should consider giving the position some serious thought. Thanks to every music teacher that has made a difference in children’s lives, including my own. I will miss hearing from you regularly but have all the confidence in the world you are doing your best to preserve a wonderful musical heritage for Idaho’s most precious citizens.

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Northwest Nazarene UniversityMusic Department

Dr. Philip Miller, Chairman, Nampa, Idaho 83686 Phone: 208-467-8413 Email: [email protected]

Web: www.nnu.edu/music

Willamette University Department of Music

John Peel, Music Department Chair900 State Street, Salem, Oregon 97301

Phone: 503-370-6255 Fax: 503-370-6260Email: [email protected]

Website: www.willamette.edu/go/music

Lionel Hampton School Of Musicat the University Of Idaho

Vanessa Sielert, Director875 Perimeter Drive MS 4015, Moscow, ID 83844-4015

Phone: 208-885-6231/Fax: 208-885-7254Email: [email protected]

Web: www.uidaho.edu/class/music

Idaho State University Music DepartmentThom Hasenpflug, Chair of Music

Department of Music Stop 8099, Pocatello, ID 83209-8099Phone/Fax: 208-282-3636

Email: [email protected] Web: www.isu.edu/music

Boise State University Music DepartmentLinda Kline, Chair

1910 University Drive, Boise, ID 83725-1560Phone: 208-426-1772; Fax: 208-426-1771

Email: [email protected]: music.boisestate.edu

Treasure Valley Community College Performing Arts Department

Stephanie Laubacher, Administrative Assistant650 College Blvd., Ontario, OR 97914

Phone: 541-881-5950/Fax 541-881-5518Email: [email protected] Web: www.tvcc.cc/performingarts

The College of Idaho Music DepartmentDr. Paul Moulton, Chair

2112 Cleveland Blvd, Caldwell, ID 83605Phone: 208-459-5275 Fax: 208-459-5885

Email: [email protected] or [email protected]: www.collegeofidaho.edu/academics/music

Chesbro Music CompanyMichael Bates, Manager, 257 N Second E, Rexburg, Idaho 83440

Phone: 208-359-1900 Fax: 208-359-1901Email: [email protected]

Karen Stewart, Manager, 327 Broadway, Idaho Falls, Idaho 83402Phone: 208-932-1230 Fax: 208-522-8712

Email: [email protected] Web: chesbromusicretail.com

Brigham Young University-Idaho Department of Music

Bryce Mecham, Department ChairRexburg, ID 83460-1210

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Web: www.byui.edu/music

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Website: www.up.edu/music

Blue Rider Music & Instrument RepairChris Britt, Manager Robin Boles, Technician

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Sun Valley Summer SymphonyKim Gasenica, Educational Programs Director

P.O. Box 3956, Hailey, Idaho 83333Phone/Fax: (208) Email: [email protected]

Website: www.svsummersymphony.org or www.svsseducationprograms.org

John William Jackson Fund(in The Idaho Community Foundation)P.O. Box 4711, Boise, Idaho 83711-4711

Website: www.johnwilliamjacksonfund.org Phone: 208-890-8503“A music education advocate for Idaho school children”

Brigham Young University-ProvoSchool of Music

Kathy Colton, C-550 HFAC, Provo, UT 84602Email: [email protected]

Website: music.byu.eduPhone: 801-422-2375 FAX: 801-422-0533

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something out of it for our students. I was advised once to explain a situation to my

administrator by comparing it to a sporting event. “Your administrator is a jock. Talk like you’re a coach.” It worked, but it made me sad to think that the conversation couldn’t stand on its’ own musical merit. Though we have to play the game, only music teachers truly understand that what they do is unique within a school and should be treated as such.

It’s worth the time to continually educate administrators, parents, students— all of our stakeholders— that music instruction does not fit into every new model and may not equate to every new procedure. The square peg doesn’t always have to have the last word.

ALL-STATE HONOR GROUP DEADLINESMay 1, 2018

All-State Audition Information posted

August 13, 2018Online Audition Registration Open

October 5, 2018Audition Deadline

October 26, 2018Notification of accepted students

November 30, 2018Registration and Payments Due

December 7, 2018Music Mailed

January 30, 2018Check-in/Sectionals/Part Checks

January 31-February, 2018All-State Rehearsals & Performances

PRESIDENT- ELECT NOTES Kathi Stefani

The Square PegOne of the enduring problems music educators

have is teaching a subject that is unlike any others in their building. From the content that we teach, to the methods we use to instruct, we don’t fit into the same categories as our colleagues. Portions of evaluations don’t apply to us, we are required to sit through professional development that covers things we never do, we have performance groups that some equate with sports teams.

I recently read the article, “Making It Work: Best Practices for Your Administrator” by Georgia Newlin, addressing reasons why music educators often include numerous activities and several specific objectives when teaching a single lesson. (Thanks for the reference, Bob Wicks).

She states that teachers often have pressure from their administrators to rationalize how the format of their lesson plans differ from core classes who most often choose a single objective and activity per lesson. While she discusses that musical skills continually build on one another, and cites the infrequency in scheduling of elementary music classes, my favorite quote from her article is “Music is different than other courses and must be treated as such.”

In my district, we are currently adopting Mastery Based Education. After an unproductive session of trying to create statements for music education in a Mastery based format, I called the author of one of the books we had read to prepare for the session.

As we spoke, he had never heard of classes that meet every three to five days, lessons that are 30-50 minutes long, instruction of classes that are often combined. He finally said to me, “I don’t think you’ll ever be able to achieve mastery in your situation!”

