Latest Issue - Connecticut Music Educators Association

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CMEA NEWS
CONNECTICUT MUSIC EDUCATORS ASSOCIATION
volume LXVI, number 3 • www.cmea.org
Spring 2015
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CMEA NEWS
Volume LXVI, Number 3
CONNECTICUT MUSIC EDUCATORS ASSOCIATION
INSIDE THIS ISSUE
www.cmea.org
CMEA Executive Board....................................... 2
President’s Message
Stephanie Zak....................................... 3
Letter from the Editor
Carolyn Bennett.................................... 5
Student Affairs Commission
Brian Hutton........................................ 7
Membership Update
Magdalena O’Brien................................. 7
CNAfME State Council
Jennifer Allin....................................... 9
Amor De Mi Alma
Interview with Dr. Brad Genervo.............. 13
CMEA In-Service Conference Materials..............15-23
Welcome Letter.................................. 16
Keynote Speaker: Keith Reeves................ 17
Featured Speakers............................... 19
Preview of Featured Honors Ensembles...... 20
Pre-Registration Form........................... 23
Congratulations to Norah Kolb,
a fifth grade student at
Reed Intermediate in Newtown, CT.
Her artwork won our first-ever
Cover Art Contest for elementary musicians!
CMEA News, Spring 2015
1
Connecticut Music Educators’
Association Executive Board
Barbara Skrebutenas, Executive Director
cmea@snet.net
David Pelletier, Advocacy
Scott Friend, Membership
scott FriendTrpt@aol.com
Richard Diamond and Matt DiLassus,
Eastern Region Directors
rdiamond@ellingtonschools.net
MDelassus@ellingtonschools.net
Stephanie Zak, President
stephanie.zak@meridenk12.org
Michael Ances,
President Elect
mances@monroeps.org
Walter Culup, Northern Region Director
waculup@msn.com
Brian Hutton, Student
Affairs Commission
Lauren Verney-Fink,
Professional Development
Magda O’Brien,
Membership
cmea.sac@gmail.com
mrsverneyfink@gmail.com
mwidomski@yahoo.com
Theresa Voss, Southern
Region Director
Nick Albano, Western
Region Director
Carolyn Bennett, CMEA
News Editor
Jennifer Allin, CMEA
Collegiate State Chair
TVoss@milforded.org
albano.cmea@gmail.com
cmea.editor@gmail.com
jennifer.allin@my.ccsu.edu
2
President’s Report
by Stephanie Zak, CMEA President, Music Instructor, Meriden Public Schools
G
reetings from the frozen tundra of Connecticut! As I sit and compose my thoughts, my
mind wanders back to last year’s article……in which I believe we were experiencing the
same weather! Winter is my favorite season but the frigid temperatures have my permission
to LEAVE!
of arts educators to discuss current
issues in Arts Education. I have been
invited to attend these committee
meetings (State Arts Committee Think
Tank), along with representatives
from the Connecticut Arts Educators
Association and the Connecticut Arts
Administrators Association. The
committee is in the beginning stages
at this point – our first meeting was
to discuss what was important for
the Arts at this present time. Future
discussions will include the adoption
of the National Arts Standards and the
State Arts Accountability Report.
The Student Affairs Commission
has been keeping busy with
adjudications and festivals. I want
to thank each region again for their
hospitality and for their continued
support of our students. It is your voice,
the membership, which drives change
in CMEA. In the coming months,
the Student Affairs Commission will
be continuing their work to improve
the SAC Handbook. If you have any
suggestions or comments to share,
please contact your Region Director.
As you know, the Connecticut
State Board of Education has hired
Ms. Jackie Coleman for the position
of State Arts Consultant. One of
her initiatives is to convene a group
A Busy Spring Ahead:
Arts Slam 2015 will be taking
place at the State Capitol on April 7,
2015. An invite for performing groups
has been sent out to the membership
and groups selected will be notified by
March 7, 2015. The Connecticut Arts
Educators Association will be joining
our advocacy efforts that day, planning a
LIVE art project (videos and snapshots
will be posted on the CMEA website
AND Facebook page). We encourage
all participants (teachers, students and
parents/guardians) to plan a visit with
their legislators that day to advocate for
the Arts. Our state representatives need
to hear our voices loud and clear – their
constituents present AND future!
I encourage all members to register
for the Eastern Division Conference in
Providence, Rhode Island April 9-12,
2015. The deadline for pre-registration
is March 15, 2015. Please visit nafmeeastern.org to view the full schedule
and to register. If attending, please
consider to preside over a session. The
sign-up form for presiders can also be
found on the registration link.
The CMEA In-Service Conference
and All State Festival will take place April
30-May 2, 2015 at the Connecticut
Convention Center. Our Professional
Development Chair, Mrs. Lauren
Verney-Fink has been busy scheduling
informative PD sessions as well as
Honors Group performances and
region informational meetings. For
those students and teachers involved
in All State, please visit CMEA.org
for up-to-date information regarding
the festival.
On a sad note, David Pelletier will
be stepping down from the Advocacy
Chair position at the conclusion of Arts
Slam 2015 in April. If there is anyone
who is interested in becoming a part
of the CMEA Advocacy team, please
contact me as soon as possible.
I hope to see everyone at the 2015
In Service Conference!
3
SUMMERTERM 2015
THE HARTT SCHOOL
MUSIC • DANCE • THEATRE
EXCITING NEW WORKSHOPS
FOR 2015
Rehearsing the Secondary Jazz
Ensemble: Technique and Repertoire
Haig Shahverdian
Playing Naturally: Intuitive Techniques
for Playing and Teaching
Donald Wilkinson
The Developing String Player:
Layered Learning for Continued
Improvement
Teri Einfeldt and Carlynn Savot
Technologies in the Music Classroom
Miriam Schreiber and Leslie Cohen
Hartt Baroque Orchestra Seminar
Emlyn Ngai
Solo Dei Gloria:
Developing your Church Choir
Edward Bolkovac
The Music and Literacy Connection
Dee Hansen
Starting Summer 2016,
Orff-Schulwerk Certification
SESSION 1: JUNE 29–JULY 3
An Introduction to Orff-Schulwerk
Penny Mahoney
Hartt Baroque Orchestra Seminar
—NEW!
