August/September 2015 ala breve...Carl Hancock AMEA President 6 August/September 2015 The 2015 AMEA...

aallaa bbrreevveethe official publication of the Alabama Music Educators Association

August/September 2015

www.alabamamea.org

Back to School Issue

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Features...

8 AMEA Governing Board Directory

10 2016 Conference Quick Facts

15 ABA Legislation

17 Phi Beta Mu “Tips that Click”

20 Campus Connctions

26 This is How We Do it Here... by DaLaine Chapman

28 Battling Going Through the Motions in Band Rehearsal by Susana M. Lalana

30 Schedule of Events

32 FAME Essay: Why I Want To Be A Music Teacher by Morgan Green

34 2016 AMEA Conference Pre-Registration Form

36 Choral Reviews by Diane Orlofsky

37 AMEA Industry Members

38 When Helping Hurts... by Michael Raiber

40 FAME Registration Form

the official publication of the Alabama Music Educators AssociationAugust/September 2015

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Advertisers Index

American College of Musicians...............27

Arts Music Shop, Inc..................back cover

AU Bands..................................................12

AU Music Department..............................23

Gadsden Music Company.........................41

Group Travel Network..............................43

Huntingdon College Bands.......................22

Jacksonville State University....................19

John M. Long School of Music (Troy).......3

Landmark Tours..........................................2

NAfME/AMEA.........................................34

NAfME In-Service Conference..................7

Panama City Music Festival.......................9

UA Bands....................................................4

UAB Department of Music.......................42

UAB Marching Blazers ............................15

UNA Department of Music.......................24

University of South Alabama Bands.........33

University of South Alabama Music.........21

Yamaha......................................................11

6.....................President9.....................Collegiate10..........................HED13.............................AVA14...........................ABA16...........................AOA18..................Elem/Gen18..........Past Presidents20....................Registrar25...........................Jazz

Departments...

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Greetings and welcome back!

When the tolling of the Denny Chimesmixes with the resonating chords from theMillion Dollar Band and youthful voices ofnew students, it is easy to recognize thebeginning of the school year is well underway in Tuscaloosa. If you are like me, thesummer break has faded into a distant yetpleasant memory, and you are nowimmersed in setting goals, planning lessons,teaching students, and preparing for anexciting new year of music-making andlearning.

I am always amazed at how upliftingsummertime can be. It truly reinvigoratesmy passion for teaching. For those of youwho know me well, come mid-August, Ibegin to look forward to the first day ofclasses and overtly express the sameexcitement I felt when I was a schoolboy.However, this time, as I take stock of thesummer and last year, I am feeling excitedabout what the future will bring andsimultaneously, very proud about our past.I am amazed to count how much weaccomplished as an Association, especiallyin just the last couple of months. Thissummer was extremely productive for the

AMEA. Members of the Governing Boardworked for months planning an excellentyear of professional growth and learning foryou and your students, and I can’t wait toshare some of it with you.

In June, the Governing Board met andwelcomed our incoming board membersand together we renewed our commitmentto many of the initiatives we started in 2014.This year, we will attempt to complete thesecond phase of our strategic plan andensure we pass as many milestones aspossible. In essence, we will continue toconnect with nationally recognized leaders,emphasize professional outreach, increaseindustry connections, fund special clinicians,and build our capacity for state-leveladvocacy by rebranding our organizationand growing membership.

To achieve a substantial increase inmembership, we pledged to seek out thosemusic teachers who left the AMEA, restoretheir faith in our association, and encouragetheir return. As an example of ourcommitment to this goal, the AMEA willimplement a concerted membership drivefrom now through January, which will be ledby former AMEA President (2008-2010)and current Treasurer/Registrar, Pat Stegall.He will have the help of Peter Daughertyfrom the NAfME office and assistance fromvolunteers throughout the state. Weencourage you to take a moment and reachout to colleagues and let them know, theAMEA and NAfME are focused onmeeting the needs of Alabama musicteachers and their students. At the sametime, we will seek out new teachers, whethernew to the profession or new to our greatstate, and encourage them to join not justfor the resources we can provide, but for thecamaraderie and support. We need to standtogether for music education in our schoolsand communicate a consistent messageabout the importance of music in the livesof our students. The old adage popularizedby Helen Keller, “Alone we can do so little;together we can do so much” certainly ringstrue when it comes to advocating for music.So, we will continue to work at recruitingnew members, retaining current members,and inviting former members to take asecond look at our organization.

We will also continue to tinker with our in-service conference, so we learn what is

possible and needed to provide meaningfulprofessional development for educatorstasked with teaching music in the seconddecade of the 21st century. We are reachingout to the professional music community ina way that we’ve never attempted before byhaving the renowned professional brassquintet, The Boston Brass, headline our in-service conference. And we will try a fewother experiments to inject more“professional” into the professionaldevelopment we offer. As my colleagueSkip Snead likes to say when good news isjust around the corner, “stay tuned!

At the end of June, four members of ourGoverning Board and three of ourCollegiates traveled to Washington, D.C. toparticipate in NAfME's National LeadershipAssembly, Collegiate Advocacy Summit, andHill Day 2015 activities. Some of the manyhighlights from the trip include visiting theoffices of both of our US Senators and fourState Representatives on Capitol Hill. Weshared a simple, yet profound message ofadvocacy for music education and discussedthe importance of maintaining music andthe arts as core academic subjects in theElementary and Secondary Education Actof 2015. By all accounts, our message waswell received.

Also, in June, we learned that five Alabamastudents were selected for the All-NationalHonor Ensembles to perform at theNAfME National Conference (October 25-28) in the Grand Ole Opry House inNashville, Tennessee! These outstandingstudents were nominated by their directorsand will join other fine musicians from

Carl Hancock AMEA President

6 August/September 2015

The 2015 AMEA Hill Day Delegation posting after meetingwith staffers from Senator Richard Shelby’s (R) WashingtonDC office. From left to right, Sara Womack (AMEA Past-President, SD President-elect), Mai Yamane (Collegiate),

Susan Smith (AMEA President-elect), Allison Glover(Collegiate); Carl Hancock (AMEA President), MadisonBaldwin (Collegiate), Kelsey Manweiler (Senator Shelby

Staff), and Hamilton Bloom (Senator Shelby Staff).

Members of the 2015 AMEA Hill Day Delegation withAlabama Congressman, Robert Aderholt (R-District IV,

center). Pictured are Carl Hancock (AMEA President), SaraWomack, (AMEA Past President, SD President-elect),

Madison Baldwin (Collegiate), and Allison Glover(Collegiate).

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across the US to form the All-NationalConcert Band and Mixed Choir. Selectedstudents include Carrie Ciecierski (DothanHigh School, Steve McLendon, director),Liam Remley (Shades Valley High School,David Allinder, director), Hannah Love(Saraland High School, Christine Breland,director) and Ben Cooper and Devan Payne(Austin High School, John Cooper, director).I hope you will join me in congratulatingthese students and their directors.

Finally, here is a glimpse of some of theplans we are working on for 2015-2016 andgoals we surpassed this summer.

� President-elect, Susan Smith, is workingon hosting our state’s first AlabamaMusic Education Advocacy Day in 2016.

� The Ala Breve will continue to invitemusic educators from across the US towrite original articles for our journal. Todate, we have published 23 originalarticles in our journal since beginningthe initiative.

� Garry Taylor has helped increaseIndustry Membership in the AMEA to22 members which is a 57% increaseover figures from a year ago.

� The FJH Music Company Inc. willsponsor the AMEA Reading Band andsupport a top-notch clinician, BrianBalmages, to direct the group at our stateconference in January 2016.

� The Governing Board passed a budgetto extend the special clinician fund forthe AVA, ABA, AOA, and Elementary/General Music Division. Each groupnow has the opportunity to invitenationally recognized speakers topresent at the 2016 In-ServiceConference.

� The Governing Board secured supportfrom Jupiter Band Instruments to helpbring the Boston Brass to headline the2016 In-Service Conference.

� Dr. Diane Orlofsky from Troy StateUniversity was appointed to serve as the2015-2016 choral music reviewer for theAla Breve.

� Mr. David Raney of Sparkman HighSchool was appointed to serve as theAlabama TI:ME Representative. TheTechnology Institute for MusicEducation, also known as TI:ME, hasexpressed an interest in partnering withthe AMEA.

� The AMEA website will be restructured,modernized, and rebuilt.

� The Outstanding Young Music TeacherAward was officially renamed theEdward H. Cleino Outstanding YoungMusic Teacher Award in honor of Ed‘snumerous contributions to the AMEA.

This is only a snapshot of the excellent workyour AMEA Officers and Governing Boardmembers have been doing this summer and Iam certain their columns will highlight theleadership they bring to Alabama. As you cantell, planning and preparations for the newyear are well under way. As your President, Iam looking forward to partnering with youto provide the best music education possibleto students throughout Alabama. We are hereto support you and I welcome your thoughts,ideas, and comments. I wish for you and yourstudents a great new year.

Carl Hancock, President

Ellis Ludwig-Leone of the San Fermi band with AMEALeaders and Collegiates at the NAfME National Leadership

Assembly in Tysons Corner, VA. San Fermi is the 2015Stand for Music Award Winner and Ellis is the AlabamaSymphony Orchestra’s Sound Investment Composer-in-

Residence. From left to right, Carl Hancock (AMEAPresident), Susan Smith (AMEA President-elect), Sara

Womack (AMEA Past-President, SD President-elect), EllisaLudwig-Leone, Allison Glover (Collegiate), Mai Yamane

(Collegiate), and Madison Baldwin (Collegiate).

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Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarilythose of AMEA or the Editor. All announcements & submissions are subject to editorial judgement/revision.The Alabama Music Educators Association is a state unit of NAfME:The National Association for Music Education, a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education

institutions. Active NAfME/AMEA membership is open to all persons engaged in music teaching or other music education work.

Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association. Subscription for members is $4.00 per year

as part of annual NAfME/AMEA dues. Subscriptions for non-members is $15.00 per year. Bulk rate postage paid at Dothan, AL.