He doesn’t know what we do; he doesn’t know how we plan and strategize to pack the most instruction into an imperfect situation so that students not only receive the content but are excited to come back and do it again. It may not be couched in a package that will require 80% accuracy before moving on, but as music instructors, we too can figure out how to make the square peg fit in the round hole one more time. We can continue to attend inservices that pertain to our colleagues but not us and still glean

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Music Does Bring People Together

By Camille Blackburn, Past-President, NW NAfMEWhen I was asked to give an address at the 2018 Idaho Music

Educators Association All State Conference on the topic of “Music Brings People Together”, I thought, “Well, duh! Of course music brings people together.” Look at all of us! I knew I would be speak-ing to a large number of Idaho Music Educators whose primary reason for attending the Conference was because they have students who were selected for the All State Honor Groups. OK, that’s actual-ly a bit cynical.

I thought I should have a catchy title for my remarks. I came up with this: “The Art of Communion Through Music”. Hmm… I didn’t like it very much, but it did sound sort of dignified. I’d like to say thanks to everyone who came to hear me speak in spite of the really pretentious title. In my own defense, I do think it invites some talking points.

Let’s consider: Art. What do you think of when you hear that word? What is the difference between an Art and a Craft? Art is an expression of emotions and cannot be easily quantified or duplicat-ed. It moves people on an emotional level and originates in the heart and soul. It is a result of a person’s innate talents. However, it doesn’t take place without skill. I firmly believe that everyone is talented. What they need is a set of tools or skills.

Therein lies: Craft. Craftsmen know exactly what they want to make before they make it. They have a blueprint and they carefully measure and weigh all the items that will go together to make the finished product. Their work results in a tangible output and is in-nately structured. It can be quantified and duplicated. It originated in the mind and is the result of acquired skill and experience.

The making of a work of art is a strange and risky endeavor. Even with the best tools available, the maker never knows for sure exactly what it will be until it is finished. That’s a pretty good de-scription of bringing together a group of unpolished young people of varying levels of expertise and rubbing out all the rough spots, transforming them day by day into the band, choir, orchestra, or any other kind of ensemble you can think of. We discover the Art of Music together through the practice and perfection of our craft.

This discovery is a special form of Communion, the bringing together of people who exchange and share thoughts and feelings on a cognitive and spiritual level. Some synonyms for communion are “affiliation, bond, collaboration, cooperation, engagement, harmony, participation, support, and unity.” A Community is a group of people residing in the same vicinity. A Commons is an area in a building designed for people to gather. A Commune is a group of people who design every aspect of their lives to work in cooperation with each other. French philosopher Gaston Bachelard wrote, “Ideas are refined and multiplied in the commerce of minds. In their splendor, images effect very simple communion of souls.”

And then there is MUSIC. One definition reads, “An art of sound in time that expresses ideas and emotions in significant forms through the elements of rhythm, melody, harmony, and color.” I agree with Eric Whitacre, who says; ‘There are so many good things about making choral [actually any kind of] music. We

learn things essential for success and happiness in life; Compassion, Empathy, Discipline, languages, History, and Focus. We learn to ask questions. Why are we here? What is love? What is death? There are health benefits to making music both physiological and psycholog-ical. Endorphins are created bonding people together. Performers in ensemble breath together, often syncing heartbeats. This builds a sense of humanity, wellbeing, and community.”

As a grad student in Arizona I worked with a bunch of fabu-lously creative and talented music and theatre majors who were the singing waiters/waitresses at a restaurant. I was the piano player. During the summer months we did about sixty performances of an original old west melodrama and musical variety show. Many of the people who worked there have gone on to have amazing ca-reers. One most recently put together a choir for the January 2018 “MusicCares” award program at Radio City Music Hall. He invited another friend to be part of the choir for that special evening. She wrote, “I am uniquely blessed to have a core group of friends from college that whenever I see them, even if it has been many years, we pick up like college was yesterday and it is easy and wonderful. After getting to spend some more time…to catch up on life, careers, family, and sing together again, it was just like being together in jazz choir and just as wonderful! I’m struck by how rare and important this blessing of friendship is! And oh man, am I grateful! Truly!”

What an amazing example of “How Music Brings People To-gether”! I asked the girls in my Freshman Women’s Choir how they think music can bring people together. Here are their responses.

“At the beginning of the year we were strangers and now we are buddies.”

“This is a safe place to make a mistake.”“When you find people who like music and your opinion and

theirs agree, you bond with each other.”“We work together, forming a team getting ready to play a game.”“We grow together. And when we hear things, like overtones, it

strengthens our bond.”“We rely on each other to do our best.”“When you are singing with 40 amazing young women who have

worked their butts off, it’s a beautiful thing!”“Music can reveal the personality of a person when nothing else

can.”“It’s more fun than work!”“When we do something right, we celebrate!”“We believe in each other and we know we can depend on each

other.”“We have grown so much since our first concert.”“Our songs help us to express our feelings.”I can’t begin to say how humbled I was by their responses, and

grateful too. So while I do admit, that on first reading or hearing, my original title was over the top, I know that music has unique and mostly indescribable powers to invite people to make connections that feed their minds and hearts. Each of us who has answered the sacred call to teach and dedicated our lives to our students know this to be true. If it were not so, we would not be who we are and we would not be doing what we do. Music has brought out the best in all of us, allows us to bring out the best in others, and that truly brings us all together.


Advocacy UpdateJeff Davis, IMEA Advocacy Chair

The Heart of AdvocacyWhen I was a young trumpet player in 7th and 8th

grade, we got a new music teacher. She was brand new not only to our small rural school in the Willamette Valley, but to the profession of teaching as well. She was accepted unusually quickly into our tight knit community and made an immediate impact on her student’s lives.

I was first chair trumpet in our band; as you might suspect, it had as much (if not more) to do with the available talent than with my natural ability. The truth, I must say, is that I was a big fish in a small pond. That didn’t stop Mrs. P from encouraging me everyday to greater confidence as a musician. She programmed challenging music and even gave me my first solo in a concert.