Emlyn Ngai
Brass Refresher
Matt Aubin
Enhance your Teaching through
Keyboard Harmony
Pete Woodard
Exploring Jazz Improvisation
Kris Allen
School String Fleet Maintenance
Glen Grigel
Introduction to Music Recording
Justin Kurtz
Inspiring Good Vocal Technique
Cherie Caluda
SESSION 2: JULY 6–10
THE AMIDONS’ FINAL VISIT TO HARTT!
Rich Traditions and New Creations:
Dance, Song, Storytelling, and
Literature in the Music Classroom
Peter and Mary Alice Amidon
Jump Start your Choir
Edward Bolkovac and
Stuart Younse
World Percussion and Drum Set
Survey for Music Educators
Ben Toth
Technologies in the Music
Classroom—NEW!
Miriam Schreiber and
Leslie Cohen
Folk Dance around the World
Lillie Feierabend
Diverse Learners in the
Music Classroom
Heather Wagner
Percussion Know-How for
Music Educators
Ben Toth
Piano Tuning I & II
Kenneth Lawhorn
Body Mapping for Music Educators
Kay Hooper
SESSION 3: JULY 13 – 17
Gordon’s Music Learning Theory
Ken Trapp
SESSION 5: JULY 27–31
The Developing String Player:
Layered Learning for Continued
Improvement—NEW!
Teri Einfeldt and Carlynn Savot
Instrumental Conducting Clinic
Glen Adsit and Edward Cumming
Woodwind Refresher
Dan Higgins
Solo Dei Gloria: Developing
your Church Choir—NEW!
Edward Bolkovac
The Music and Literacy
Connection—NEW!
Dee Hansen
Rhythmic Workout for
Music Educators
Rogerio Boccato
SESSIONS 4–5: JULY 20–31
The Hartt Choral Conducting Institute
Edward Bolkovac and Stuart Younse
Music Production, Pro Tools I
Gabe Herman
The Hartt Kodály
Certification Program
John Feierabend, Jeff Rhone,
Edward Bolkovac, Gabor Viragh
SESSION 4: JULY 20 – 24
Playing Naturally: Intuitive
Techniques for Playing and
Teaching—NEW!
Donald Wilkinson
THE FEIERABEND ASSOCIATION
FOR MUSIC EDUCATION (FAME)
First Steps in Music
John Feierabend
Rehearsing the Secondary
Jazz Ensemble: Technique
and Repertoire—NEW!
Haig Shahverdian
Conversational Solfege Beginning
John Feierabend
Conversational Solfege Advanced
John Feierabend
Hartt Guitar Festival
Christopher Ladd, Richard
Provost, Scott Tennant
Teaching Children How To
Create and Conduct Music
Glen Adsit and
Michael Colgrass
SUMMERS ONLY
MASTER OF MUSIC EDUCATION
Earn your MMusEd during the summer.
Choose an emphasis in Pedagogy, Kodály, or
Instrumental or Vocal Conducting and complete
37–42 credits in just three summers!
hartford.edu/hartt/summerterm
Dr. Warren Haston, Director, Hartt Summerterm
4
haston@hartford.edu
860.768.5526
A Letter from the Editor
Carolyn Bennett
T
his issue was a great opportunity for me to learn more about our upcoming offerings at the
In-Service Conference at the end of April. Read on to learn about our keynote speakers,
special presentations, and hear from the directors of some of our featured honors ensembles.
It’s bound to be a good time!
Our next issue will be the final one
of our school year. The focus will be,
“Using Summer Days to Expand Your
Musicianship.” It’s hard to believe that
summer is just around the corner! Us
teachers value summer days for muchneeded relaxation, but also for the
opportunities to expand our musicianship
as educators and artists. How do you get
the most out of your summer days? I
encourage you to share with your colleagues
through the CMEA News. Maybe you can
briefly review a beach-reading book that
changed your teaching. Perhaps you’re
involved with a summer music camp or are
pursuing postgraduate work that informs
your teaching. Share away!
Moreover, our students can often use
the summer to focus on musicianship and
grow in ways that aren’t quite possible
through the daily grind of the school day.
Do you have resources that benefit students
over the summer months? Do you know
of a local program that makes a positive
impact on young Connecticut musicians?
Please pass it along to me. Our magazine
will include a special student-centered
section to help students find opportunities
to grow throughout the summer.
Stay current with us on Facebook!
Go to
Connecticut Music Educators Association
Share ideas, concert events, report “Good News”
in your school/district/college campus!
5
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When kids can’t afford instruments
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6
STUDENT AFFAIRS COMMISSION
By Brian Hutton, cmea.sac@gmail.com
Hello everyone!
As I write this article, the All-State
audition has come and gone, and the
temperature is frigid. By the time this is
published, we will be ready for the 2015
All-State festival, and hopefully enjoying
much warmer weather. Since the last
CMEA News was published, each region
has held their high school and middle
school addition festivals. Also, all four
regions enjoyed successful high school
festivals in January, despite weather-related
challenges. As of this writing, the middle
school festivals are gearing up for what
promises to be a very rewarding experience
for our students.
Speaking of weather, our snowy winter
wreaked its havoc on SAT testing which
consequently made All-State audition
scheduling challenging. I would like
to thank everyone for their patience,
flexibility and understanding as we worked
to accommodate last-minute changes in
our students’ scheduling needs. This is a
tribute to the collegiality of our CMEA
membership. I look forward to another
opportunity for us all to collaborate at
the All-State festival. We will spend time
with fellow CMEA members, attend
workshops, participate in discussions and
continue to work toward a shared vision for
music education in Connecticut. Without
question, this is an excellent professional
development opportunity.
As I complete my first year as the Chair
of the Student Affairs Commission (SAC),
I would like to express my appreciation
to the SAC members for their guidance,
leadership, and professionalism. This
has made my transition to this new role
smooth.
Mentorship: A New Initiative for CMEA
By Magdalena O’Brien
“N
one of the music teachers in my town are TEAM certified. You know who my mentor
is? The French teacher! She’s never even been in her school band!”