Garry Taylor, Editor & Advertising Manager1600 Manor Dr. NECullman, AL 35055(256) 636-2754

[email protected]

ADVERTISING & COPY DEADLINESFall - August/September (Back to School) issue: July 15

Winter - October/November (Conference) issue: September 15Spring - February/March (All-State) issue: January 15Summer - May/June (Digital Only) issue: April 15

President, AOA

Sarah Schrader

P.O. Box2221

Foley, AL36536

(334) 728-2855

[email protected]

Past PresidentSara WomackGreystoneElementary School300 Village StreetBirmingham, AL 5242(205) [email protected]

President

Carl Hancock

Universityof Alabam

a

Box 870366

Tuscaloosa, AL 354

87

(205) 348-6335

[email protected]

duPresident

-Elect

Susan Smith

Saint James School

6010 Vaughn Road

Montgomery, AL 361

16

[email protected]

Executive DirectorEditor, Ala BreveGarry Taylor1600 Manor Dr. NECullman, AL 35055(256) [email protected]

Treasurer/RegistrarPat StegallAMEARegistrationPO Box 3385Muscle Shoals, AL [email protected]

RecordingSecretary

Carla Gallahan

212 SmithHall

Troy University

Troy, AL36082

(334) 670-3502

[email protected]

President, ABAMicheal HolmesMountain Brook Junior HighSchool205 Overbrook Rd.Birmingham, AL 35213(205) 871-3516 [email protected]

President, AMEACollegiateThad WalkerUniversity of Montevallo(205) [email protected]

AMEACollegiate AdvisorTed HoffmanUnivesity of MontevalloStation 6670Davis Music Building 308Montevallo, AL 35115(205) [email protected]

AMEA Governing Board 2015-2016

President, AVA

Carl Davis

Decatur High Schoo

l

1011 Prospect Drive

Decatur, AL 35601

(256) 559-0407

carlbethemeryellen@

gmail.com

President, Elem/GenCliff HuckabeeThe Montgomery AcademyLower School Campus1550 Perry Hill RoadMontgomery, AL [email protected]

President, Higher Edu

cation

James Zingara

UAB

231 Hulsey Center

Birmingham, AL 35

294

(205) 934-7376

[email protected]

IndustryRepresenta

tive

Becky Lightfoot

Arts Music Shop

3030 EastBlvd.

Montgomery, AL 361

16

334/271-2787

[email protected]

aallaa bbrreevveethe official publication of the Alabama Music Educators Association

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Thad Walker - President, AMEA Collegiate DivisionHello Collegiate Members,

I hope that you have been enjoying yoursummer and now find that you are well rested.While taking this relaxing break from school,I hope that you have all found ways in whichyou have bettered yourself as a future musiceducator. The Collegiate Board has beenpreparing for next school year’s two fantasticevents that I really hope to see each and everyone of you attend.

The AMEA Conference is one of NAfME’sgreatest events each year and this year is noexception! The board has selected a widevariety of sessions that will contain extremelyvaluable information that will help us all in ourfuture careers. Please make plans to attend oneof the greatest opportunities to learn valuableinformation - specifically for college students- as well as meet some very fantasticeducators. Keep your eyes and ears out for ourpre-registration date. I also encourage you toseek out funding from your schools. This issomething that they will love to help you with.

An event that will be coming up beforeAMEA Conference is the Collegiate Fall

Summit. This event is a one-day FREE eventspecifically for college students. Althoughsmaller than AMEA, this event brings youcloser to other students outside of yourschool that share the same passion that youdo. There will be several sessions that we areexcited to be a part of and hope that this willfurther your knowledge. We also hope thatthese sessions will take away some of theapprehensions that we as future educatorsmay have.

The collegiate board and I cannot wait for thisexciting year to start. If you have not joinedthe Facebook – Alabama NAfME Collegiatepage, please do so. This page has all sorts ofinteresting information. Please feel free tocontact me with your questions or concerns.

Thank you and I look forward to workingwith you this year!

Thad Walker President- Collegiate DivisionUniversity of [email protected](256)-636-0756

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James Zingara - President, Higher Education Division

Dear HED Colleagues,

I hope that you have had a relaxing summerbreak and are returning to the school year withthe batteries fully charged. I would like to takethis opportunity to thank my HED Divisioncolleagues Dr. Becky Halliday (President-Elect) from the University of Montevallo andMildred Lanier (Secretary – Treasurer) ofJefferson State Community College for theirhard work and contributions over the pastseveral months. During this time, we haveselected sessions for the 2016 AMEAConference (which will be announced in theOctober Ala Breve) as well as enacted a newset of HED By-Laws, which are mainlyconcerned with the officer election process aswell as clarifying the duties of the individualoffices. These by-laws (as well as our division

reports) can be found on the AMEA website:http://www.alabamamea.org/higher_ed/index.htm and will be in effect as we elect thepositions of President-Elect and Secretary-Treasurer in January.

For the 2015 Conference, we added two newevents, namely the HED Panel Discussionand the HED Student Ensemble Showcase.These events generated a lot of positivefeedback and I am happy to announce thatboth sessions will return in 2016. This year’spanel is entitled The Breakdown Between theHigher Ed Classroom and First Year TeacherExperiences and will be concerned with theperceived “knowledge gap” betweengraduating student expectations and actualperformance in initial positions. The idea hereis to establish communication between HigherEducation and fledgling music educators inthe field in order to better prepare studentsfor the challenges that they will face in theirfirst jobs.

The HED Student Ensemble Showcaseprovides an excellent opportunity for collegeand university chamber groups to perform at

the state conference. Last year, the recitalfeatured 60 student performers from 5different universities who performed to over100 people and we hope to reproduce thesuccess of this event again in 2016. If youwould like to have your group perform, please send ane-mail including your proposed program information(title, composer/arranger and movement titles) andpersonnel list to [email protected] by November1st, 2015. Although ensembles from 2015 areencouraged to apply, the emphasis of thisyear’s recital will be to showcase groups thatare new to the event. There will be a smallreception following this year’s recital forfaculty and students.

During this past year, I have had manyopportunities to meet and work with ourHED colleagues from around the state andam looking forward to many more in thiscoming year. Please do not hesitate to writeme if you have any questions or ideasconcerning the future activities of the HigherEd Division. In the meantime, please acceptmy best wishes for a rewarding and successfulschool year!

2016 AMEA In-Service Conference Quick Facts

(The October issue of Ala Breve will provide complete details of the conference, including the schedule, performing groups, clinicians, etc. Thisquick guide is provided in advance for your convenience.)

� Dates: January 21-23, 2016 � Location: Renaissance Montgomery Hotel at the Convention Center and the

Embassy Suites Hotel (across the street)� Special Performance and Clinic by the Boston Brass� Two dynamic keynote speakers - Chris Woodside and Dr. Tim Lautzenheiser� Lobby performance applications are due by October 1. See the AMEA website for the form.

� FAME applications are due by January 8. See the AMEA website for the form.

� Pre-register on-line (www.alabamamea.org) Or, print and mail the pre-registration form on page 33 of this issue.

� Reserve a room at the conference rate: Click on the link on the main page of theAMEA website. Or, call toll free: 800-266-9432 (Renaissance) 334-269-5055 (Embassy Suites)

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Ecclesiastes 7:8 indicates that, “Better is theend of a thing than the beginningthereof…”. I am grateful to begin thesecond half of my term as AVA president.As we begin the school year, we areexperiencing all of the aspects of beginning,middle and end. Pat Blackwell, after servingthe AVA board as the executive secretary forseven years, retired, ending her seven yearterm, giving notice at the beginning of Aprilthat her last day was would be June 30th.Rebekah Stevens of Northport beganworking before her official first day on July1st. This is a one-year interim position andwe will repost the job for applicants inJanuary, 2016. Rebekah also assumed theresponsibilities of webmaster. We encourageyou to be patient as we are dealing with ahuge handicap. Both positions - executivesecretary and webmaster - have a huge workload in the late spring and early part of thesummer. Rebekah is doing - and is going todo - a great job this year. My prediction isthat she will be a great customer service assetto our organization. You certainly will wantto attend the fall workshop and meet her.

Communicating with and within ourorganization is an essential. To moreeffectively communicate and to maintain atrouble free emailing service, we have movedall of our AVA board email accounts toGmail. Now when AVA board membersrotate on and off the board, email addresseswill stay the same even though the peoplechange. The permanent addresses of theAVA Board positions are:

[email protected] - Carl [email protected] - Ginny [email protected] - Jody [email protected] - Jane [email protected] - Rebekah [email protected] - Michelle [email protected] - Hilen [email protected] - Ginny [email protected] - Cathy [email protected] - Meg [email protected] - Jerry [email protected] - Daniel Massey

Each of these new gmail accounts provideseach board member 15 GB of free storageon google drive to maintain AVA documents.This will allow smooth transfer ofdocuments to the next person who takes aboard position. After Fall Workshop, yourAVA board will only use the above addressesfor communication as the @alavocal.orgaddresses will be closed.

Maintaining a current up-to-date database ofour membership facilitates our ability tocommunicate. Last year, I indicated that oneof my goals was to move our organizationinto the 21st century in the areas ofcommunication and registering for events. Ithink that we are on track for both of those.This past year we provided information bywhich you could enter your biographical dataon the AVA website as practice. This year,to be able to register for any AVA event, afterFall Workshop, you will have to have enteredyour contact information on the AVAwebsite. This will be a yearly requirementand will afford us an up-to-date database forcommunication. Visit the AVA website andcomplete the following steps: 1. Visitwww.AlaVocal.org. 2. Click the “DirectorPortal” 3. Enter the Case SensitiveUsername and Password (all lower case)Username: pat Password: blackwell 4.Under the “Membership” Heading, Click the“Member Registration” button. 5. Enter youdata. You will receive an email (at alladdresses provided - home and school)indicating the information submitted. Thisis your proof of registration. This endeavorshould yield our organization a current year-to-year reliable database of information. Ialso project that we will collect registrationinformation for one event this year via ourwebsite. More instruction will come laterconcerning collecting registration data onlineinstead of mailing or faxing paperwork.

The 2015 AVA Fall Workshop will be held atFirst Baptist Church, 305 S Perry St,Montgomery, AL, on Friday, September11th. Again this year the fall workshop is a

one-day event. Dr.Debra Spurgeon willpresent four sessions: 1.Improving the sound ofyour school, community,and church choir:Targeting sopranos andaltos; 2. Tried and trueand overlooked: Recommended onlinerepertoire and resources for the middle andhigh school choir. 3. Arranging your choirfor success: Standing formations, spacing,and recent research on choral acoustics; 4.Reading Session. The twenty titles will bebound in octavo size and are included as partof your registration cost. We will also have 3mini-sessions. These sessions will address:All State Music and Auditions (Carl Davis);Honor Choir and Screening (GinnyColeman) ; Physical Expressivity inPerformance (Dr. Marvin Latimer); If youhave taught one – three years, please registerfor the free New Teacher Luncheon. CathySpence and Dr. Debra Spurgeon will presentsome relevant information at that luncheon.

Remember to join or renew your NAfMEmembership before the fall workshop. I wishyou all the best as you begin your new schoolyear.

Carl Davis- President, Alabama Vocal Association

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Beginning , Middle, End.

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The Process Continues

As educators we never really end a schoolyear and start over as most think we do. Wejust continue, with hopefully a few breaksalong the way, to prepare for what is next.There is always another rehearsal,performance, fund-raiser, booster meeting,trip, or field to line off. I know this is true inthe band director profession. We areresearching MPA performance music whileplanning a marching band show. We arerecruiting for the future as we are preparingfor our final concert of the year. And oneof the things that we do that is mostimpressive is we are helping each other allalong the way. Working each other’s bandcamps, conducting instrument tryouts for acolleague’s next beginner band, visitingrehearsals to assist with contest preparation,sharing advice on music that is advisable ornot so advisable to play. And that’s just thetip of the iceberg.

I see the same dedication and camaraderiefrom band students. If the band room isopen, they will come. It is their“Clubhouse.” Hanging out with fellow bandmembers, meeting after the game at WaffleHouse, throwing a Frisbee during waterbreaks, or crashing the flute section’s poolparty is what keeps them coming back.Observing the friendships that develop, themusical growth, and the personal growth ofour students is what keeps us coming back.It’s going to be another great year of band.