She also wanted me to succeed in high school. At the time of my graduation from 8th grade, I was preparing to move with my family from the insular and nurturing farming community that had been my home all through elementary school to the big city. Mrs. P knew more than I did about the adjustments I was going to have to make in my musical life. She knew that I was about to face a much more competitive environment – the pond was about to get much, much bigger. So, she did the kind of thing music teachers do: she wrote me a letter of recommendation that I was to give my high school band director. It was full of glowing sentiments that would have melted the heart of even the most jaded conductor – if I’d had the nerve to deliver it. Instead, I kept it. It wouldn’t have mattered anyway. The trumpet section of my new band was stocked with incredible players and I had to learn my place: which was, for the next three years, the last chair in the trumpet section.

While I eventually converted to choral music, I never forgot the way Mrs. P invested in my life. In many difficult moments during my development as a teacher and musician, I have heard the echoes of her encouraging voice. Over the years, I added other mentors to the list of people to whom I’ll be eternal grateful, but Mrs. P will always have pride of place in

my personal pantheon of past great teachers.Recently, armed with some new-fangled tools of

research (Google and Facebook), I tracked Mrs. P down. To my delight, she is still teaching elementary music. To my amazement, though, she remembered ME! She recalled that I was a trumpet player, and even asked after my younger sisters (by name!), wondering if they were still playing flute, as they had so many years ago in her band.

When she retires at the end of the school year, she will have taught for well over 40 years. That kind of longevity is laudable in any career, but in ours it means that countless children have been changed through the power of a devoted music teacher in their lives. I have no idea how many of Mrs. P’s students went on to professional careers in music, but I can’t believe that I’m the only one.

As another school year comes to a close, please take pride in the knowledge that you are the catalyst in some student’s career as a professional musician; you are for some of your students the only teacher that “gets” them; for others, you are the teacher to whom they will compare all others. This is the heart of advocacy – not devising clever slogans to “sell” music education, but diligently, lovingly, faithfully, patiently touching young lives with music.

Thank you for all you do.

R E G I S T E R T O D A Y

#NAfMEHD18JUNE 26-28

COLLEGIATE ADVOCACY SUMMIT

BE A FORCE FOR YOUR STUDENTS AND YOUR CAREER!

This is just the beginning of a new day for music education. We must help states, districts, and schools interpret and implement the new law of the land. There’s a lot more work to do!

Don’t miss this opportunity to join us in Washington, D.C., this June, for mentoring and professional development that will empower you to be the advocate you need to be, for yourself, and for your students. Help lead our next steps in this new era for music education.

• Go “behind the scenes” as we meet face-to-face with U.S. legislators and their staffs in Senate and Representative offices on the Hill.

• Enjoy a wonderful evening reception and awards dinner, as you meet and network with NAfME state and national leaders.

• Participate in leadership and advocacy training that you can take back to share with your chapter and use in your career.

NAfME is the established national voice for music education, and we want YOU to be in Washington, D.C., in June for this exciting event. It’s the chance of a lifetime to carry your passion for music education to Capitol Hill. Reserve your spot today!

Learn more at: CAS.nafme.org


Collegiate IMEABriAnna Crook,President

To the Future!As education majors approach their

professional year and prepare for student teaching, they often imagine what it might be like to have their own classroom. At first, they get really excited. They can picture the music they might select for their ensembles and how they might arrange their band seating. They can imagine taking their students on tour and planning concerts.

Then reality sets in: If you get a job teaching in Idaho, it’s very likely you’ll be teaching more than just your primary area of emphasis or interest in music. It’s also likely that you’ll be teaching multiple grades, or you could end up teaching in a school with no resources or support from the administration. Because many of us do not have much experience in the classroom, these feelings can begin to be overwhelming and even discouraging.

Fear not, my fellow students! You are not alone! I’m pretty sure these doubts and fears are something that all of us experience as we prepare to have our own classrooms someday. Sure, we have methods classes, but sometimes you have to wonder if they really do prepare you for everything. What about the beginning trombone player who can’t reach 7th position? How about the young oboist who always sounds like they’re stepping on a goose when they play? And the string bass player that accidentally breaks a string while trying to tune? You can prepare all you want in college, but some things won’t be learned until you’re out in the field teaching!

I certainly do not claim to have all the answers, but I have discovered one thing that has helped me feel much more comfortable in front of a class, and that is getting out and observing! Many of the music education classes require us to get out and observe other teachers, but how many of us think to make time in our busy schedules to observe outside of class requirements?

Sometimes finding time to do that is difficult, but I can promise you that it’s worth the extra effort. The teachers you observe can teach you a great deal through their actions, and many will provide additional insights after the observation.

Here are a few things I’ve learned from my observations this past year:• When planning your observations, be sure to communicate with the

teacher about when you’ll be coming. Be polite and respectful of the school and classroom rules, and do not be a distraction to the students.

• Pay attention to things that aren’t related to the curriculum such as how the class is seated, how the teacher regains the students’ attention, and classroom policies and rules. Someday you’ll have your own classroom and will want to have some idea on how to organize it.

• Don’t be afraid to go observe classes that are outside your interest or specialty. I want to teach band, but I’ve learned some of my best classroom management techniques from an elementary school teacher!

• Ask if the teacher will let you practice teaching in short segments. This usually requires prior communication. If you do end up teaching, ask for specific feedback: what did you do well? What could be improved? Be sure to thank them for giving feedback and do your best to apply their ideas into your next lesson. They are there to help you succeed!

• Communicate with the students. If time allows (between classes or during breaks) get to know the students in the classroom. Learn their names and their personalities. This is especially helpful if you’re spending a lot of time in the same classroom. I spent some time presenting my instrument to a choir class a few weeks ago and had a student approach me after class and ask about majoring in music. We ended up having a really great conversation and it was fun to see him passionate about music the same way I was at his age. Students will respect you more if you take the time to get to know them.