Thus went a conversation with a
frustrated colleague, a first-year middle
school band teacher. Unfortunately,
her story is not uncommon as districts
scramble to find mentors for new music
educators. CMEA realizes that this is an
issue, and we are beginning a new initiative
to help!
CMEA will begin a mentorship
network for the 2015-2016 school year.
This initiative will pair first and second
year music teachers with retired music
educators. Although the program will
not replace TEAM, the goal is to provide
new teachers with a mentor and guide
within their field. This is modeled after
mentorship programs sponsored by the
music educator associations in Kansas,
Maine, Nevada, and Texas. Applications
for mentors are being finalized now and
will be available in the summer issue of
CMEA News and online. First and second
year teachers will be able to apply for a
mentor in the beginning of the 2015-2016
school year. We hope that this program will
provide a valuable resource for new and
retired teachers alike as they learn from
each other and work towards strengthening
music programs around Connecticut.
7
Western Connecticut State University
Fall 2014/Spring 2015
Audition Dates
Auditions
December 13, 2014
January 10, 2015
February 7, 2015
February 21, 2015
March 7, 2015
Western Connecticut State University is
an accredited institutional member of the
National Association of Schools of Music
Aspire.
Aspire.
181 White Street . Danbury, CT 06810 . (203) 837-8350
8
wcsu.edu/music
CNAfME State Council
G
Jennifer Allin (Central Connecticut State University)
reetings from the Collegiate State NAfME Council! Like
you, we are excited for spring to finally arrive. However,
our excitement extends past the weather. With spring comes two
great events that we can’t wait to attend: the Eastern Division
NAfME Conference in Providence, and the Collegiate Council’s
3rd annual Conducting Workshop, both in April. Both events
will provide lots of opportunity for professional development,
and will include collegiate music students around the state.
Speaking of statewide collaboration, I would like to back
up for a second and talk about another fantastic even that just
happened: the 3rd annual Horns For Kids Benefit Concert! The
Collegiate Council hosted this concert on February 27th and it
was a terrific success! I have to extend a warm thank you, not only
to the amazing members of this council, but to the performers
and members of the community who provided their talent,
help, and charity to help make this night incredible. The concert
was hosted in the University of Connecticut Von der Mehden
Concert Hall, and performances were provided by students from
Central Connecticut State University, Western Connecticut
State University, and UConn. The show opened with the wildly
entertaining UConn Second Line Party Band; as the night went
on, all of the collegiate musicians covered a wide array of musical
genres. Performances included everything from UConn’s Mitchell
Bernier on classical tuba to UConn’s student-run band Lume
performing original works.
Performances from CCSU included Ethan Sadoian on piano,
a very polished Trumpet Ensemble, and a chamber trio playing
Ethan Sadoian’s clever arrangement of “Let It Go”. WCSU had
two extremely talented marimba soloists, David Pelaggi and Sean
Griffin and Along with the UConn Party Band, Mitch Bernier
on tuba, and Lume, UConn groups included a chamber trio
performing two movements from Robert Schumann’s “Fairy
Tales.” The evening ended with a percussion ensemble from
UConn playing “Sketches of the Orient.” This group was especially
fun because the members were all non-percussionist music
education majors, including our own Eboard member Valerie
Stickles! In the true spirit of NAfME, these future music educators
had a lot of fun learning new instruments and performing for a
great cause.
Besides having great music and collaboration between the
music majors across the state, the concert helped a wonderful
charity cause. At the end of the night, the benefit concert raised
over $200, which will be donated to Horns For Kids, Inc.
This Connecticut-based charity uses donations to refurbish
9
CENTRAL CONNECTICUT STATE UNIVERSITY
Summer Music Institute, 2015
July 6 – July 31, 2015
Exciting courses offer hands-on activities,
practical teaching techniques, & engaging discussions.
GENERAL MUSIC
African Drumming: Jeremy Cohen (July 6-10)
Getting the most out of your literature: Combining Orff-Schulwerk and
Music Learning Theory: Dianne Lange (July 13-17)
Integrating iPads into the Elementary Music Classroom:
A Course For Elementary Teachers Taught By An Elementary Teacher:
Amy Burns (July 13-17)
Problem Solving in the Secondary General Music Classroom:
Deborah VanderLinde Blair (July 13-17, a.m.)
Problem Solving in the Elementary General Music Classroom:
Deborah VanderLinde Blair (July 13-17, p.m.)
Guitar for the Non-guitarist: Michael Miles (July 20-24)
Guitar Skills and Curriculum: Michael Miles (July 20-24, p.m.)
CHORAL MUSIC
Success with Adolescent Singers: Al Holcomb (July 6-10)
Conducting with Purpose, Process and Passion: Janet Galvan (July 6-10)
Composing and Arranging for Choirs: Drew Collins (July 20-24)
Voices in Harmony: Children’s and Youth Choirs in the 21st Century:
Robyn Lana (July 20-24)
Choral Pedagogy and Vocal Health: Strategies for Lifelong Singing:
Brenda Smith & Ron Burrichter (July 27-31)
INSTRUMENTAL MUSIC
Instrumental Directors’ Symposium: Lauren Reynolds (July 6-10)
Improve your String Teaching and Playing: Nola Campbell (July 6-10)
Woodwind and Brass Repair Techniques: Carl Knox (July 27-31)
Teaching Improvisation with Technology: Michael Fein (July 27-31)
MUSIC TECHNOLOGY
Blended Learning in Music Education: Scott Watson (July 6-10)
Garageband Does It All!: Scott Watson (July 6-10)
Integrating iPads into the Elementary Music Classroom: A Course For Elementary
Teachers Taught By An Elementary Teacher: Amy Burns (July 13-17)
Conquering the Common Core with Technology: Student Learning Centered
Multimedia Projects: Barbara Friedman (July 6-10)
Teaching and Learning in the Cloud with MusicFirst: Stefani Langol (July 20-24)
From Productivity to Creativity: iPads in the Music Classroom:
Stefani Langol (July 20-24)
Teaching Improvisation with Technology: Michael Fein (July 27-31)
iPad Video and Audio Recording to Enhance Assessment: Tom Rudolph (July 27-31)
For complete information: www.music.ccsu.edu
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10
new and old instruments and then awards them to schools in need
around the state. Since 2003, H4K has donated to 393 schools in
109 towns in Connecticut. We are incredibly proud to contribute
annually to such an amazing cause!