ABA Summer Conference 2015 is in the

books. I am positive that if you attended youwere not disappointed. We had outstandingclinics presented by Keith Anderson, PatStegall, Mark Foster and Sallie Vines White,and Greg Gumina (Southwind DrumCorps). What great attendance we had forthe “Social Hour”/Shrimp Boil --approximately 140 directors and familymembers attended. Having Betty Bates asour featured “Old Fogie” speaker had muchto do with the huge crowd. Betty is anamazing person. Please plan to attend nextyear. I promise that we will be fully preparedfor a large crowd and we will get you fedmore efficiently. Thank you to AWBApparel, Southern Performances, Art’sMusic Shop, Demoulin Uniforms, SoundChoices Recording, Super Holiday Tours,and Mouchette Enterprises for serving assponsors of the “Social Hour.” Hopefully,you and your family also got in some muchneeded beach time as well. We will return toHampton Inn-Orange Beach in June of2016.

I want to thank andcongratulate you onselecting such finerepresentatives fromyour districts toserve on the ABABoard. We had avery productiveboard meeting. It isa privilege to besurrounded bysuch talentedindividuals.

Several committees are working on assignedprojects, such as updating our by-laws,adjudicator certification process, and list ofapproved adjudicators. President-ElectDoug Farris has already proven to be aninvaluable asset to your organization andespecially to me. As outlined in our By-Laws,Doug is Chair of the Music SelectionCommittee. We have representation fromthroughout the state on this committee.They met for several hours and will beadding a number of new compositions to theCumulative List. New music added thissummer will be noted as such on the list.Executive Secretary Harry McAfee receiveda well-deserved positive review from theboard as well. Thanks to Harry for a job welldone.

As a member of AMEA/ABA, you also haveresponsibilities. Return all dues, fees,registrations, and respond to allcorrespondence in a timely manner. Renewyour NAfME membership now if youhave not done so. Please do not wait untilthe AMEA In-Service in January to renew asthis creates delays in the onsite registrationand pre-registration pick-up process. Checkthe AMEA/ABA website regularly. You will

find needed forms, All-State Band auditionrequirements and etudes,Cumulative Music list,ABA Directory, andother useful and neededinformation. Check theabafest.com site weeklyfor announcements andcalendar updates. YourABA state officers anddistrict officers will beusing this site to keepyou informed as well as

have you register for events such as All-Stateand MPA. With the guidance of DavidRaney we are continuing to develop andexpand this site.

We will have three pieces of new legislation(included in this issue) to consider at ourbusiness meeting in January at the AMEAConference. Conference registration and lodgingreservations are available now. Visit theAMEA website to access this information.Pre-register today and save. We have a greatline-up of per-forming ensembles andclinics/sessions representing ABA for thisconference.

Alabama has been well represented for thepast several years at the annual MidwestClinic in Chicago. We have had a bandperform, as well as several of our ABA

Micheal Holmes - President, Alabama Bandmasters Association

Social hour at the ABA Summer Conference

Southwind Clinic at the ABA Summer Conference

Pat Stegall presents a clinic at the ABA Summer Conference

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members present clinics, rehearsal labs, serveon panel discussions, etc. This year the PizitzMiddle School Band, under the direction ofKim Bain and Leah Seng, will perform onWednesday, December 16, 2015, at 10:45 A.M.Please make your reservation for Tuesday, andlet’s have a strong ABA showing in support ofour colleagues and their students.

I wish you success as you continue to inspireyour students to reach the goals that havebeen set. And DON’T FORGET THESUNSCREEN.

Alabama Bandmasters Proposed Legislation 2016-1Submitted by Clay Sloan

Article XVI, Section 2-1

Eliminate the final two sentences that state:

“A band may be allowed to drop a maximumof two classifications and shall have to climbone classification per year until reaching itsregular classification. Requests to reclassifyshould be the exception to the rule.”

Add the following:

Any band that has not received an overallrating of superior in the previous two years

of Music Performance Assessment mayperform in any classification the directorchooses. (High School bands must remain inthe High School classifications). Uponreceiving an overall rating of superior in alower classification, a band will be requiredto climb one classification until reaching theclassification that is dictated by schoolenrollment.

Alabama Bandmasters Proposed Legislation 2016-2Submitted by Mark Foster, Jazz Chair

Jazz Fee Structure

2. Article XIX. Fee ScheduleCurrently reads: All-State Jazz Band audition fee:$15.00 per student$20.00 school fee$40.00 participation fee for students who areselected to participate in one of the All-StateJazz BandsChange this section to read:All-State Jazz Band audition fee:$15.00 per student$20.00 school fee$50.00 participation fee for students who areselected to participate in one of the All-StateJazz Bands

Alabama Bandmasters Proposed Legislation 2016-3Submitted by Dr. Mark Foster

By-laws currently read:Article XVISection 7. State Solo and Ensemble Festivalj. No “approved lists” shall be required.NAFME’s “Ensemble Music for Wind andPercussion Instruments” and the Universityof Texas “Prescribed Music” catalogues maybe helpful in selecting material. It shall bethe responsibility of each director to guidehis performers so that they make wisechoices of literature. Adjudicators will havethe right to lower ratings for poor choices.

Change this to read:j. All performance music for all eventsexcept for jazz ensemble events must beselected from the ABA Solo and EnsembleSuggested Music List. It shall be theresponsibility of each director to guideher/his performers to make wise choices ofliterature. Adjudicators have the right tolower ratings for poor choices of literature.

It is the intent of the author of thislegislation that it take effect during theschool year 2016-2017.

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As the new school year starts, we are allgearing up for the excitement that is sureto come. Here’s a quote to remind us howimportant our profession is.

“The back-to basics curricula, while it hasmerit, ignores the most urgent void in ourpresent system- absence of self-discipline.The arts, inspiring— indeed requiring –self-discipline, may be more basic to ournation’s survival than traditional courses.”Paul Harvey

Wow! How amazing is it to be remindedthat our classes are not just EXTRA, butessential to the survival or our nation. Ihope this year you remember howimportant our roles are as music educators.Be inspired to be the best you can be sothose essential character traits needed tokeep our country great will be instilled inyour students.

As this new school year begins, the AOAexecutive board is busily working to makethis year of festivals and conferencesamazing for our students and teachers. Weare working on All State auditions, nailingdown speakers for our AMEA in-serviceconference, and working out details for thefirst ever AOA Music PerformanceAssessment Festival.

All State Excerpts will be posted on ourwebsite www.alabamaorchestraassociation.orgonAugust 10, 2015. All State Conductors andmusic will be as follows: FestivalOrchestra: Peter Bay will conduct the

Brahms Academic Festival Overture,Nielsen’s 3rd Symphony, Finale, and theAOA composition contest winner’s piece;Sinfonia Orchestra: Dr. David Pope willconduct March Militaire Francaise bySaint-Saens/arr. Isaac, Swan Lake Suite,Op. 20a: No. 1 Scene by Tchaikovsky,Millennium by Meyer, and Pines of Romeby Respighi/arr. Bulla ; Consort StringOrchestra: Kirsten Marshall will conductCoiled! by Lipton, Dance of theHarlequins, by Clark. Agincourt, by Spata,Deep River by Gruselle, and Final Quest,by Chisham. I am very excited about ourlineup of music and conductors for thisyear’s Festival. I can’t wait to see all thestudents again in February and hear theamazing results at the concluding concertfrom your hours and hours of practice.

AOA will have an amazing line up of

speakers at this year’s AMEA in-serviceconference. Mark your calendars forJanuray 21-23, 2016 to make sure you are inattendance. We will be featuring sessionsfrom nationally acclaimed composers SoonHee Newbold and Brian Balmages. Wewill also have sessions from our AlabamaASTA President, Caroline Nordlund andtwo of our college string professors, Dr.Anne Witt and Dr. Daniel Stevens. Someof the session titles include: “TheFrenzied Instrumental Conductor’s Guideto Score Preparation,” “Injury Preventionfor the String Studio,” “Bow Games andTwinkle and Solfege, O My!,” “ClassroomManagement 201,” “ The PublishingProcess,” and “Picking the Perfect Piecefor Your Concert.” In addition to thesewonderful sessions we will have theopportunity to hear the Shoals Symphonyunder the direction of Dr. Daniel Stevensperform. You don’t want to miss thisconference!!!

I am excited to tell you about our newOrchestra Music Performance Festival thatis set to happen on April 22 and 23, 2016.This Festival will be held at AuburnUniversity. All details are still being workedout, but we are excited that this will takeplace this year. Details will be posted onour website as they become available.www.alabamaorchestraassociation.org

I wish everyone an exciting year of musicteaching and performing. I look forwardto seeing you at our upcoming events!

Sarah Schrader - President, Alabama Orchestra Association

Calendar of events:All State Audition excerpts posted online.............................................................August 10, 2015Composition Contest Deadline.........................................................................September 1, 2015All State Audition Registration Deadline........................................................September 28, 2015 Auditions must be completed by..........................................................................October 11, 2015Results Posted online.......................................................................................November 16, 2015 Festival Registration Deadline...........................................................................December 1, 2015All-State Scholarship Application Deadline.......................................................December 1, 2015 All-State Festival...........................................................................................February 11-14, 2016AOA Music Performance Assessment................................................................April 22-23, 2016

The arts, inspiring—indeed requiring – self-discipline, may be morebasic to our nation’s

survival than traditionalcourses.” Paul Harvey

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Tips That Click this month is devoted tohelping supervising teachers plan anddevelop an outstanding internship forstudent teachers. It is crucial that an internhave a successful introduction to theprofession and many positive experiencesduring the practicum will set the tone forthe first few years.

Pat Stegall is presently on the faculty ofthe University of North Alabama, servingas the student teacher supervisor. He wasthe long-time director of the outstandingprogram at Muscle Shoals High School andhas been a state officer in AMEA, ABA,and is the current president of Rho Chapterof Phi Beta Mu.

He has several useful suggestions fordirectors supervising student teachers orinterns. “Everyone likes to have a studentteacher in the fall semester. With themarching band and related activities, thereis always too much to do and extra help isappreciated. In the spring semester, weoften are very protective with time with ourconcert groups as we prepare forperformance assessment. The studentintern still needs to be part of this processand have involvement with the ensemblesto learn and receive feedback. Sending theintern off to remediate students withoutbeing observed does not provide qualityinformation on how to improve instructionand must not be overused. The supervisingteacher must devise a way to employ theintern in the instruction with all groupsfrom the first day so that his/her role willexpand in a logical manner rather than justturning things over to them after theperformance assessment. I also would urgethe director to find a separate work area forthe intern. They will need to have a spaceto work on lesson plans and the manyforms that must be turned in during thisexperience. There are usually a lot of formsand video that must be submitted online aswell, so working in the same area as the

supervising teacher will be awkward andcumbersome for everyone. Finally, I alwaysstress the importance of orienting theintern to the world of the school outsidethe band room. Take the time to introducethem to the administrators and otherteachers and give them the opportunity tosee how the school operates. Much of thesuccess in the first years of teaching will beinfluenced heavily by relationships andactions outside of the walls of the bandroom”.