• If you see something you don’t understand, ask the teacher for clarification. It’s always okay to ask the teachers why they chose to address a topic in a certain way.

We’re all going to be new music educators at some point, and it is good to have people in your corner even before you get your first job. Mentor teachers will make such a difference in our beginning years of teaching. Don’t limit yourself to mentor teachers of just your specialty- branch out! Especially as you end up in your first job, get to know people who teach other subjects. If observing hasn’t been high on your priority list, it’s okay. Get started today, because it is never too early to start building relationships with other teachers!


Collegiate IMEABriana Smith, President-Elect

Let’s Change the World Music has the ability to change lives. It is such a powerful tool given to

mankind to share with the world. A music teacher’s job is to expose students to the joys of music, and in turn, the world. Many students go into Music Education with the passion for music without love of teaching. I was one of these. I wanted to perform, but I knew that I did not have the talent to make it as a performance major. As a compromise, I decided to teach. Spending time in various classrooms, I did not find joy in teaching. I only saw it as a good opportunity that would bring valuable experience for my future.

One day, I had the opportunity to visit a Kodaly-based classroom. I was astounded. The children were learning about music and having fun. They were mastering difficult concepts with ease. As I spent more time in this classroom, I fell in love. I had finally found my passion and joy.

My original thoughts about teaching, I fear are all too common among undergraduate students. Speaking with classmates, I see many who just want to perform, but know that performance is not an option. Teaching is their go-to. As NAfME Collegiate President, I hope to help Music Education students in the state of Idaho find the joy in teaching and reach their full potential through various activities.

If I were elected President, I would work tirelessly to help Music Ed-ucation Majors in Idaho find passion for teaching as well as be prepared to enter the classroom upon graduation. I would work to have as many

collegiate members as possible attend IMEA each year, even if this requires me going to chapter meetings myself. I plan to help bring awareness of all of the meetings throughout the State through social media. There is so much good already happening throughout Idaho. Meetings can easily be Skyped to others. That way, we all can benefit from the talent that abounds in the state of Idaho.

While attending IMEA back in February, I attended a Strings Open Fo-rum. I was amazed at the dire circumstances surrounding music education in Idaho. In order to teach music in this state, the only requirement is a Teaching License and three credits of music. This is baffling to me. If I had my teaching license, I currently have more than enough credits to teach. Even with a few years of classroom observation under my belt, I do not feel qualified. I do not have enough knowledge to build a successful program. I hope to bring awareness to this issue to those who can make a difference. No, there is not an easy solution, but awareness is the first step to any change.

I feel that I am a good fit for this position because I already have quite a bit of leadership experience. I have spent three years in the classroom as a Intern. This required everything from making copies and handouts, to teaching. While in the classroom, I was able to be Assistant Director of the school’s production of Honk!, Peter Pan, and Wizard of Oz and ran a district wide Talent Show. Currently, I serve on the Nampa LDS Institute Counsel. I enjoy leadership roles and being a part of something much bigger than my-self. I have a deep passion for music and teaching. Both change lives. Let’s help Idaho reach its full potential in Music Education and in turn improve the world.

JOIN US FOR A WEEK OF FUN AND MAKING MUSIC ON OUR BEAUTIFUL CAMPUS!

www.uidaho.edu/LHMC 208-885-6231

• Specialized instruction for brass, woodwinds, piano, strings, percussion and all voice types

• One-on-one study and group classes with University of Idaho faculty members

• Perform in large ensembles such as band, choir, orchestra, and jazz ensemble

• Participate in coached chamber music ensembles• Attend faculty recitals• Choose from a variety of evening activities such as jam

sessions, scavenger hunts, movie nights, and game rooms

JUNE 17-23, 2018Lionel Hampton School of Music | Moscow, Idaho

University of Idaho

2018

H Find us on Facebook!H Look for our booth

at the IMEA conference!H Three-day conference every summer,

credits available through the College of Southern Idaho

H Contact us at H [email protected]

or find us on the web at H www.idahobandmasters.org


SUMMER OPPORTUNITIESFor STUDENTS

Boise State University Summer Chamber Music Camp

June 4-8, 2018For young musicians playing band and orchestra in-struments, piano or voice who will be in grades 7-12

http://music.boisestate.edu email at [email protected].

College of Southern Idaho MUSIC FESTAges: 12 - 18

June 11 - 15, 2018Location: CSI Fine Arts Center

Call: Camille Barigar at (208) 732-6288E-mail: [email protected]

College of Idaho 2018 Cello FestivalCello and Martial Arts Camp Date: June 18 -23, 2018; Age: 14+

Instructors: Samuel Smith, Nancy Smith, Ellen Sanders, Micah Claffey, Master John Keller, & Christopher Dungey

www.cellocollaborations.com; 208-284-4222

University of Montana Summer String Camp June 24-30, 2018, Missoula, Montana

Contact: Director Dr. Margaret [email protected]

www.umt.edu/music

College of Southern Idaho Summer Band Experience

June 25 - 29, 2018, CSI Campus, Twin Falls, IdahoMiddle & High School Students & AdultsJazz and classical music tracks availableTuition $275/Registration deadline June 21, 2018

Call: Camille Barigar at (208) 732-6288E-mail: [email protected]

ISU Summer Institute for Piano and StringsIdaho State University, Pocatello, June 25-30

Deadline for registration: For more information [email protected]

Lionel Hampton Music Camp @ University of Idaho

Moscow, ID, June 17-23, 2018An all-inclusive musical experience for 9th through 12th grade (Students entering 8th grade may participate as a day campers)


Northwest Mallet Camp 2018June 25-27, Mon- Wed, 2018

Broadway Center for Performing Arts, Tacoma, WA, for percussion students ages 10-19

Sponsored by A. Putnam Mallets, Yamaha, Tacoma Youth Symphony Association, & Tacoma Symphony Orchestra