Coming up next, the Collegiate Council will be hosting
our third conducting workshop at Western Connecticut State
University on April 19th. This workshop allows future music
educators a chance to work with skilled clinicians and a full
ensemble. We will be emailing local NAfME chapters soon with
sign-up information. Besides the workshop, many collegiate
NAfME members are eagerly looking forward to the NAfME
conference in Rhode Island this April and the CMEA conference
after that. University of Hartford will the featured university at
this year’s CMEA conference and we cannot wait to see them
perform. The conference is always a highlight in our year, and
we hope to see many of you there!
2014-2015 Collegiate Council Officers
President - Jennifer Allin
(Central Connecticut State University)
Vice President/President-Elect - Katie Robison
(Western Connecticut State University)
Director of Finances and Internal Operations - Holly Brown
(Western Connecticut State University)
Director of Public Relations - Valerie Stickles
(University of Connecticut)
11
“I joined a supportive and
driven community of students
and faculty who share a
passion for advancing music
education.”
REAGAN PARAS, M.M.ED. ’13
Instructor of Middle and High School Chorus, General Music,
Music History and Music Technology
Fiskdale, MA
At Gordon, I felt encouraged to step out of my comfort zone in order to
improve my own teaching. Each summer, the close relationships I formed with
peers and faculty broadened my learning experience and motivated me to achieve
my full potential as an educator of multiple age groups and musical disciplines.
THE GORDON COLLEGE MASTER OF MUSIC EDUCATION
3 Summers: Online | In the Classroom | In Ensemble
12
Learn more
www.gordon.edu/gradmusic
T
he Western Region recently hosted Dr. Brad Genevro of Messiah College in Grantham,
PA to work with musicians at their regional festival. Here, Dr. Genevro shares a bit about
a favorite piece he programmed at the festival. Remember, recordings of each regional festival
concert are available through SoundWaves.
Amor De Mi Alma
Why did you choose this piece of music?
I chose this piece for multiple reasons. First off, it
was written by a friend of mine for a friend. In the
world of music, personal connections are vital to the
artistic growth of performers, conductors, composers
and audiences. I feel a special connection to this piece
because of it.
How do you hope to see your ensemble grow and develop
through rehearsal of the piece?
My goal as a conductor is to awaken the possibilities
in others. I hope to nurture an understanding in each
student as to his or her importance in music and life.
The awareness that each has the power to change the
world…One performance at a time.
When and where did you first experience the piece?
The Messiah College Wind Ensemble performed the
US premier of the piece in February of 2013.
In your opinion, what techniques or ideas are most crucial
for a successful performance of the piece?
Trust. Music making at the highest levels rely on
trust; the trust of a musician to the conductor,
conductor to the musician and the performer to the
audience. We are in an age that faster is better. We do
not have time to slow down. We do…we just choose
not to do so.
What enduring understanding do you hope young
musicians take away from this piece?
This is a slow piece. But true musicianship is
developed through pieces that require the performer
to invest in the piece. Fast music sells itself to the
audience, slow music needs a more committed
approach from all involved to make it a memorable
experience.
What are the technical considerations you will watch out for
in the piece?
Legato playing. Slow music requires the performer
to navigate through elongated phrases. The student
has to discover how to breathe life into the piece and
propel it forward. Tuning and timbral balances are
vital to the success of the performance.
What are some rehearsal strategies you plan to use for the
piece?
Providing a learning environment that will facilitate
the growth of all musicians in the room, including
myself. We can all learn from each other. Talking
about the creation of color as it pertains to timbre.
Talking about ways we can develop a phrase and allow
it to resonate with the audience.
What message to you hope to convey to the audience
through the piece?
Music, great music, is a gift and not one we can take
lightly. It is something that permeates all facets of our
lives. Without it, there would be an unexplainable
void in our lives. It does not matter the age of the
performer, what matters are the intentions of each
performer. Great Performances are a product of a
broader understanding of human nature and the
willingness to embrace the feelings of all involved.
What would you tell a music educator who is considering
programming this piece?
This is a great piece of music. The true test of a piece,
in my mind, is what the piece teaches me the second
third or forth time I perform it. If there is nothing
new that I learn from the piece, then I know it is time
to move on. I have performed this piece over ten times
and each time I have learned something more about
the piece. That is the true litmus test for any piece of
music. You will not be disappointed in the depth of
the music that you put in front of your students. This
piece draws the best out of everyone involved.
13
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SUMMER T
Summer Workshop Week: July 13–17, 2015
What They See Is What You Get – Maximizing
the Role of the School Choral Conductor
Dr. André Thomas
Conversational Solfege Beginning and
Upper Levels | Dr. John Feierabend
Managing a Respectful, Encouraging, Creative
Music Classroom Inclusive of Special Learners
Mary Correia and Eve Montague
Teaching and Learning with Technology in the
Music Classroom | Sean Hagon
Bridges to the Community and Beyond
Lillie Feierabend
Conducting to Build Quality Musicianship in the
Instrumental Ensemble | Dr. Robert Hasty
Developing and Revising Curriculum and
Assessment in Alignment with the New National
Core Music Standards | Dr. Scott Shuler
EARN GRADUATE CREDIT OR PDPs
www.gordon.edu/workshops
Week-long or two-and-a-half-day workshops
available.
DEGREE PROGRAM
Summers-only Master of Music Education
Online | In the classrroom | In ensemble
GORDON COLLEGE | 255 Grapevine Road, Wenham, MA 01984 | www.gordon.edu/gradmusic
14
69 Annual
CMEA In-Service
Conference
th
CMEA In-Service Conference 2015
will be the
place to be!
April 30-May 2, 2015
Connecticut Convention Center
Hartford, Connecticut
Pre-Registration ends
April 15th
Go to cmea.org to view
the Session Schedule
15
Dear Colleagues,
Please join us for the 2015 CMEA In-Service Conference at the Connecticut Convention Center in Hartford.