Elva Kaye Lance has been Director ofBands at Mississippi State University since2002 and is beginning her 25th year with thatinstitution. Before teaching at MSU, shetaught many years in the public school andstill is involved as a university supervisor ofstudent interns. She has some great adviceon how directors can help student interns.“Develop a relationship with the studentteaching intern prior to their arrival: Fallplacement – involve them as a part of thepre school camp. Spring – invite them to aconcert or a football game or just for a visitduring the Fall semester so that they can geta sense of the program. This would also bea good time to ask the intern to completean interest survey – showing their variousinterests and skills —Computer skills, art,recording, guard, writing for percussionensemble, etc. so that you might give themsome special assignment in a particular areaof interest and expertise. This will oftenbring a new dimension to your program.Give them feedback throughout the day –not just when the formal assessment visitsby the university supervisor occur. Have a“what went well this week” discussion everyweek. Offer them information about whyyou handled certain situations the way thatyou did. Ask them what they might dodifferently. (You might learn something.) Make sure that they are attending allafterschool and outside of school functionsthat are “part of the gig” for the other band

staff. A very important thing that I canoffer is to ask the supervising teacher to bepositive about the profession (much easiersome days than others). Don’t allow thestudent teaching intern to be the soundingboard for your accumulated frustrations.”

Rho Chapter of Phi Beta MuInternational Bandmaster Fraternity iscommitted to the improvement ofbands and band instruction in this state.Comments on this column and ideas forfuture columns are welcome! Pleaseemail: [email protected]

Care and Feeding of a Student Intern

Ti p s T h a t C l i c k

Phi Beta Mu

Here are some examples:

Rehearsals

Teaching Tips Featured on NAfME’s

My Music Class!

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I hope this message finds every one wellafter a restful summer. I begin my two yeartenure as the President of theElementary/General Division, and I lookforward to serving you. I also welcome PhilWilson to our Elementary Executive Boardas President-Elect as well as Ben andKristina Sisco as our Music FestivalDirectors.

Our 10th Annual Elementary Music Festivalis coming up on Friday, October 9th, 2015at Samford University. We have over 45schools committed to participate totalingabout 450 4th & 5th grade students from allover the state. We will have Tiffany Englishand Andrea Coleman as clinicians, and we

thank Dr. Moya Nordlund from SamfordUniversity for partnering with us andhosting the festival at Samford.

The following day from 9:00 AM until 3:00PM (Saturday, October 10th), we will have ajoint AMEA/AOSA teacher workshopwith Tiffany English as our presenter at alocal elementary school in the Birminghamarea. We will email registration informationonce it is available. If you are not receivingemails from the Elementary Division,please send us an email [email protected] and we willgladly add you to our email list.

Finally, our AMEA Annual In-service willbe Jan 21st-23rd, 2016 at the RenaissanceHotel & Conference Center inMontgomery, Alabama. We are excited tohave some outstanding clinicians andexhibitors this year. First, we will haveDenise Gagne from Theme & Variationswith us on Thursday afternoon and Fridaymorning. She will also do a fun evening

session on Folk Dancing that Thursdaynight. We will also have Roger Sams fromMusic is Elementary who will present allthree days and will have a Friday night funsession. Both of these clinicians will alsohave booths in the exhibit hall. This willgive us two additional elementary musicexhibitors which is something many of youhave requested. We also will have twoelementary performances in the concerthall along with other sessions of interest toour elementary music teachers. I am veryexcited about the 2016 In-service andencourage everyone to attend! Please besure to pre-register and book your hotelrooms at the special conference rate! Youcan find links to do both online atwww.alabamamea.org.

I am honored to serve ourelementary/general division as President,and I look forward to seeing you at one ormore of our upcoming events!

Cliff Huckabee - President, Elementary/General Division

1946 Yale H. Ellis

1948 Walter A. Mason

1950 Vernon Skoog

1952 John J. Hoover

1954 Lamar Triplett

1956 Carleton K. Butler

1958 Mort Glosser

1960 Wilbur Hinton

1962 Lacey Powell, Jr.

1964 G. Truman Welch

1966 Jerry Countryman

1968 Floyd C. McClure

1970 Jerry Bobo

1972 Frances P. Moss

1974 George Hammett

1975 Frances P. Moss

1976 S. J. Allen

1978 W. Frank McArthur, Jr.

1980 Paul Hall

1982 Lacey Powell, Jr.

1984 Johnny Jacobs

1986 Merilyn Jones

1988 Ronald D. Hooten

1990 Ken Williams

1992 Dianne Johnson

1994 James K. Simpson

1996 Johnnie Vinson

1998 Michael Meeks

2000 John McAphee, Jr.

2002 Tony Pike

2004 Becky Rodgers

2006 John Baker

2008 Pat Stegall

2010 Steve McLendon

2012 Sara Womack

2014 Carl Hancock

AMEA Presidents - Past to Present

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It is not too early to be thinking about ourAMEA Conference in January, 2016. Justremember, you must join NAfME, andyou should pre-register if possible. Ahealthy organization is always concernedwith growth and development, and theAMEA board is interested in growing ourorganization, and for getting all musicteachers in Alabama involved inprofessional development through AMEAand NAfME. You can help increase ourmembership by communicating thebenefits of membership to our colleagues.When you are joining or renewing yourmembership, think of those music teachersin your area that may not be activemembers, and send them a messageinviting them to join! You could send anemail with their contact information to meat [email protected] and I will invitethem!

Remember to: Remind your colleaguesto join, include the new music teachers,invite the inactive music teachers and beinvolved as a mentor to the young musicteachers

Renew your membership now atwww.nafme.org . Membership in NAfMEis required for participation in state MEAsponsored events like the AMEAConference, the ElementaryDivision Fall Conference, All-state and Musical PerformanceAssessments.

Joining NAfME secures yourmembership in AMEA and inyour division.

Register now for the 2016AMEA conference online at

www.alabamamea.org.You will find it is easyand will save you timeand money. Reunitewith friends andcolleagues from all overthe state in January.Rejuvenate your energy and renew yourenthusiasm for the rest of the school year!

Campus Connections...News and Happenings from Alabama’s Colleges and Universities

As a new school year begins, we are gratefulto AMEA for providing this opportunity toshare information with our music colleaguesand music students across the state.

Alabama Intercollegiate Band

The 2015 Alabama Intercollegiate Band per-formed on January 23rd at the AlabamaMusic Educators Association In-serviceConference in Montgomery. The AlabamaIntercollegiate Band was designed by Ala-bama college/university band directors to bea collaborative, educational experience. Tenschools participated in the ensemble con-ducted by Col. John Bourgeois, DirectorEmeritus of the United States Marine Band.

The John M. Long School of Music –Troy University

First Place Award

Carol Anne Osborne, a senior music major

at Troy University, won first place at the Na-tional Association for Teachers of SingingCompetition in Greensboro, North Carolinain July 2015. Carol Anne is a vocal studentof Dr. Christi Amonson, Assistant Professorof Voice at Troy University.

Percussive Arts SocietyEnsemble Showcase

The Troy University Percussion Ensemblewon the 2015 Percussive Arts Society Inter-national Percussion Ensemble Competition,and will perform a 50-minute showcase con-cert at the Percussive Arts Society Interna-tional Convention in San Antonio, Texas inNovember. The Troy University PercussionEnsemble won the same competition in2012. The percussion ensemble is under thedirection of Dr. Adam Blackstock, AssociateProfessor of Percussion at Troy University.

Up-coming Annual Events:

Southeastern United States MiddleSchool Band Clinic – Dec. 3-5, 2015.

Contact Dr. Mark Walker

Southeastern United States Choral Clinic– Jan. 15-16, 2016.

Contact Dr. Diane Orlofsky

Southeastern United States HS HonorBand/Conductors Clinic – Feb. 4-6, 2016.

Contact Dr. Carla Gallahan

Guitar Festival – Feb. 19, 2016.Contact Dr. Robert Gibson

Vocal Jazz Festival –Mar. 16-17, 2016.Contact Dr. Diane Orlofsky

Clarinet Day – Apr. 2, 2016.Contact Dr. Tim Phillips

Additional information about the John M.Long School of Music may be found atmusic.troy.edu We invite you to visit us on-line or in person soon.

Colleges and universities are encouraged to submit newsworthy material and announcements for publication in Ala Breve

Pat Stegall, AMEA Treasurer/Registrar

Remind your colleagues to join,include the newmusic teachers,invite the inactivemusic teachersand be involved as amentor to the

youngmusic teachers

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ALL-STATE JAZZ BANDGreetings! I hope everyone had a relaxingsummer and a great start to the school year.In addition to marching band, fall is the timeto help your students prepare for the all-statejazz band auditions. Please check the ABAwebsite for audition requirements andregistration information. Students have toperform a recorded audition on CD, whichconsists of two jazz standards (including someimprovisation), an etude, and several scales.Students should be able to improvise with justa few scales, so please don’t let your studentsget intimidated by the improv component. Wewill have 3 high school bands again this year(Gold, Silver, and Bronze) and 1 middleschool band. We had 177 students audition forthe bands last year, and I would like to see thisnumber grow substantially this year. Pleaseencourage your students to audition for theband. ——Remember to allow enough preparationtime to get recordings completed and mailedby November 6, 2015.

ALL-STATE JAZZ CLINICIANSI am excited to report that we have fouroutstanding clinicians for the 2016 all-statejazz bands.

Mr. Mike Steinel will be directing the gold jazzband. Mr. Steinel is an associate professor ofjazz studies at the University of North Texaswhere he teaches jazz improvisation and jazztrumpet. He is the author of the EssentialElements Jazz Ensemble Method, which isused as a resource by jazz bands fromthroughout the United States. He holdsdegrees from Emporia State University andthe University of North Texas.

Dr. Chip Crotts will be directing the silver jazzband. Dr. Crotts, a world-class jazz trumpetplayer, is the director of jazz studies at theGeorgia Institute of Technology in Atlanta,Georgia where he directs the jazz ensembleand assists with the marching band. He hasworked with numerous groups (includingseveral top 12 drum and bugle corps) andprofessional musicians throughout his career.Dr. Crotts holds degrees from East CarolinaUniversity, Penn State University and adoctorate from the University of Texas atAustin.

Mr. Bryan Hooten will be directing the bronzejazz band. Mr. Hooten, a graduate of VestaviaHills High School in Birmingham, is directorof bands at Collegiate High School inRichmond, Virginia. Previously on the faculty

of Virginia Commonwealth University, BryanHooten taught the Jazz Ensemble II, jazztrombone, and theory. Mr. Hooten is amember of the nationally acclaimed group,No BS Brass Band, and he maintains an activeschedule as a professional trombonist inRichmond, Virginia. He holds degrees fromthe University of Southern Mississippi andVirginia Commonwealth University.

Mr. David Allinder will be directing themiddle school jazz band. Mr. Allinder is theband director at Shades Valley High School inBirmingham where his symphonic, marching,and jazz bands have received statewide andnational acclaim. Mr. Allinder was previouslythe band director at Gresham Middle Schoolin Birmingham where he had a tremendouslysuccessful program. He is an active bass playerthroughout the Birmingham area. He holds abachelors and masters degree from theUniversity of Alabama.