Questions? [email protected]; 206-354-3456 www.facebook.com/NorthwestMalletCamp

Register online at www.eventbrite.com

Idaho State UniversitySummer Marching Band Camp

July 10-12, 2018Join us for three solid days of working with ISU Music Faculty

and special Yamaha & Conn-Selmer sponsored educators. Camp tracks include: Drum Major, Section Leader, Drumline,

Colorguard, and Winds. Individual rates: Resident $275, Commuter $180, and special group rates are available. Directors can also attend for a

Continuing Education credit. More information at:www.isu.edu/marchingband/summer-camp/

Contact Tom Kloss (208) 282-4626 [email protected]

Yamaha Sounds of Summer CampCentral Washington University, Ellensburg, WA

Camp Dates: July 20 - 21For Drummers and Percussionists of all ages

Website: https://www.yamaha.com/US/promo/Sounds_of_Summer/Default.aspx

Email to Register: [email protected]: Jeffrey Pellegrini

Call to Register: 253-272-3211

Treasure Valley Vocal Jazz CampJuly 30 – August 2, 2018

Northwest Nazarene University8th-12th grade students and Music Educators

Contact: Seth McMullen: [email protected] Van Paepeghem: [email protected]

Sun Valley Summer Symphony: The EncounterJuly 30 – August 11, 2018

For college undergraduates and exceptional high school students in strings, voice and piano.

Application Deadline Extended until classes are filledhttp://svsummersymphony.org/education/

the-encounter/

Sun Valley Summer Symphony: The ExperienceAugust 6 –10, 2018

For elementary through high school students.Classical instruction in strings, woodwinds,

brass, percussion, piano & voice for beginners to advanced students.

Application Deadline Extended until classes are filledhttp://svsummersymphony.org/education/

the-experience/nggallery/page/3


For TEACHERSProfessional Development:

Music Education in Action—MUST 505Lionel Hampton School of Music, Moscow, ID

1-credit Option #1: June 18 and 19 1-credit Option #2: June 21 and 22

3-credit Option:. June 17-23 Please join us for a unique professional development opportunity (with graduate-level credit) as we host our annual High School Summer Music Camp. Study with the faculty of the Lionel Hampton School of Music while working alongside talented high school and junior high students from across the state and region. This fun and intense week provides the perfect opportunity to improve your pedagogy for all instrument and voice types across multiple styles.

For more information, contact Dr. Lori Conlon Khan: [email protected]; 208-885-0157 Registration Deadline May 16, 2018

Modern Band SummitSunday, July 8 through Wednesday, July 11 2018

Colorado State University, Fort Collins, Coloradohttps://www.littlekidsrock.org/mbsummit/

Email: [email protected], call (973) 746-7078

Idaho State UniversitySummer Marching Band Camp

July 10-12, 2018Join us for three solid days of working with ISU Music Faculty

and special Yamaha & Conn-Selmer sponsored educators. Directors can attend for a Continuing Education credit.

More information at: www.isu.edu/marchingband/summer-camp/Contact Tom Kloss (208) 282-4626 [email protected]

Montana Arts Integration ConferenceJune 27-29, 2018

University of Montana, Missoula, Mont.Credit is available to attend Arts Transform

Phone: (406) 243-2870 [email protected]

Idaho Bandmasters Association Summer Convention

June 27-30th, College of Southern Idaho, Twin FallsGolf Scramble on the 27th/Clinic Sessions 28-30

Idahobandmasters.orgCredits through CSI available on-site

J.W. Pepper Birch Bay Band Workshop for concert and jazz band directors July 30-August 3

and the brand new Joy of Singing Clinics for school choral, elementary/classroom singing,

& sacred choral) July 26-27Birch Bay Band Workshop - https://www.jwpepper.com/

sheet-music/events?option=getdetails&event=268Joy of Singing - https://www.jwpepper.com/sheet-music/

events?option=getdetails&event=550

JOIN US FOR A WEEK OF FUN AND MAKING MUSIC ON OUR BEAUTIFUL CAMPUS!


• Specialized instruction for brass, woodwinds, piano, strings, percussion and all voice types

• One-on-one study and group classes with University of Idaho faculty members

• Perform in large ensembles such as band, choir, orchestra, and jazz ensemble

• Participate in coached chamber music ensembles• Attend faculty recitals• Choose from a variety of evening activities such as jam

sessions, scavenger hunts, movie nights, and game rooms

JUNE 17-23, 2018Lionel Hampton School of Music | Moscow, Idaho

University of Idaho

2018


FeaturedClinicians

30 July - 3 AugustFERNDALE, WASHINGTON

REGISTER TODAY

FOR 2018

EXPERIENCE THE

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ChristopherBianco

LeoDodd

Register before July 1 and Save $30!

H Find us on Facebook!H Summer Convention

@ College of Southern IdahoJune 27-30

H Credits through CSI available on-siteH Golf Scramble on the 27th/

Clinic Sessions 28-30H Contact us at

H [email protected] or find us on the web at

H www.idahobandmasters.org

MODERN BAND JULY 8 – 11, 2018Colorado State UniversitySUMMITTM

(Formerly “Modern Band Rockfest”)

“Thank you LKR for reigniting my love of music and teaching.”

“Simply the BEST professional learning experience I have ever had.”

“…Completely changed my outlook (on) teaching!”

Now in its sixth year (formerly under the name Modern Band Rockfest), Modern Band Summit represents the culmination of years of cutting-edge thinking, research, and practice on Modern Band education…but moreover, it’s FUN! All are invited and welcome to experience four days of jam sessions, performance opportunities, networking and community-building activities, social events, master classes with local students, and dozens of innovative and exciting professional development sessions in beautiful Fort Collins, CO.

Join the growing movement of professionals ready to collaborate, innovate, and inspire. You belong at Modern Band Summit 2018!