There are so many relevant and inspiring sessions and performances planned for all strands and grade levels.
Plus, you’ll have the opportunity to meet and exchange ideas with other colleagues!
Here are some of the highlights…
At the General Session on Friday (10:30) and his session on Saturday (10:30), keynote speaker Keith
Reeves will inspire you and give you the tools you need to keep students at the center of your
planning and decisions, even when other requirements or pressures come your way. At his session
(Fri. 4:45) “Talking the Administrative Talk,” Keith will teach you how to make an impact when you
discuss your teaching with non-musicians.
Jared Cassedy, highly regarded Band Director from Windham, NH and recipient of the 2015
GRAMMY Music Educator Award, will clinic a beginning 9th grade band that he’s never met before
while you watch and gather ideas to use with your band back at home! Fri. 2:15 followed by a Q&A.
Dr. Sandra Doneski, Gordon College, will not only conduct the Elementary Honors Chorus but
will also present 2 sessions on Saturday (8:00 and 11:45).
Dancing Drum (director: Stephen Campbell) will present 2 sessions on Saturday (9:15 and 10:30)
featuring performers from Washington Middle School in Meriden. There will also be drum sessions
presented by Bob Bloom (Thurs. 4:15) and Mark Renner (Fri. 4:45).
There are Technology, Common Core, National Core Music Standards, and SLO/Data
Collection sessions on EACH DAY of the Conference!
You will hear wonderful performances from various Hartt School of Music ensembles and 7 honors
ensembles.
String/Orchestra directors will learn about a variety of topics from presenters such as Kenneth Kuo,
Kevin Chapin, Janet Fantozzi, Bethany Cook Fuscaldo, and Nathaniel Strick.
There will be a choral reading session (Thurs. 3:30) and a band reading session (Thurs. 5:30).
So bring your instruments, warm up your voices and prepare to have a fun time!
You can mingle and relax with your colleagues at the social hour on Friday (beginning at 8:00pm).
---------------------------------------------------------------------------------------------------------------------------There is TRULY SOMETHING FOR EVERYONE on EACH DAY.
A complete listing of workshops and times (showing the Focus Area and Grade Level) can be found in
the conference issue of the CMEA news and on our website www.cmea.org.
The Marriott Hotel has a special room rate for CMEA members.
See you there!
Lauren (Harmata) Verney-Fink, Professional Development & Conference Chair
16
2015 In-Service Conference Key Note Speaker:
Keith Reeves
into educational technology
and school leadership to
extend the pedagogical,
assessment, organizational,
and child-centered skills of
Key Note Speaker at
music teachers to others. He
the General Session
has been a director, visual
Fri. May 1, 10:30-11:30am
coordinator, staff arranger,
and adjudicator for marching
And presenter of 2 sessions
bands throughout the east
Friday May 1,
coast, and the musical and
4:45-5:45pm
choral director for several
Talking the Administrative Talk
and performance portfolios) high school musical productions
Explore the language, tools, and to improve communication, over the course of his 14-year
techniques of teacher observation instruction, and musical growth. career.
and evaluation. Learn how to
BIOGRAPHY FOR KEITH
Now, as a school leader
speak about your instruction to
REEVES: Music educator and and avowed public school
administrators who don’t have
c o m p o s e r K E I T H D AV I D revolutionary, Mr. Reeves seeks
a music background, and learn
REEVES has taught ever y to ensure children and their
how to educate administrators in a
grade level, K through 12, in learning are first and foremost in
positive, proactive, and respectful
underprivileged and affluent everything we do in education.
way.
schools in both rural and urban A vocal advocate for kids and a
Saturday May 2,
settings, as well as educational vocal opponent of high-stakes
10:30-11:30am
methods at the university level. standardized testing, his message
Performance Based Assessment
He studied composition with has been carried on NPR, the
Dana Wilson, music theory Huffington Post, and various print
Teachers and program leaders will
with Mary Arlin, and trumpet media outlets.
examine priorities and methods
with D. Kim Dunnick. As a
for understanding student skill
Mr. Reeves currently serves as
composer, Reeves writes tonal
mastery in the music ed setting,
an administrator and resides in
music, often with dense chordal
including exploring ways to
Arlington, Virginia.
elements and layered melodic
use technology (such as Google
lines. Primarily a middle and high
Drive for individual student
school band director, he went
17
Keith made a video for
the music educators of CT!
Find the youtube link for it
on cmea.org!
Other Featured Presenters
Jared Cassedy (Director of K-12 Fine Arts and Band Director in Windham, New Hampshire) will lead a
“Band Academy” session on Fri. May 1, 2:15-4:30pm. Watch him work with the Weston High School Concert
Band (a 9th grade ensemble he’s never met before!) and enjoy a Q&A session with him after the rehearsal.
Sandy Doneski (Gordon College Director of Graduate and Undergraduate Music Education, Associate
Professor of Music, and Artistic Director of the Gordon College Children’s Choir) will serve as our elementary
choral expert and Director of the Elementary Honors Choir! She will present 2 sessions…
1.Sat. May 2, 8:00-9:00am
One for Singing and Singing for
All! Developing the Singing Voice
for All Singers
2.Sat. May 2, 11:45-12:45pm
They Can’t Sit Still for a Reason:
Using Storytelling to Develop
Choral Artistry
Elementary World Drumming Presentation by Dancing Drum (Steve Campbell, director)
Sat. May 2, 9:15-10:15am • Featured musicians will be from Washington Middle School (Meriden, CT).
Steve Campbell (Director of Dancing Drum) will present
Sat. May 2, 10:30-11:30am • Drumbeat for Success: Teaching Good Character Through Music
Jared Cassedy is in his tenth
year in education. He began his
career as a music teacher at Windham
Middle School in 2005 directing all
grade level instrumental ensembles,
honors concert band, jazz ensemble,
and string ensemble. In 2009, Jared
was appointed as the first Director
of Bands for the new constructed
Windham High School directing
all instrumental ensembles and a
variety of music electives. In the
years that followed, Jared’s continued
collaboration with his students and
18
colleagues has enabled the WHS
Concert Band to be recognized and
to participate in a myriad of national
performances and festivals. Recent
performances include the Festival of
Gold at Orchestra Hall in Chicago,
Illinois (2013) and the National
Band and Orchestra Festival at
Carnegie Hall in New York City
(2014). The band was also one of
two high school concert bands in
the Eastern Division selected to
perform at the National Association
for Music Education (NAfME)
Eastern Division Conference in
Hartford, CT (2013). In 2011 the
New Hampshire Band Director’s
Association honored Jared with the
“Outstanding Young Band Director
of the Year Award.” The following
year, he was appointed as the Dean
of Fine, Living, and Technical Arts
for Windham High School. In
2014, Jared was also nominated for
New Hampshire Teacher of the Year.