All four of these clinicians are truly top-notchjazz educators, and I am confident they willprovide an excellent experience for yourstudents.

Please feel free to contact me if I can be ofassistance to you in any way with your jazzprograms, and I hope you will encourage yourstudents to audition for the all-state jazzensembles. I wish everyone a great schoolyear.

Mark Foster, Jazz Chair

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The Dreaded Question“Are we playing today?” asked a tromboneplayer as he entered the band room. “Whatdo you mean?” answered the band director,“Yes—we are doing what we do everyday,we’re playing.” “Oh, boo”, the studentresponded, “I thought maybe we could takea break and watch a movie. It’s Friday andwe always used to watch movies on Friday’swhen Mr. (fill in the blank) was here…”“Ugh”, thought the teacher, “here we goagain.” This exchange is likely familiar tomany music teachers. It is not that watchingthe occasional movie is bad; it is that weoften do not have enough time as it is toteach all of the standards and curriculumthat are required during the time we havewith the students. Also, we want them towant to play or sing everyday, right?

A director who recently changed schoolstold me he had a goal to get his students tothe point where they were disappointedwhen they had to watch a movie. He wasnew to the school and wanted to know howhe would be able to change the thinking ofthe students—thinking and behavior thathad been passed on from class to class foryears. I told him that he likely would haveto begin the long and arduous process ofchanging the culture of his program. Iexplained that to do so would requirepatience from both him and his students,and be done in small, yet powerful steps.

CultureOne of the definitions of culture is “thebeliefs, customs, arts, etc., of a particular society,group, place, or time; a particular society that has itsown beliefs, ways of life, art, etc.; a way ofthinking, behaving, or working that exists in aplace or organization” (Merriam WebsterOnline, 2015). Establishing a strong culturein any program, band, chorus, orchestra, orgeneral music, makes it easier for everyoneinvolved to know and understandexpectations. Teachers may have to askthemselves, are the ways that we do thingsin this program helping or hurting oursuccess? We sometimes unknowingly and

blindly teach without a vision of success forour students (or us.) Bob Duke, Professorof Music at the University of Texas atAustin, states that we are to have a vision ofour students as successful, accomplishedlearners. I would add that we should alsohave a vision of ourselves as successful,accomplished teachers. This vision can alsoinclude the culture of our program.

Before one can establish a culture, it is best toidentify what the vision actually is for theprogram. It is at this point when decisionscan be made about the habits likely enablingthe maladaptive behavior(s). When all ofthe behaviors are corrected and yourpositive culture is in place, what does it looklike? Does your new culture include a lot ofparent support? Does it include a lot ofperformances? Having a firm idea of theend result is your vision of your new andimproved culture.

As far as behaviors are concerned, you willhave to determine what it is you want tochange. Do you want your students to enterthe room in a certain way? Do you haveguidelines for who is and is not allowed inthe music room? Do you want yourstudents to think of the music room as asacred place that is a safe haven for themthroughout the school day and beyond?

Teachers often tell me that they want theirstudents to have fun and enjoy theexperience in their classroom. I think itwould be difficult to find anyone whodisagrees. However, what exactly does thatmean? Does it mean that your studentsenjoy the your class because they are notbeing corrected for their academic or socialbehavior? Or are they enjoying theexperience because they are thrilled that theone musical passage you have all beenworking on finally came togetherbeautifully? Which enjoyment do you wantthem to have? This is why identifyingcurrent behaviors is so important. Definingwhat fun and enjoyment is in yourclassroom is part of how you change the

culture. This is different for everybodywhich is why it is important to thinkthrough what you really want for yourprogram.Having a routine helps to form a culture.Routine often involves having consistentclassroom activities, consistent classroommanagement principles, and teachingstudents respect for not just the physicalenvironment but for the program as awhole. It is a constellation of consistentbehaviors that interact together to create theculture.

A culture of any program is about just that:the entire program. Not just the marchingband, or the top show choir, but about allof the ensembles. It is likely that inprograms that have a strong sense ofculture, a high percentage of the studentsand parents, not just the teacher, havestrong allegiances and loyalty toward havingsuccess. Perhaps we have heard all toooften: “We had a great choral program formany years…then she left…” It has to beabout everyone involved in the program forthe culture shift to happen and besuccessful.

Change is Difficult, But a Few SelectedStudents Can HelpA mentor once told me that changing theculture of any organization is like turning aship in a harbor. It takes time, tenacity, anda lot of patience. It also takes teamwork.Changing the thinking and behavior of justone person is often difficult, but having todo so with groups of students is verychallenging for one person alone. A teachertrying to do so may be better served byhaving a smaller subset of that group tohelp in the process.

Older students mentoring younger studentshelp the culture cause tremendously. If ateacher has trained student helpers in howto act and how to mentor other students,mentoring can be a powerful tool inachieving a positive culture. Mentors can bethere to show that, yes, everyone practices;

This is How We Do it Here: Establishing a Positive, Successful Culture in Your Music Program

Editor’s Note: This article appears as one of a series written especially for Ala Breve by experts in the field of music education.

by DaLaine Chapman

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yes, everyone obeys the rules; yes, everyonenot only gets to rehearsal, but also arriveson time; and yes, we have fun, but we havefun doing the right things. The studentsrespect each other for their similarities anddifferences. Older students show youngerones how to act by modeling the expectedbehavior. Often, when younger students seean audience react positively to a well-donemusical performance by the older students,the culture of the program starts to change.Former students have told me that theywere glad they had older students to lookup to and help navigate their first year in theprogram—they acknowledged that therewas a certain comfort in knowing someonewas looking out for them.

RespectThe endgame of course is gaining respectfor the program, and not just fromadministration, parents, and the generalpublic, but also from the studentsthemselves. Students who are proud of theirmusic programs typically are a part ofprograms of excellence. They practice, theywork hard, and they reap the benefits of thehard work by becoming excellent musicians.They are proud to wear the jacket associatedwith the ensemble, and they are happy tohave a room on campus where they can goto just ‘hang out.’

I am sure many who are reading this wouldagree that when we walk into music roomswe have developed a sense of knowingquite quickly the culture of the program.There are often students in the room beforeand after school. Are the students respectfuland helpful? Are they nice to each other?Do they adhere to the guidelines of theschool?

Students have to have a healthy respect forthe room in which they are making music. Itdoes not matter if it is the band room, choirroom, or general music classroom. Studentscan be taught how to respect theirenvironment. How do they treat thephysical room? Is there trash on the floor?Are there instrument parts lying around?Are choral risers unhooked from oneanother and spread around the room? Arethere stacks of books and papers on thepiano? Are there broken music stands

everywhere? You might say, well, perhapsthat is the job of the parent to instill suchvalues in their own children. Yes, but…wehave all had students who act much better inour music room than they do in their ownhome, or in other teachers’ classrooms. It isno secret that we are often mother, father,sister, or brother to our students, teachingthem not only music, but also how tobehave in a public place.

Finally, there has to be a strong respect forthe music itself: for rehearsing it, forunderstanding it, and for performing it.After all, producing an exquisite soundinggroup with your students is likely a largepart of why you were hired. It would beequally terrific if the students were wellmannered and respectful as well as goodmusicians. Ultimately, the probability is highthat the culture will change in the rightdirection if it is about the music.Incidentally, the music portion of thisarticle was not placed near the end to signifyits place in a successful culture. Remember,all of these points interact with one anotheron a daily basis toward a successful culturein any program.

You have the good fortune to establish theculture of your choice. So, look around. Areyou happy with the culture of yourprogram? Is it self-sustaining where you donot have to tell students every Friday that“yes, we are playing today”? If so, thencongratulations! I am sure you enjoy goingto school and reaping the rewards of your

patience and hard work. If not, you are inthe perfect position to make lasting changesthat will benefit both you and your students.

Culture. [Def. 5]. (n.d.) In Merriam-Webster.com.Retrieved January 3, 2015, fromhttp://www.merriam-webster.com/dictionary/culture

DaLaine Chapmanis currently anAssistant Professorof Music Educationat Florida AtlanticUniversity in BocaRaton. Her researchinterests includemusic teacherevaluation andassessment as well asthe supervision of student teachers. Dr. Chapmanis an active conductor/clinician who has presentedat numerous clinics and conferences nationwide.Her professional affiliations include FloridaMusic Educators Association, FloridaBandmasters Association, Texas MusicEducators Association, and the NationalAssociation for Music Education. She is also amember, by invitation, of the Omega chapter ofPhi Beta Mu, the prestigious International BandFraternity. She holds Bachelors and MastersDegrees from The Florida State University and aPh.D. from The University of Texas at Austin.

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As the beginning of the school yearexcitement starts to fade, band directors andtheir students across the country findthemselves surrounded in routines. Routinesfor entering and exiting the classroom, settingup and tearing down instruments, andrestroom and other administrative proceduresto name a few. Some directors also choose toestablish rehearsal routines such as deliveringannouncements either at the beginning or endof class, tuning to the oboe or clarinet, havinga student conductor lead warm up exercises,or choosing to warm up together, individually,or both. While establishing and maintainingroutines are excellent practice for student andband success (Juchniewicz, Kelly, & Acklin,2014), predictability in musical routines maycause students not to put concentrated effortsto play at their best, or simply go through themotions. As a result, when students are notputting forth maximum effort, bad habits ofpoor posture, weak air stream, or general poortechnique start to form. Merely going through themotions can be detrimental to the music makingand learning process. Band directors now findthemselves searching for motivationalstrategies for the students to play wellconsistently instead of focusing oninstructional strategies that impact the musicmaking and learning process.

Some band directors also fall into a routinethat can be unfavorable to the band’s success.Regardless of the level, hearing routine bandsounds become problematic for teacherdevelopment. When band directors struggleto get students out of routine playing habits,at times they may settle for the present sound.Being trapped with the same sounds can causeteachers to overlook original expectations andthe countless instructional techniques to drawthose sounds out from their students. Thefollowing strategies are for band directors tomaintain routines while varying activitieswithin musical routines for ideal outcomes.

1. Long TonesAs teachers, we already know the wonderfulmusical development long tones provide suchas building tone quality, endurance, awarenessof pitch, and much more (Juchniewicz, Kelly,& Acklin, 2014). When students are playingtheir daily long tones, be sure to emphasizefundamental technique between each breath.For example, if the students are sustaining 12

beats each chromatic tone with mm = 60,place four beats of rest between eachsemitone to ensure quality breaths and mostimportantly, provide meaningful feedbackduring the rest time. Reminders could beanything from better posture, deeper breaths,faster air stream, embouchure adjustments, ortapping their toe to the tempo. Routinemusical exercises, such as long tones or scales,are typical activities where students tend to gothrough the motions. Teachers can capitalize oninstruction during these routines and reinforcethe importance of the activities by being fullyinvolved. The active feedback provided doesnot always have to be verbal. As the teacher,conduct the students through long tones.Emphasize technique and air speed throughconducting gestures. This way the studentscan focus solely on tone production and youcan work on maintaining their focus througha vocabulary of conducting gestures. Beingactively present in daily musical routines holdsyour students to the higher expectations youcreate with consistency.