REGISTER NOW or get more information at www.modernbandsummit.org.

July 8 – 11, 2018, Colorado State University, Fort Collins, Colorado

GENEROUSLY SUPPORTED BY:

June 25-27 At the Broadway Center in Tacoma

With Director, Amy Putnam & faculty

Memmi Ochi, Jeff Lund, & Kendra McLean

Featuring Guest Artists

Paul Hansen & Matt Drumm

Information and registration: www.Eventbrite.com

facebook.com/NorthwestMalletCamp or [email protected]

Sponsored by


Modern Band Summit: To go, or not to go?

Advice from former skeptic and current middle school teacher, Anne Gray, of Chicago, Illinois

All of my music teacher friends told me to go. They insisted it wasn’t like any other conference I’d ever been to. I’d missed it my first year as a Little Kids Rock teacher. The week of the conference, my Facebook Newsfeed was overwhelmed by how much fun my friends were having at Rockfest (now Modern Band Summit). They kept texting me, insisting I go the following year. I didn’t hear the end of it from them until I decided to go. I registered, despite the fact that I didn’t really believe it could possibly be that great. How could a music education conference be that fun? I’d been to them before, walked through the displays of all the things my school couldn’t afford to buy, sat in the rooms and listened to people talk about music education. I certainly wouldn’t have described any of those conferences as “fun.”

Despite my reservations, I told my music teacher pals I was in, and prepared to be underwhelmed. Quite simply, I could not have been more wrong. When I registered, I couldn’t believe how affordable it was. Sure, I had to get to Ft. Collins, but the conference cost was so low I didn’t mind buying the plane ticket. As I started signing up for my sessions, I was shocked that so many of them were things I wanted and needed to learn. In the lead up to the conference, I found out that there was a battle of the bands of sorts, at a hip venue called the Armory. I joined the Chicago group and kicked off my summer rehearsing for this event. Much to my surprise, I was already having fun, and I wasn’t even at the conference yet.

When we arrived, we were treated like celebrities by the Little Kids Rock staff. It was amazing how they went out of their way to learn everyone’s names and make them feel welcome. The first event at the Armory was electric! Giant groups of music teachers formed city rock bands and performed for one another while enjoying an open bar! Meeting other music teachers from around the country and watching everyone jam was a blast. It was the perfect kick off to what would become an incredible week. Yet somehow, I was still skep-tical. Who wouldn’t have fun at the Armory event? It was a giant music teacher concert!I was holding off my judgement until the conference sessions started. I was intrigued by the sessions, but would I really learn anything?

The difference between the Modern Band Summit sessions and other music confer-ences was striking. Rather than sitting in a lecture, we actually made music. We learned by doing! My weaknesses as a Modern Band teacher are guitar and percussion, so I loaded my schedule with sessions to work on those skills. Junar’s session on power chords had me jamming and easily playing them by the end of the session. Miranda’s session on lead guitar for beginners gave me so much confidence! After both of those sessions I felt like I could actually take those skills back to my students and teach them. Joe and Charly’s session on using your classroom percussion instruments to create a Latin percussion sound was so inspiring and accessible that my student rock band is doing a Latin inspired version of Weezer’s “Island in the Sun.” In fact, the best way to describe all of the conference sessions is inspiring and accessible. I am using something from almost every session I attended in my classroom and after school program this year.

After a day of making music and learning, there would be some down time, and then the evening activities picked up. There was actually something fun to do every single night! The best part was that you could participate as much or as little as you wanted. One night, there was an event at a bowling alley where they had a stage and instruments set up and you could sign up to jam on any song you wanted, or you could just go bowling. I chose to sit back and enjoy watching other teachers perform. Another night, there was a giant stage set up on campus, with tons of food. Again, individuals could choose to perform, or sit back and enjoy the show. That night, some Chicago friends and I chose to jam on stage.

The fellowship and social aspect of the Modern Band Summit is truly remarkable. There is an atmosphere of inclusivity and kindness around the entire event because the attendees and the Little Kids Rock staff go out of their way to make everyone feel welcome and in-cluded. If you are struggling in a session, another music teacher or staff member will lean in and help you out. I never felt bad about being a basic guitar player, I just learned how to get better. Finally, David Wish, the founder of Little Kids Rock, is a real presence throughout the event. He doesn’t just give a keynote address and bow out, he’s everywhere (sometimes in costume). He’s in and out of sessions, and he and his family are at all of the social events. His passion for teaching kids music is infectious and the mission of Little Kids Rock is clear throughout the entire event. I left the Modern Band Summit excited to start the next school year, and passionate about teaching music. On top of it all, I even made some new friends.

If you’re on the fence about attending, please take some advice from a former skeptic. Just go. It will be the best conference you ever attend as a music teacher. You honestly will have fun, and you will be so inspired to get back to your students and start sharing all of your new knowledge. You’ll learn at the sessions and have fun doing it. The social events are amazing, and there are even raffles and giveaways. I enjoyed myself so much, that I’m going back again this summer, even though I’ll be on maternity leave. I’m just going to make my husband tag along so he can take care of the baby while I rock. I hope I will see you there!

Idaho Bandmasters Association: Third Annual Summer Convention

June 27-30, Twin FallsOur 3rd Annual IBA Summer Convention will be the last week in June. This event will

run along side the College of Southern Idaho Summer Band Experience. Send your band kids for a week of music making!! More details online.

As per usual, events will kick off with a golf scramble in Twin Falls on Wednesday afternoon. No prior golf experience necessary. More details for exact time and location to follow.

Thursday and Friday will be jam-packed with awesome sessions directed at making better bands for our lovely state. Typical session days run from 9am - 4pm

Thursday evening will be a BBQ in the City Park to enjoy the Twin Falls Municipal Band Concert.