This year, Jared has been appointed
as the Director of K-12 Fine Arts
responsible for the supervision and
evaluation of instruction as well as
the development of curriculum for
the district’s music and visual arts
programs. He also still maintains his
position as Windham High School’s
Director of Bands. Along with his
professional responsibilities, Jared
also assumes the role of director of
the NH Youth Wind Ensemble,
which is an audition-based ensemble
made up of students from around
the state of New Hampshire who
rehearse together and perform
throughout the year. Most recently,
the GRAMMY Foundation and The
Recording Academy named Jared
the recipient of the prestigious 2015
GRAMMY Music Educator Award
out of a pool of more than 7,000
nominees across the nation. Jared
graduated Summa cum Laude from
the University of New Hampshire
Dr. Sandra Doneski has
taught in the Department of Music
at Gordon College since 1999.
She has been a teacher of music to
students in kindergarten through
graduate school. She teaches courses
in music education methods, learning
theory, assessment, curriculum
development. She also supervises
student teachers and conducts the
Gordon College Children’s Choir.
Dr. Doneski founded the Children’s
Choir in 2000 to give children in the
community an opportunity to grow
as musicians, and music education
majors an opportunity to develop as
teachers and conductors.
Dr. Doneski has also served on
the faculty of the New England
Conservatory (NEC) Preparatory
School, where she was associate
conductor of the Children’s Choir
Program. Under her guidance,
NEC implemented choral programs
for early elementary and middle
school students that focused on
vocal pedagogy and building
musicianship. She has served as a
conductor for events in the northeast
sponsored by the Music Educators
National Conference (now National
Association for Music Education
[NAfME]) and the American Choral
Directors Association (ACDA), and
is co-founder of Embracing the
New Music Educator, a mentoring
program for new music educators in
Massachusetts. In 2009, Dr. Doneski was the
recipient of the Massachusetts Music
Educators Association (MMEA)
Lowell Mason Award and the Society
for General Music in Massachusetts
Excellence in General Music Award.
In 2012 she received the MMEA
Distinguished Service Award, and in
2013 she received the Administrators
in Music Education Visionary
Leadership Award.
Dr. Doneski has published
articles and conducted workshops
on choral literature and techniques,
curriculum development, assessment
and mentoring. She recently coauthored “Research on Elementary
and Secondary School Singing,” a
chapter in the MENC Handbook of
Research on Teaching and Learning in
Music Education.
– Durham where he received his
Bachelor of Music degree in Music
Education with an emphasis in wind
ensemble and choral conducting. He
is currently focusing on attaining
his Administrative Certification in
Curriculum and Instruction with
a focus on Educational Leadership
at Southern New Hampshire
University.
S teve C ampbell i s a
drummer, educator and musical
director of Dancing Drum. His
extensive travels to study percussion
traditions of the world have provided
Steve with a strong foundation
in the art of drumming. Since
2002, he has conducted drumming
programs in hundreds of schools
across the country. His 20 years of
drumming experience combined
with his education degree led him to
develop a highly effective approach
to successfully integrate drumming
programs into K-12 music
classrooms. Steve has presented
highly successful interactive clinic
sessions at state music education
conferences in Texas, Florida,
Ohio, Illinois, Indiana, Wisconsin,
North Carolina, Georgia and the
2013 and 2014 NAfME In-Service
Conference.
19
A Preview of our
Featured Honors Ensembles
at the 2015 In-Service Conference
Congratulations to the ensembles who
will perform at our In-Service Conference
this year!
Greenwich High School String
Ensemble
Director: Bethany Fuscaldo
Stonington Middle School Singers
Director: Ellen Effman-Gilbert
Simsbury High School Singers
Director: Colleen Thompson
Glastonbury High School Concert
Choir
Director: Ethan Nash
Northwestern High School Wind
Symphony
Director: Steve Zimmerman
John Wallace Middle School Jazz
Band
Director: Brian Kelly
Darien High School Jazz Ensemble
Director: Jonathan Grauer
Check out the conference schedule at
cmea.org for performance times and
locations.
The honors ensembles are preparing
entertaining, inspiring, and educational
presentations for Connecticut music
educators. Read on to learn about what
you can expect from their performances…
Discuss a favorite piece of
repertoire you plan to share at your
performance.
Ethan Nash: Among the pieces likely to
be on our program are Eric Whitacre’s
Sleep, Ken Berg’s arrangement of My God
is a Rock, Rachmaninoff’s Bogoroditse
Djevo and Pachelbel’s Singet dem Herrn.
Jonathan Grauer: We are playing a piece
called Groove Blues by Don Menza. This
piece features my saxophone section
which has five seniors in it that have been
20
part of our jazz program since the got to
Darien High School. It’s been a pleasure
working with these particular students
and it’s nice to be able to feature them.
Colleen Thompson: The students are
really enjoying the Brahms “Ave Maria.”
They have sung the Ave Maria text in
many other settings, and they find the
Brahms setting to be really interesting.
They love the lush romantic harmonies
and how the piece builds to the final
cadence.
Steve Zimmerman: Pablo! by Richard
Meyer is a well-crafted piece of music
influenced by the life of Pablo Picasso.
Each year, I work with our art department
or a museum to present students with
similarities and differences between the
visual and performing arts. Pablo! is
guiding us specifically toward Picasso
who had a huge influence both on the
art world and the City of Hartford.