2. AirA large number of bands that I have workedwith or adjudicated still show fundamentalproblems of tone production but tend tofocus solely on the music being performed.Often students go through the motions in termsof focusing on tone quality the moment musicis placed in front of them. In addition,directors may also feel pressures of upcomingperformances or assessments that they toonegate foundations in lieu of focusing onnotes and rhythms found in the music.Remember, your job is to teach music to bandstudents, not teach the band music tostudents. Reinforce foundations of air duringrehearsal to vary rehearsal routines. Producingcharacteristic tone quality on bandinstruments comes first and students needreminders and activities to produce great tonequality. It does not matter how wonderful thepiece if the sounds producing the music arenot quality. Avoid allowing the students gothrough the motions when it comes to productionof air.

3. Rehearsal If you find yourself rehearsing the samesection of music with the same unpreparedstudents repeatedly, you and your students areprobably frustrated with the predictable

routine of the rehearsal. The bigger problemis that students tend to shift their attention toanything but playing with great fundamentaltechnique and go through the motions duringrehearsal. Vary rehearsal activities. Involve allstudents in learning the troubled musicalsections.

Tonal. For musical problems dealing withnote accuracy or intonation, create activitiesin which all students sing the troubledsections. Uniform singing builds confidencein the weaker musicians, allows moreopportunity for repetition with a differentapproach. Involve all students — which keepsthem involved in the learning process andavoids potential behavioral problems, and isideal for strengthening awareness of pitch(Worthy & Thompson, 2009). For thestudents without the music in front of them,either transpose a section or have the studentslearn to play the problematic section by ear(Musco, 2010). For the struggling students,vary the routine by first singing the problemsection, then sing while fingering through thesection, and finally play through the section.Many students and teachers skip the middlestep of singing while fingering through thesection, which ultimately connects the physicalwith the aural skills.

Another idea that is helpful with learning andperfecting tonal passages is altering therhythms before returning to the original. Forexample, if there are multiple sixteenth notepassages that are problematic for yourstudents, isolate five successive sixteenth notesand change the rhythm so that studentsrehearse two notes as sixteenth notes and therest as eighth notes (see figure 1). By alteringthe rhythm, students are able to isolate thedifficult connections without becoming boredby repetition. Varying the activities will helpbreak the rehearsal routine while helping thestudents improve fundamental music skillsthat go beyond the music.

Rhythm & Articulation.When students arehaving problems understanding particularrhythms, verbalizing the rhythms is a commonstrategy. Similar to singing tonal musicpatterns, chanting rhythmic patterns aloudhelps weaker musicians learn from others,builds confidence, and is a way to keep allstudents involved. However, if the same

Battling Going Through The Motions during Band RehearsalsEditor’s Note: This article appears as one of a series written especially for Ala Breve by experts in the field of music education.

By Susana M. Lalama

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students continue to struggle with the samerhythms, perhaps varying the activity may dothe trick. Have students create words toparticular rhythms to help retain the patterns.This way, each student can contribute andavoids going through the motions in a countingsystem in which they are struggling tounderstand. Of course, do not forget to countor chant with the metronome. Students oftenomit this important step of counting orchanting the rhythmic patterns to a steadypulse which explains their struggle inunderstanding the placement of rhythms.

For passages in which students struggle witharticulation, either style or speed, have thestudents sing. If they can verbalize it, they willbe able to articulate it. Many successful banddirectors use this technique but it only worksif the fundamental skills are present (even insinging). Emphasize energy in air speed whenthe students are singing through rhythmicpatterns and styles. Students frequently forgetto use fast air stream when they are focusedon an articulated problem. Regardless whetherband students intentionally go through themotions or not, band students need constantreminders to perform with the qualityfundamental technique to ensure strong andconsistent musical outcomes.

Figure 1

4. MusicalityEvery phrase in music must have a shape. Ifthe musical performance does not havedirection or shape, musicality is lost. I havewitnessed countless band students play notesand rhythms well but lack musicality. Studentshave a difficult time creating shapes and endup performing just the notes and rhythms.Perhaps this happens because the studentslearn the piece without musicality in mind.Teachers must help their students in thelearning process by insisting and reinforcing

the foundations of good musicianship.Teaching tonality and structure from thebeginning will help students understand howto create shapes. If students learn that everyphrase must be shaped from the moment theystart playing their instruments perhaps astronger foundation will be built.

Another way to build musicality for yourstudents is to make your conductingconsistently expressive. If your conductingappears to the students as going through themotions, the students will do the same in theirpractice and performance. Practice and adjustto refine your conducting technique. Studentattention to the conductor will improve ifthere are a variety of gestures. Record yourselfduring rehearsal and turn down the volume tosee the effectiveness of your conductinggestures. Perhaps you may find you have alimited vocabulary, not enough emphasis onstyle, or just bad habits. You will improve as aconductor, musician, and teacher, and yourstudents will improve as musicians individuallyand as an ensemble.

5. Practice While all of these above strategies may seemobvious to the skilled musician, students needvarying activities with plenty of reminders toavoid playing through the motions. The mostchallenging part is setting up the band

students for home learning success.Ideally, individual studio lessonswould help instrumentalists withfundamental problems, but not allstudents come from families thathave the means (or interest) to investin private lessons. Home learningpractice habits need to be taught in amanner where students can have avariety of routine activities forefficient home learning. Moststudents (when they practice) eitherplay through the music continuouslyor only play the portions they enjoy

(i.e. the part they can play well and that is funfor them) which is not the most efficient useof home learning time. Create a checklist ofactivities with specifics of what to listen forduring student home practice. For example,routine long tones and scales can have dailyvariations on duration lengths and patterns.When it comes to portions of the music beingrehearsed, isolate a particular section and givespecific instruction on how to practice athome...and put it in writing! Students will nottake practicing at home seriously unless theband director takes it seriously. Be consistentin assigning home learning assignments and

holding the students accountable forperformance improvements based on thechecklists. The moment band directorsassume students understand how to practice,frustration and disappointment are soon tofollow.

ConclusionRoutines are wonderful for band students butonly if the efforts delivered within the routineactivity does not affect the integrity of themusic performance skills. Students havetendencies to forget fundamental techniquewhen distracted or bored of repetition; hencego through the motions. Keep the studentsinvolved by reinforcing fundamentaltechnique through all portions of rehearsal,including home learning. Whether thestudents are practicing their instrumentsindividually or in a group setting, create avariety of meaningful activities where you canprovide feedback for student growth. Goingthrough the motions is not acceptable practice forplaying in band, so insist on avoiding it byreinforcing high musical expectationsthroughout the year.

ReferencesJuchniewicz, J., Kelly, S. N., & Acklin, A. I. (2014).Rehearsal characteristics of “superior” band directors.UPDATE: Applications of Research in Music Education, 32, 2,35-43. 1177/8755123314521221

Musco, A. M. (2010). Playing by ear: Is expert opinionsupported by research? Bulletin of the Council for Research inMusic Education, 184, (49-64).www.jstor.org.marie.converse.edu/stable/27861482

Worthy, M. D. & Thompson, B. L. (2009). Observationand analysis of expert teaching in beginning band. Bulletinof the Council for Research in Music Education, 180, 29-41.www.jstor.org.marie.converse.edu/stable/40319318

Susana M. Lalama isAssistant Professor of MusicEducation and conductor ofthe wind ensemble at ConverseCollege in Spartanburg, SouthCarolina. She is an activeband clinician, adjudicator,consultant, and musiceducation researcher.

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A l a b ama B andmas t e r s A s s o c i a t i o nAMEA In-Service Conference/All-State Jazz Band

January 21-23, 2016 - Renaissance Montgomery Hotel at the Convention CenterAll-State Solo Festival

April 13, 2016 - University of South Alabama

All-State Band Festival April 14-16, 2016 - Mobile Convention Center

Summer In-Service ConferenceJune 22-23, 2016 - Hampton Inn and Suites, Orange Beach

AMEADivision Events2015 - 2016


District I District Fall Meeting August 24, 2015 James Clemens HSAll-State Band Auditions January 29-30, 2016 Sparkman HSDistrict Honor Band February 12-13, 2016 Austin HSState MPA I March 8-9, 2016 Huntsville HSState MPA II March 10-11, 2016 James Clemens HSSolo and Ensemble Festival April 2, 2016 Priceville HSSolo and Ensemble Festival May 7, 2016 Liberty MS

District II District Fall Meeting August 25, 2015 Gadsden City HSAll-State Band Auditions January 16, 2016 Albertville HSState MPA February 24-26, 2016 Gadsden City HSDistrict Honor Band March 11-12, 2016 Albertville HSSolo and Ensemble Festival April 18, 2016 Southside HSSolo and Ensemble Festival May 2, 2016 Oxford HS

District III District Fall Meeting August 15, 2015 Smith LakeAll-State Band Auditions January 30, 2016 Muscle Shoals HSDistrict Honor Band February 19-20, 2016 Wallace State Community CollegeState MPA March 1-3, 2016/March 12, 2016 UNA/Muscle Shoals High SchoolSolo and Ensemble Festival May 7, 2016 UNA

District IV District Fall Meeting September 21, 2015 TBAAll-State Band Auditions January 30, 2016 TBADistrict Honor Band February 26-27, 2016 Homewood HSState MPA (High School) March 8-10, 2016 Hewitt-Trussville HSState MPA (Middle School) March 15-17, 2016 Homewood HSDistrict Honor Band February 26-27, 2016 Homewood HSSolo and Ensemble Festival April 19, 2016 Homewood MSSolo and Ensemble Festival May 7, 2016 Bumpus MSDistrict Spring Meeting May 23, 2016 TBA

District V District Fall Meeting August 24, 2015 Private Residence, email for detailsAll-State Band Auditions January 30, 2016 Tuscaloosa County HSDistrict Honor Band February 19-20, 2016 University of West AlabamaDistrict Spring Meeting February 20, 2016 Private ResidenceState MPA February 25-26, 2016 University of Alabama School of MusicSolo and Ensemble Festival March 15, 2016 Prattville JHSSolo and Ensemble Festival April 21, 2016 Tuscaloosa County HS

District VI All-State Band Unassigned Auditions January 30, 2016 St. James SchoolAll-State Band Auditions January 30, 2016 Opelika MSDistrict Honor Band February 19-20, 2016 Auburn HSState MPA March 8, 2016 First Baptist Church MontgomeryState MPA March 9-10, 2016 Opelika HSSolo and Ensemble Festival April 28, 2016 Auburn JHS

District VII District Fall Meeting August 24, 2015 Murphy HSAll-State Band Auditions January 16, 2016 Davidson HSState MPA March 9-11, 2016 Baker HSSolo and Ensemble Festival April 30, 2016 Fairhope HSSolo and Ensemble Festival May 7, 2016 Faith AcademyDistrict Spring Meeting May 9, 2016 Daphne HS