Saturday morning will wrap up final sessions and end with the business meeting and lunch at noon.

CSI is once again offering continuing education credits for cheap! Registration will be onsite.

University of Idaho Lionel Hampton School of Music

Lionel Hampton Music Camp, June 17-23, 2018The University of Idaho invites you to join us for our annual summer music camp!

The LHMC is a week-long program for Junior High (entering 8th grade) and High School students featuring: Specialized instruction for brass, woodwinds, percussion, strings, piano, and voice; One-on-one study and group classes with University of Idaho faculty members; Performance in large ensembles including band, choir, string orchestra, and jazz ensemble; Participate in coached chamber music ensembles; Attend faculty recitals; Choose from a variety of evening activities, including jam sessions, movie nights, and game rooms!


Professional Development: Music Educa-tion in Action—MUST 505 — June 17-23

Lionel Hampton School of Music | Moscow, ID1-credit Option #1: June 18 and 19; 1-credit Option #2: June 21 and 22 ; 3-credit Op-

tion:. June 17-23 . Please join us for a unique professional development opportunity (with graduate-level credit) as we host our annual high school summer music camp. Study with the faculty of the Lionel Hampton School of Music while working alongside talented high school and junior high students from across the state and region. This fun and intense week provides the perfect opportunity to improve your pedagogy for all instrument and voice types across multiple styles.

For more information please contact Dr. Lori Conlon Khan: [email protected]; 208-885-0157; Registration Deadline May 16, 2018

Idaho State University Summer Marching Band Camp

July 10-12, 2018Join us for three solid days of working with ISU Music Faculty and special Yamaha &

Conn-Selmer sponsored educators. Camp tracks include: Drum Major, Section Leader, Drumline, Colorguard, and Winds. Camp ends with a concert as part of the ISU Summer Concert Series on the Quad. Individual rates: Resident $275, Commuter $180, and special group rates are available. Directors can also attend for a Continuing Education credit. More information at:

www.isu.edu/marchingband/summer-camp/


Emotion and Meaning in Music Teaching

and LearningBy Lori Gray, Boise State University Music Education

“I just really love being involved in music every day. As I’ve told my students before, I don’t know what would happen if I couldn’t sing or hear music. I knew I wanted to teach when I was ten years old and I think that’s what really drove me not to give up. I wanted to share music with kids because I think music is an important part of life.”

These words are from a veteran music teacher; however, I would guess they resonate with many of us at any stage in our mu-sic teaching careers. We teach music because we truly believe in its multifaceted value. The emotions that can be expressed and the meanings that can be assigned to music are a large part of why we teach and why students want to be in music classes and ensem-bles. In studies on emotion and meaning in music, students and teachers both list multiple reasons for their involvement in music. These reasons include belonging to a community, connecting to the music on an emotional level, music’s therapeutic properties, physical responses to music, achieving success in a rehearsal or concert, the formation of personal identity, and self and group expression (Cape, 2012; Gray, 2011; McConkey, 2012; Oh, 2006).

Describing Langer’s (1953) theory of music and emotion, Bow-man (1998) states, “Musical experience amounts in Langer’s view to ‘the education of feeling, as our usual schooling in factual sub-jects…is the education of thought.’ Music gives perceptible shape to people’s subjective worlds…‘It is their school of feeling, and their defense against outer and inner chaos.’ Our musical engage-ments teach us something very significant, and not in spite of, but precisely because of music’s ineffable nature. Music is a vehicle for conception; or perhaps more precisely, music articulates for per-ception a vital image with tensions and rhythms commensurate with the form of feeling. In this way, musical experience serves the important end of educating human feeling” (p. 215). For both students and teachers, there needs to be an emotional connection to the music that is taught/learned. I remember a mentor teacher saying to me, “If you don’t love the music you are teaching and truly believe that it holds emotional value and meaning for your students, and then discuss those with your students, you won’t be able to sell it to them. You have to love and believe in the music you share with your students.”

As teachers, it can be easy to lose sight of the importance of emotional expression and meaning in music for our students when we are concerned about the next concert or festival, and about teaching our curriculum. Yet, when I think about why I wanted to be a music teacher in the first place, it was because of the emotional connection I feel with music. I knew from a very young age that I wanted to share my love of music with others as a music teacher. I vividly remember those times in my teaching career when I dove into teaching the music for a program (usually at the more stressful points of the year) without discussing the meaning of the pieces with my students. I always regretted that decision at performance time when the music seemed to lack any

kind of emotional connection from the students. I was so focused on the product that I forgot to enjoy the process of making music with my students. Luckily, however, students often remind me of the emotional value of music with comments like “music class is the only time I can really express myself in school,” or “singing always pulls me out of my sadness” (a student who had just lost her grandmother to cancer). Just like my students, I often have those moments when I turn to music to heal, reflect, and express, because no other activity can serve the same purpose as powerful-ly for me as making or listening to music.

Teaching music can be incredibly rewarding for teachers with a strong emotional tie to their students’ musical experiences. One veteran music teacher explained, “My favorite thing is getting a hug from the kids and just seeing them happy with themselves and proud of what they accomplished. When I see the look on my students’ faces, where their faces light up and they’re like, ‘Oh, I get it,’ and they’re making connections and then they have pride in what they’re doing and they’re just so excited…if I see any kind of improvement, I feel successful. I think that’s the biggest ac-knowledgment I can get.” Another veteran music teacher spoke of his impact on the world through teaching music by saying, “I love children and music, and I want to better the world by teaching music to children.”