We’ll visit the Wadsworth Atheneum
after our performance and learn about
how “Chick” Austin helped transform
the arts in America being the first curator
to bring Dali, Picasso and more to the
United States. It is very important to me
that students develop an understanding
and appreciation of artistry rather than
just learning to play their instrument
better – though we work really hard to
do that too!
Ellen Gilbert-Effman: We are very
excited to present a newly commissioned
piece by Jim Papoulis entitled “Yo Peudo”
or “I Can”. Through a family donation,
Pfizer Grant, Stonington Education fund
and Blues Monday fund we were able
to commission this piece. All royalties
from the piece go to the “Foundation for
Small Voices”
Describe a rehearsal strategy that
seemed to really motivate your
students this year.
Steve Zimmerman: This concert would
not be possible without the aid of
Smartmusic. Purchasing Smartmusic will
not transform a band program from bad
to good, or good to great, but with 7 snow
days and 7 delays/early dismissals so far
this January and February, it has allowed
us to continue working without being in
each other’s company. In addition, I find
that the students respond well to the nonbiased score on the screen, which in turn,
creates a habit of practicing for excellence
and helps initiate a conversation about
how best to practice. I assign a few
phrases from our concert literature every
2 weeks or so which results in about
6-10 assignments each quarter. It helps
provide an objective grade for the class
and helps a lot with the learning of notes
and rhythms.
Colleen Thompson: We have had
success singing in different acoustical
environments. The lobby of our school
has a high ceiling, which we call the
“dome,” and the sound rings as if we
are singing in a cathedral. Students love
having the opportunity to move out of
their normal rehearsal space and explore
blend and balance in different settings.
Ellen Gilbert-Effman: I am first and
foremost a Kodaly teacher. Teaching those
skills through choral music is my passion.
I feel that that philosophy drives my
instruction and empowers the students to
discover the music. I feel myself more of
a guide as I want them to use their tools
to make musical decisions, to decode the
musical symbols and to develop critical
thinking skills toward their art form.
There is so much to teach upfront, but
after that, they really become responsible
for their own learning.
Jonathan Grauer: We rehearse 90% of
the time in a box, not a standard jazz setup. It keeps the rehearsal more focused
and helps the kids listen and interact
more with each other.
Ethan Nash: One of the most valuable
rehearsal strategies involved recording
ourselves in rehearsal and playing it back
for the class. The comments and critiques
that they generate themselves from
listening often carry a lot more weight
than things that I would say.
How have you grown as an educator
over the years?
Ellen Gilbert-Effman: I realize that
one of the most important things that is
takes to be a good music teacher is a keen
understanding of the adolescent voice.
Having taught for a while has given me
the chance to really hone my skills as a
teacher and work with a lot of repertoire
so that I know what is going to work for
my students. I also have more patience
and try to figure out where each child is
coming from, so to speak.
Bethany Fuscaldo: I’ve learned to trust
my gut. I tend to “over-think” sometimes
and end up in “analysis paralaysis”. I’ve
learned that if I strip a problem down to
its very fundamental, my musicianship
and teaching skills will lead me to the
solution. I’ve also learned that at some
point, you have to let go of the minutia
and look at the big picture... success is
not measured by the “slice”, but by the
“loaf ”. Be in the moment, be musical,
take a a chance. It’s important for our
students to see us as lifelong learners and
music-makers!
Steve Zimmerman: I’m right in the
middle of my career having taught for
18 years. There are two big changes
I’ve seen in myself over this time.
First and foremost, my ability to hear
and diagnose problems in rehearsal is
infinitely better than it was in 1998.
Attending conferences like the MidWest
Conference and hearing exemplary
ensembles has greatly expanded my
concept of excellence. The other big
change in my teaching is my view
of music education and it’s relative
importance. When I started, I was the
sun and the solar system revolved around
me. Now I understand that the student
is the sun and I’m just one, of many,
things revolving around them. Growing
a child and growing a band program are
not at odds with each other, but they are
different aims and when I was younger, I
really cared a lot more about the program
whether my actions revealed that or not.
Colleen Thompson: I have learned how
to be vulnerable in front of an ensemble.
There is not a day that goes by when I
don’t make a mistake or say something
ridiculous in front of an ensemble. I
admit when I am challenged by a piece of
music or a situation in class and we work
through it as a group. This level of trust
has helped me to develop an authentic
rapport with my students. Students are
more willing to take risks when they
understand that I am woarking just as
hard to be a good teacher as they are to
be good choral students.
What advice would you have for a
new colleague in the field?
Bethany Fuscaldo: Just do it. You might
not always know the best way to do
something in the classroom, but just
try it. If it works, great! If it doesn’t, ask
yourself what went wrong? How could I
have changed my instruction to garner
a better response? Then make changes
(and keep notes!) for next time. Keeping
a detailed lesson plan book will help- I
referred back to my notes while I was in
my first few years so I could recall what
happened at which points throughout
the year. And also (not just for first year
teachers!), observe master teachers. Pick
their brains and ask them questions! I’ve
found that music teachers are more than
willing to share their techniques, tricks
and strategies if you ask.
Jonathan Grauer: Remember why you
became a music teacher; don’t lose your
passion.
Colleen Thompson: Repertoire is your
textbook. Choose pieces that you love,
because if you love them, you will be
able to inspire your students. Make
sure that the pieces work together
within a program to give students a
variety of musical experiences while
giving the audience an enjoyable musical
experience. Also, music literacy is the key
to success with your ensembles. Teach
students how to sing with Solfege and do
sight reading every day, no matter what.
Steve Zimmerman: 15 years ago, I
attended my first MidWest Conference
and met the legendary Frederick Fennell.
We chatted for about 10 minutes and his
words have stuck with me and guided
me very much throughout my career.
He said something to the effect of, “You
can’t do it alone. No one can do it alone.
Surround yourself and your students with
great musicians. Every great band is built
upon the work of many, not the work
of one.” Soon after arriving home that
December, I met with my administration
and started a long, ongoing effort to help
annually fund guest clinicians, guest
artists and guest conductors. The added
work is significant, but it is the most
important thing I do as an educator.
What do you hope your audience at
CMEA comes away thinking about?
Steve Zimmerman: I’ve put together
this program hoping to help band
directors hear literature that they might
be interested in performing with their
ensembles and most importantly bring
joy to them for the time we’re sharing
together. At Northwestern, we strive to
balance excellence and fun.