District VIII District Fall Meeting August 17, 2015 TBAAll-State Band Auditions January 9, 2016 Troy Elementary SchoolState MPA March 8- 11, 2016 Enterprise HSDistrict Honor Band March 12-13, 2016 Enterprise HSDistrict Spring Meeting March 13, 2016 Enterprise HSSolo and Ensemble Festival May 7, 2016 Troy Elementary SchoolSolo and Ensemble Festival May 14, 2016 Excel HS

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A l a b ama V o c a l A s s o c i a t i o n

E l emen t a r y / G ene r a l D i v i s i o nOctober 9, 2015: AMEA Elementary Music Festival, Samford University

Tiffany English and Andrea Coleman; Featured CliniciansOctober 10, 2015: AMEA/ AOSA Fall Joint Workshop, location TBA

Tiffany English, workshop clinicianNovember 11-14, 2015: AOSA Professional Development Conference, San Diego, CA

January 21-23, 2016: AMEA In-Service Conference; Montgomery, AL

All State Audition excerpts posted online.............August 10, 2015 Composition Contest Deadline..........................September 1, 2015All State Audition Registration Deadline.........September 28, 2015 Auditions must be completed by..........................October 11, 2015Results Posted online.......................................November 16, 2015

Festival Registration Deadline............................December 1, 2015All-State Scholarship Application Deadline.......December 1, 2015 All-State Festival...........................................February 11-14, 2016AOA Music Performance Assessment................April 22-23, 2016

A l a b ama O r c h e s t r a A s s o c i a t i o n

AMEA C o l l e g i a t e D i v i s i o nSeptember 27 - Collegiate Summit - Location TBA

JanuJanuary 21 - 23, 2016 AMEA Conference, Renaissance Montgomery Hotel and Convention Center

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Fall Workshop: September 11, 2015, Montgomery, 1st Baptist Church, Advance Registration deadline: September 4 Board meeting @ FBC: September 10 6:00 p.m.

All-State Auditions Event Date Area Location Registration Date Absolute Deadline/payment dueAll-Districts Friday, 11/13 Cullman St. Bernard Prep October 2 October16All-Districts Saturday, 11/14 Cullman St. Bernard Prep October 2 October 16All-Districts Sunday, 11/15 Florence Florence HS October 2 October 16All-Districts Monday, 11/16 Gadsden Gadsden City HS October 2 October 16All-Districts Tuesday, 11/17 Gadsden Gadsden City HS October 2 October 16All-Districts Wednesday,11/18 Montgomery FBC October 2 October 16All-Districts Thursday, 11/19 Montgomery FBC October 2 October 16All Districts Friday, 11/20 Mobile Spring Hill Baptist October 2 October 16Honor Choir Screening Event Date Location Reg. Date Absolute deadline/payment dueDistrict I October 29 Austin High School October 1 October 15District II October 27 Tuscaloosa County HS September 29 October 13District III November 2 Gardendale HS October 5 October 19District IV November 2 Alexandrea HS October 5 October 19District V November 17 James Clemens HS October 20 November 3District VI October 28 Montgomery Academy September 30 October 14District VII October 29 UMS-Wright October 1 October 15OCS/OA/ME Event Date Location Reg. Date Absolute deadline/payment dueDistrict I November 5 Florence HS October 8 October 27District II November 10 Tuscaloosa County HS October 13 October 27District III October 19 Gardendale HS September 21 October 5District IV November 5 Alexandria HS October 8 October 22District V November 3 Randolph School October 6 October 20District VI November 4 Tallassee HS October 7 October 21District VII November 9 U of South AL October 12 October 26SCPA Event Date Location Reg. Date Absolute deadline/payment dueDistrict I February 23 1st Baptist/Decatur January 26 February 9

February 24 UNA January 26 February 9District II March 30 -31 Moody Music Bldg March 2 March 16District III March 21- 23 Gardendale-Mt. Vernon UMC February 22 March 2District IV April 7 Gadsden City HS March 10 March 24District V April 4 – 5 Columbia HS March 7 March 21District VI March 18 1st Baptist Tallassee February 19 March 4District VII March 15 U of South AL February 16 March 1S/E Event Date Location Reg. Date Absolute deadline/payment dueDistrict I April 7 UNA March 10 March 24District II March 30 – 31 Moody Music Bldg (with SCPA) March 2 March 16District III April 9 Gardendale HS March 12 March 26District IV February 25 Jacksonville State U January 28 February 11District V February 8 – 9 Willowbrook Baptist January 11 January 25District VI March 18 1st Baptist Tallassee February 19 March 4District VII Fall - October 22 U of South AL September 17 October 1

Spring – March 15 U of South AL February 16 March 1State Events Event Date Location Registraton Due Absolute deadline/check dueAll-State Show Choir Auditions October 16, 17, 2015 Gardendale-Mt. Vernon UMC October 2, 2015 October 9, 2015All-State Show Choir Festival January 20 – 23, 2016 AMEA Montgomery December 9, 2015 December 23, 2015Honor Choir Festival January 21-22,2016 AMEA Montgomery December 9, 2015 December 23, 2015All-State Auditions November 13-20, 2015 Various locations throughout state October 2, 2015 October 16, 2015All-State Festival March 2 – 5, 2016 Samford University January 20, 2016 February 3, 2016

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Why I Want to be a Music Teacher

Editor’s Note: AMEA recently awarded the FAME (Future Alabama Music Educator) Scholarship to Morgan Green, a 2015 graduate of Hillcrest High School.Scholarship recipients must have attended the FAME program and plan to major in music education at an Alabama university.

Immense relief washed over me as the bellrang, signaling the end of first period. Thatmorning had been a mess. From the stress ofbeing late to the fear of failing my math testbecause I did not understand the material, Iwas not having a great day. I knew that if Icould persevere until the beginning of mysecond period choir class, I would be okay.Throughout my three years at Hillcrest MiddleSchool, the choir room remained my safeplace. My warm, enthusiastic, talented teachernot only taught me a great deal about music,but she taught me about life through music.Her example has not only convinced me thatmusic education is valuable to every student,but it has also inspired me to pursue a careerin music education.

As a recent high school graduate, there aremany things about life that I have yet to learn,but one thing I am certain of is that theimpact of a strong music education isimmeasurable. An example of this impact inmy own life occurred when I was in the thirdgrade and was assigned the lead role in a localchildren’s theatre production. Simultaneously,my mother became very ill and washospitalized for a few months. I chose tocontinue rehearsing for the show. While thesupport I received from friends and familywas vital during that time, the escape I had inportraying the character was my greatesttherapy. When I went to rehearsal, I was ableto become this character and forget about thedifficulties of my own life. Through the songsI sang and the words I spoke onstage, I couldexpress the emotions of my character, andultimately the deepest emotions of myself ina safe, appropriate manner. I am so thankfulfor the music educators and directors whoprovided me with that opportunity, and I wantto follow in their footsteps. Likewise, I amsure that many other young students goingthrough difficult experiences can benefit fromthe positive relief that music provides.

In recent years, music has continued to be awonderful outlet through which I can expressmyself, but in some cases, music itself haspresented me with challenges. During my

junior year of high school, I enrolled in acollege-level Music Theory course. It is themost difficult class I have ever attended.Despite the frustrations and struggles, themore I learned of the mechanics of music, themore I understood why I love music so much,and my appreciated for the arts increased. Atthe end of the year, I earned a passing scoreon the Advanced Placement Music TheoryExam. This experience gave me theconfidence to face new challenges and thecertainty that I can excel as a music educationstudent at The University of Mobile.

When I ask myself why I aspire to teachmusic, I have several reasons. First, music hasalways been a part of me: utilizing my voicein song is the best way I know to expressmyself. Although I gain a thrill fromperforming, I long to make a lasting impactby teaching young hearts to perform andexpress life with their own unique voices.Additionally, I have seen that life can bedifficult at times, and no one is immune tohardship. One of the best ways I know tocope with problems, to healthfully conveyone’s emotions, and to escape the concerns ofeveryday life is through song. Every studentshould have the opportunity to realize thiswonderful ability he or she possesses tohandle adversity. Another beautiful, importantaspect of music education is its potential tobroaden our perspectives about other cultures,history, and the ever-changing world aroundus.

This past school year I had the opportunity tovisit an elementary school several times a weekto learn from a general music teacher. (Aninteresting side note is that this impressiveteacher is the same one who made suchprofound impact on me as my middle schoolchoir director!) One of the lessons I waspermitted to help my mentor teach was aboutthe life and culture surrounding LouisArmstrong’s release of “What a WonderfulWorld.” We discussed the artist’s decision tocelebrate all that is good in the world, despitethe wrongs he suffered. I thoroughly enjoyedcontemplating each phrase of the song and

encouraging the students to embrace itsmeaning as they performed. In the sameconcert, this fourth grade class performed amusical about the development of ournation’s Constitution. Their teachers andparents were thrilled to see these children gainan unusual excitement about history as theyembodied the lesson in a musical way. Onestudent, an intelligent boy who has autism,played the role of George Washington withpassion that would bring tears to your eyes. Inthis musical, he discovered a venue of creativeexpression in which he excels. Another younggirl had a positive experience when I noticedher creating some movement to one of thechoir songs. Her face lit up as we adapted hercreativity to be included in that song. Many ofthe children had speaking parts or vocal solos,and we emphasized to them that each studenthad a special, important role to play in thisconcert. There are countless other examplesof how this one production benefitted eachstudent, sometimes in similar ways andsometimes in very unique ways. I believe thatthis experience, if only for a moment, openedtheir minds a little, educated them about animportant time in American history, andbrought them joy. It thrills my heart to thinkthat this was the effect of only one concert inone elementary school. Imagine the massiveeffect of successful music educatorseverywhere! This experience assured me onceagain of the importance of music for everychild, and I am motivated not only to teachmusic, but also to advocate for music as a vitalpart of education, because it is a vital part oflife.

I want every child to learn about music, learnabout life through music, and love music. Thereality is that I alone will never be able to reachevery child with music that offers happinessand hope. However, as I make my career inmusic education, I hope to someday be onedrop in the ocean of impactful musiceducators who change lives every day.

by Morgan Green, FAME Scholarship Recipient

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It is my honor to serve as AMEA ChoralMusic Reviewer for the Ala Breve. It is myhope that there will be “something foreveryone” in this column and that together,we will explore the incredible richness ofchoral literature that offers many teachingmoments and programming options.

Siúil a RúinMichael McGlynn (1964—)Text: English and GaelicMixed Voice Choir, a cappella; mezzo-soprano soloPublisher: www.michaelmcglynn.com

Michael McGlynn, the Artistic Director ofANUNA, offers a wide range of choralsettings (many have been performed over theyears by ANUNA) on his website and Siúil aRúin is one such example. It is one of themost widely known folk songs in the Irishrepertoire. The text dates back to the GloriousRevolution (1688) and the war betweenEngland, Ireland, and Scotland. Irish menenlisted to overthrow the rule of the Britishover Ireland and were called “Wild Geese.”This folk song, in particular, is a lament for alover who has joined the Wild Geese. In thisarrangement, the choir creates a melancholyatmosphere while the soloist(s) sing(s) thetraditional melody. Michael shared some ofhis thoughts with me in a recent conversation:“Our culture in its indigenous form has nopolyphony, only the melodic line and I try notto alter the melodic line at all…the priority isthe transmission of the text… Siúil is such anappealing story, like many of the songs I setfrom the tradition. I aim to carry the storyforward to a new generation…”

Each verse (sung by the soloist) is in English,but the refrain (harmonized by the choir)always appears in Gaelic. The Gaelic titleliterally translates to “go/walk, my love.”Michael sets the piece in 12/8 (dotted quarter= 105), which helps to propel the lyric melodyand text stress. Sample pdfs and an audioperformance of this piece are available on hiswebsite in addition to the IPA and audiopronunciation. This piece would serve as avery accessible introduction to traditional Irishmusic and will leave both your choir andaudience wanting more!