In addition to the powerful emotional connections students may make with the music we teach them, the emotional respons-es that students have with music may also be able to help them cope with the stressors they face in daily life. “Musical affective experience is distinguished from affective experience in everyday life. Tensions created by tendencies to respond in everyday life may go unresolved, whereas those aroused by music usually are resolved within a musical framework. Music can serve as both stimulus and as meaningful resolution to such tendencies; in life, that which creates the tension usually cannot serve to resolve it” (Radocy and Boyle, 2003, p. 349). I hope for all of us that we find teaching music to be a joyful and fulfilling career. I also hope that we can guide students to discover meaning and strong emotional connections to every piece of music we share with them, provid-ing them with meaningful musical experiences that will motivate them to be lifelong lovers of music. Finally, I hope that students’ musical experiences set them up to be emotionally healthy citi-zens, with the tools to face the many emotional challenges that may arise in everyday life.• *Teacher comments taken from my dissertation (Gray, 2011)• Bowman, W.D. (1998). Philosophical perspectives on music. New York, NY:, Oxford University Press.• Cape, J. (2012). Perceptions of meaningfulness among high school instrumental musicians (Doctoral dissertation). Available from ProQuest Dissertations and Theses. (Umi No. 3505872).• Gray, L. F. (2011). The impact of changing teaching jobs on music teacher identity, role, and perceptions of role support (Doctoral dissertation). Available from ProQuest Dissertations & Theses. (UMI No. 3450296).• McConkey, M. S. (2012). An examination of the emotional competency and emotional practices of four elementary general music teachers (Doctoral Dissertation). Available from ProQuest Dissertations & Theses (UMI No. 3504368).• Langer, S. K. (1953). Feeling and Form. London: Routledge and Kagen Paul.• Oh, J. H. (2006). An exploratory study of children’s musical experience: Visual representations of emotional responses to music (Doctoral dissertation). Available from ProQuest Dissertations and Theses (UMI No. 3205346).

Dr. Lori Gray is Assistant Professor and Director of Music Education at Boise State University. She teaches undergraduate and graduate courses in Music Education and supervises student teachers. Lori recently joined the Boise State Music faculty in the Fall of 2017, after her po-sition as Associate Professor of Music Education at the University of Montana. Prior to her experience in higher education, Lori taught in public and private PreK-12 schools in Texas, primarily as a general music specialist. Article reprinted with permission from the Cadenza Editor, Ginny Reese.


Fear: A Powerful Force

By Bob Wicks, Lewiston Public SchoolsOver spring break I had the opportunity to

play golf with my friend Brendan; it was my first time in over 20 years. As I got to the course I was nervous. What if I make a fool out of myself, injure someone with a wild drive, or be so bad my friend would never want to tag along again? To add to my fears, he had gotten there over an hour early to practice. I agreed to play 18 holes for first time in my life, rented clubs, and stepped up to the first tee. He got me lined up in the direction I was to aim. I got ready to swing, and got a big slice of air. Second time: ok, head down, don’t swing to hard, arms in correct position etc. I made contact this time; however, the ball went clear off to the right almost hitting the parked golf carts by the club house. Needless to say I did not keep score because the first hole being a par 5, it took me well over 10 stokes just to reach the green. I am thankful for my friend’s patience and guidance as I slowly improved over the next 18 wholes.

On one particular hole I kept hitting the top of the ball. It would pop up and go maybe 10 yards. He gave me some tips on how to improve, but I told him, “I’m afraid to hit the ground.” He told me “who cares? It’s the ground.” I was afraid because my mistake would have a visual representation that I messed up.

It wasn’t really a mistake until there was physical proof. This same fear is also in our classrooms. In teaching, we tend to cover our mistakes, hide our failures, and may even blame our circum-stances. Fear is a powerful force.

In my classroom I strive to create a safe environments for students to learn, grow, and take risks. If they fail, I use supportive words to help them improve as musicians and people. My classroom set of pencils do not have erasers and my student constantly ask for them. To this I reply, “It’s OK to see our mistakes; if we didn’t, how will we know where to improve or how much we have improved in our learning?” My students then return to the assignment or place in the music and begin to work. Many times the students will come back and saying, “Wow! Look at how much I improved!” or “Look at how many revisions it took for me to get my composition just right.”

As educators many times we fear failure, because for many of us it is not an option. There are public performances, festivals, parents and administrators to please and constant advocacy for our pro-grams, regardless if you teach elementary or secondary. This fear of failure drives us to do better in our classrooms by trying to find ways to improve our pedagogical skills, gathering more tricks to improve classroom management, or striving to reach that struggling student.

Fear can also hinder us from growth. Ever hear or observe some-thing like “My way works just fine; I’m not going to try anything new,” or “I’m just going to shut my door and do what I want.” This fear may stem from seeing the pendulum swing in education from

one teaching philosophy to another. An event in someone’s past teaching history may have made them shy away from trying some-thing new, fearing they may be held accountable by administrators, or fear the possibility of failure itself.

In an Orff-Schulwerk class, the instructor told us that in our arrangements we need to make sure to stay away from parallel rhythms; however, in the real world you may have these because we work with kids. She stated, “The Orff police will not come into your classroom and arrest you if your things are not correct— we have to adapt and modify as we see fit for our students.” I have used this statement in my head many times while teaching a lesson because it helped take the pressure off that it did not have to be perfect. It helps me stay focused— we work with kids and they are learning.

I once stepped through the head of a hand drum on the floor in my classroom during a learning activity. The students were horrified, because I always stress the importance of being aware of the instru-ments and our space. The lesson could have ended right then and there out of fear; and maybe I would never use instruments again in my teaching. But instead, I told the students, “See, even I make mistakes.” My students know that it’s OK to fail. In life we might have times we fail, but we must endure. There will be success, either big or small. Fear is a powerful force we see in our classrooms and life daily. It is up to us to determine if we are we going to let it hinder us from trying new things, or motivate us into taking risks.

Yes, I fail. Our students fail. It’s OK. Don’t let fear hinder you in your classroom from being an amazing teacher. Therefore, get back out on the course and swing. If you make contact with the ball great. If you miss, who cares? If you hit the ground, at least you made an impression!


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