Ellen Gilbert-Effman: I would like
them to come to the performance to be
able to take away some perspective on
the abilities of middle school students,
but also to think about choosing pieces
that really highlight your choirs ability.
21
Bethany Fuscaldo: Music selection
is so important to keep my students
motivated. If they are really excited
about what we are playing, they really
invest their time and focus into what
we are doing. We also record ourselves
often, and listen, and reflect on our
performance. Getting the students to be
their own evaluator helps them become
critical listeners and their own teacher.
I would also like to point out that
although this is a select group, the core
of who they are happens in my day to
day choral rehearsals. That is where the
magic happens! The select group is an
extension of that.
Colleen Thompson: Consider adding
a high school chamber choir to your
school-day choral program. Giving
advanced students the opportunity to
solve musical problems in a small setting
can be really rewarding and satisfying for
the students and the director.
Jonathan Grauer: I hope they will
want to bring their own group to the
conference. We have amazing teachers
and great programs throughout the state.
book.” Eve Phelps, 12th grade, Darien
High School
How do your students feel about the
conference?
“We have a lot of talented people here.
We learn more challenging materials
and it includes all grades, which is really
unique.” Emma Sabbadini, 13, Mystic
Middle School
“Our set for this concert is really engaging
and thoughtful; we are applying our
chamber sound to a wide range of music.
I think the audience will be amazed at
how versatile a women’s chamber group
can be.” Maia Czaikowski, 12th grade,
Simsbury High School
“We have a pretty good reputation
of singing. We don’t really feel a lot
of pressure, we just feel proud.” Ben
Huynh, 13, Mystic Middle School
“We love playing gigs and we love
missing school. It’s a win win in my
preparing
creative
musicians
for the
modern world.
bachelor of arts
with concentrations in:
bachelor of music in:
Performance | Composition
Critical/Cultural Studies
Music Education | Vocal Performance
bucknell.edu/music
BucknellUniversityDepartmentOfMusic
22
CMEA
News, Spring
2015
CMEA_AD_Sept_5.indd
1
@BucknellMusic
8/29/14 11:22 AM
The 69th Annual CMEA In-Service Conference
April 30-May 2, 2015
CT Convention Center, Hartford
PRE-REGISTRATION
Mail with payment to CMEA by April 15, 2015
Registration Information:
Name: ________________________________________________________________________________________
NAfME/CMEA Membership ID _______________________
BADGE PREFERENCE:
E-mail:__________________________________
____________________________________________________________________
First Name
City
Registration Type
Fee
CMEA/NAfME Member 3 day
Total
$135
$_____
$90
$_____
$265
$_____
$220
$_____
No fee
$0
$40
$_____
No fee
$ 0
Retired Non-Member 3 day
$85
$_____
Family Member (non-music teacher) 3 day Name for Badge_____________________
$50
$_____
Clinician (free on the day presenting)
$50
$_____
CMEA/NAfME Member 1 day
Which day? _____4/30 _____5/1 _____5/2
Non-Member 3 day
Non-Member 1 day
Which day? _____4/30 _____5/1 _____5/2
Collegiate CMEA/ NAfME Member 3 day (Undergraduate Students) Check here______
Collegiate Non-Member 3 day (Undergraduate Students)
Retired CMEA/NAfME Member 3 day
Check here______
Registration Sub Total $_____
Saturday Box Lunch Option Save yourself the hassle and pre-order a box lunch for
Saturday to take to your 11:45 a.m. region meeting before the 2 p.m. All-State Concert.
Menu: Turkey w/ Swiss, b-l-t & chipotle aioli on a flour tortilla, chips, fresh fruit, pickle and soda/water.
$25
$_____
Number of Tickets ___ X
$25
$_____
All State Concert Tickets
Grand Total $_____
Method of Payment
_____
_____
Check #_____________________________ Make checks out to “CMEA”
Institutional Purchase Order ( School form must be attached) PO #
Mail to: CMEA Conference Registration
PO Box 174
Cromwell, CT 06416-0174
23
Advertiser Index
D EPA RTME NT OF MUSIC , TH E AT R E A N D DA N C E
Bucknell University.............. 22
Central CT University............ 10
2015
Gordon College...............12, 14
Ithaca College......................6
AUDITION
DATES
The Hartt School...................4
Manchester High School
Band Parents
Association......... back cover
Auditions required
for entrance into all
music programs.
Saturdays:
January 31
February 14, 28
March 7
Quaver...........inside front cover
Rhode Island College............ 24
Western CT University.............8
Yamaha.......... inside back cover
CMEA is a 501C3 non-profit organization
and is a federated state affiliate of the
National Association for Music Education
(NAfME). Membership is open to all
music teachers and those involved in other
music education related work.
The CMEA NEWS is published four
times a year in September, December,
March and June. Opinions expressed in
this publication are those of the author
and do not represent an official position
of CMEA. A subscription to the NEWS
is included in the annual membership fee.
• Rigorous programs for the
• Extensive chamber
ensemble offerings
Bachelor of Music in Performance,
Bachelor of Music in Music Education • Exceptional facilities in
and Bachelor of Arts in Music
the John Nazarian Center
for the Performing Arts
• Full range of scholarships available
• First-class symphony orchestra,
wind ensemble, chorus, jazz band
• Outstanding artist/teacher faculty
• Affordable tuition
For further information, contact the Rhode Island College
Department of Music, Theatre and Dance
(401) 456-9883 | music@ric.edu | www.ric.edu/mtd | www.facebook.com/ricmusic
24
2014-15 Publication Copy
Deadlines are:
August 1, November 1,
February 1 and May 1
Manuscripts should be sent directly
to the CMEA NEWS Editor at
cmeanews.editor@gmail.com
For advertising information and rates,
please visit www.cmea.org.
NEW
Yamaha
Timpani
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The next generation of Yamaha timpani
features upgrades to the frame, bowl
and wheel designs, and the tuning
gauge. Yamaha completely redesigned
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to improve consistency and generate
a deep, rich tone. Beyond the sound,
Yamaha created a new wheel design
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