Siúil, Siúil, Siúil a Rúin.Siúil go sochair agus siúil go ciúinSiúil go doras agus ealái liom

Go, go, go my love

Go quietly and go peacefullyGo to the door and fly with me

If you are looking to program a uniquepairing, combining Siúil a Rúin with theParker/Shaw arrangement of Johnny has Gonefor a Soldier works well (Alfred). Similarlyconstructed (soprano solo, SATB), Johnny HasGone for a Soldier is most likely an Americanadaptation of Siúil a Rúin. The text is knownby other names (Buttermilk Hill and ShuleAgra), and each one has slight text variations.This American adaptation became popularduring the American Revolutionary War andfeatures a woman’s lament for a soldier goingoff to war.

The Nightingale (the first of Two ColonialFolksongs) arr. Dan ForrestSATB, with piano four-hands and optional violinHinshaw Music

I was pleased to see Dan Forrest’s TheNightingale in a reading packet at the AL-ACDA summer conference. Nightingale is anAmerican folk song that, like many, is a variantof a European folk song. This piece is aderivative of the English song “the BoldGrenadier”. The haunting tune, based on thepentatonic scale, can be found in Sharp andKarpeles’ “80 Appalachian Folks Songs” andthe text dates back to 17th century England.This particular arrangement wascommissioned by the Williamsburg ChoralGuild and is part of an on-going project ofForrest to set pieces from every region of theUnited States. The lilting folk - tune is passedbetween women and men as the story is toldabout young love and the imminent departureof a soldier to war. The harmonically –richclimax (“the tune that he played caused thevalleys to ring…”) is guaranteed to movesinger and audience alike. Nightingale is rich inprogramming possibilities and serves tointroduce students to an example of ourcountry’s rich folk tradition.

Batter My Heart, Three-Personed GodRichard NanceText - Holy Sonnet 14, John Donne (1572-1631) SATB, a cappellaColla Voce Music (Series Editor, Jo-MichaelScheibe)

When I heard this piece performed at theNational ACDA Conference, Salt Lake City(February 2015) the very first phrase (“Battermy Heart, Three-Personed God”) quite

literally took my breath away. Richard Nancehas taken a provocative and personal textfrom John Donne and masterfully set it, givingcareful attention to its power while exploringthe imagery.

The early years of John Donne (like St.Augustine) were filled with wine, women anddebauchery; his subsequent journey ofrepentance and regeneration led him tobecome a cleric and metaphysical poet in hislater years. According to Frederick Rut, thepoet Donne explored themes of mortality,divine judgment, divine love, penance, andpersonal anxieties. Here Donne shows the“paradox of regeneration, asking God tobatter his heart in order to mend it”(Entangled Voices: Genre and the ReligiousConstruction of the Self, Oxford UniversityPress, p. 41).

The plea to “batter my heart, three-personedGod” is set with alternating meters, both atthe beginning and when this plea returns atthe end of the song. I appreciate Nance’s carewith setting the evocative text and his musicalreflection of Donne’s inner turmoil and regretthrough both key changes (five total for thepiece), dynamic and textural shifts, and well-placed but sparing use of split voicing(SSATTBB). I particularly think Nance’s useof rests (after words like “knock”, “breathe”,“break”, “blow” is another tool to get thelistener to pay attention to the power of theregenerative journey and his alternationbetween homophony (such as in the “divorceme” and “ravish me” sections) and the lineartreatment of the plea “take me to You,imprison me” is terrific word paintingtreatment. This piece would work well for anyadvanced choir (originally commissioned bythe Coral Gables Congregational ChurchChancel Choir and Dr. Schiebe).

Dr. Diane Orlofsky isProfessor of Music andDirector of Choirs atTroy University, whereshe oversees the choralprogram and teachesundergraduate andgraduate classes inmusic education. She isthe conductor of theTroy UniversityConcert Chorale andthe Director of the Troy University vocal jazzensemble, frequency.

Choral Reviews Dr. Diane Orlofsky

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AMEA Industry/Institutional Membership

Art’s Music Shop, Inc.3030 East Blvd.

Montgomery, AL 36116www.artsmusicshop.com

Eastman Music Company2158 Pamona BlvdPomona, CA 91768www.eastmanmusiccompany.com

Group Travel Network, Inc.410 N. Dillard St.- Suite 104Winter Garden, FL 34787

www.grouptravelnetwork.com

Huntingdon College Bands1500 E. Fairview Ave.Montgomery, AL 36106www.huntingdon.edu/bands

John M. LongSchool of Music

Troy, AL 36082www.music.troy.edu

J W Pepper & Son9053 Riverside ParkwayLithia Springs, GA 30122www.jwpepper.com

Madison Band Supply1604 Hughes Rd Suite B

Madison, AL 35758

Marchmaster, Inc.P.O. Box 73379Newnan, GA 30271www.marchmaster.com

OrlandoFest7081 Grand National Drive, Suite

111Orlando, FL 32819

www.orlandofest.com

QuaverMusic.com1706 Grand AvenueNashville, TN 37212www.quavermusic.com

Sunburst Indian River Citrus4960 Meadow Brook RdBirmingham, AL 35242www.sunburstplus.com.

Super Holiday Tours116 Gatlin Ave.Orlando, FL 32806www.superholiday.com

The University of Alabama Bands

211 Moody Music Build-ing

Tuscaloosa, AL 35487www.bands.ua.edu

Thomas Tours, Inc.2405 12th Ave. SouthNashville, TN 37204www.thomastoursinc.com

UAH Department of Music301 Sparkman DriveHuntsville, AL 35899www.uah.edu/music

University of Alabama School of MusicBox 870368Tuscaloosa, AL 35487www.music.ua.edu

UNA Department of Music & TheatreUNA Box 5040

Florence, AL 35632-0001www.una.edu/music-theatre

University of South AlabamaLPAC 1072, 5751 USA Drive, SMobile, AL 36688www.southalabama.edu/music

AMEA recently launched an Industry/Institutional membership drive and would like to express appreciation to the following partnerswho have joined AMEA in our efforts to promote music education in Alabama. Please support these industry/institutional members whosupport you as music educators!

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Although we in music teacher education workdiligently to prepare young music educatorsduring their preservice education, we mustalso recognize that “most of the learning toteach music occurs in the first years” (Conway,2010, p. 268). During this time, many youngmusic educators seek the advice of mentors.These mentoring relationships are sometimesformal, such as school district or statesponsored programs that pair entry-levelmusic educators with more experiencedteachers. Other mentoring relationships areinformal and include more spontaneousmeetings like those with a colleague at aconference or convention. No matter whattype of relationship, mentors can have asubstantial influence on young music teacherswho value mentor’s insights and expertise(Conway, 2010).

Research suggests, however, that all mentoringis not created equal (Drafall, 1991; Glickman,1985; Glickman, Gordan & Ross-Gordon,1995). Before providing feedback or advice,effective mentors consider the developmentallevel of the educator they are intending tohelp. These mentors use this information to‘package’ the feedback they are providing inways that will be understood by the mentee.This research suggests when mentors fail tomatch their supervisory approach with ateacher’s developmental level, intended help isoften misunderstood and/or ignored.

Music Teacher DevelopmentA number of approaches have been used toinvestigate teacher development. However, a‘teacher concerns’ model (Fuller & Bown,1975) has attracted significant attention inrecent music education research on thissubject (Killian, Dye & Wayman, 2013; Miksza& Berg, 2013; Powell, 2014). This modelsuggests that development is reflected byshifts in teacher concerns. These concerns aredefined by the elements that garner a teacher’sprimary attention or their most pressingpsychological need at any given moment.Fuller and Bown classified these concerns intothree levels of teacher development, a) self-or survival concerns, b) teaching or taskconcerns, and c) student-learning or student-impact concerns. While Fuller and Bown

provide clear definitions and lists ofcharacteristics for each level, they alsorecognize teachers will most often shareconcerns on multiple levels. They additionallynote context can have significant impact onteachers’ concerns. In a new context orsetting, young teachers tend to revert to taskconcerns or self-concerns even if they werepreviously operating at student-learningconcerns levels in more familiar contexts. Itis, therefore, the preponderance of concernsshared by the teacher that will help mentorsfocus their feedback.

Self-concerns are characterized by a teacher’sneed to establish his or her sense of self as ateacher rather than a student. These teachersoften have concerns about personal adequacyor being ‘cut out’ to teach. They are easilyinfluenced by their perceptions of studentacceptance and external evaluationsconcerning their teaching performance.When talking with teachers operating at thisdevelopmental level, their comments oftenbegin with “I.” Common statements mightinclude, “I hope the students like me” or “Idon’t want to be the mean teacher.”

Those functioning at a task concerns levelfocus on mastery of teaching techniques andthe day-to-day work of teaching. These musiceducators are most concerned with issues likeplanning lessons or rehearsals, masteringmaterials, and applying teaching strategies.These teachers will share thoughts like, “I amconcerned that I talk too much in rehearsal”or “I need to know more about grade 2repertoire.” These teachers are often verylesson plan oriented. If their plan containsseveral steps of instruction, they will followthose steps without regard to student needs.The goal is to present or teach the plan.

Music educators who are primarily concernedwith student learning will share comments andquestions like, “I am having trouble balancingindividual student needs within myclassroom”, or “How do I help my moreadvanced performers stay engaged while Iprovide more remedial instruction to thestudents who need it?” These teachers aremost concerned with student achievement,

student engagement, motivation for learning,and the personal well-being of their students.One will find these teachers ‘come off theirplans’ when it is necessary to meet the needsof the students in the classroom. While theydo not lose sight of desired learningoutcomes, they are willing to arrive at thoseoutcomes in various ways and will allow thelearner to at least partially define the meansand methods to get there.

Developmental SupervisionGlickman (1985) developed a supervisorymodel that accounts for teacher development.The goal of this model is to match thesupervisory approach with the teacherdevelopmental level so the mentored teacherboth understands the information beingprovided and uses the information to furtherhis or her development. Glickman’s modelwas intended to facilitate in-service teacherdevelopment, but Drafall (1991) successfullyapplied the model to facilitate pre-servicemusic teacher development as well.Glickman’s model places supervisorybehaviors in three categories, a) directivebehaviors, b) collaborative behaviors, and c)non-directive behaviors.

Using directive supervisory behaviors, thementor will choose the goals for the teacherand direct the teacher to implement specificactions. The mentor may ask for and considerteacher feedback but remains the source ofinformation while offering alternatives fromwhich the teacher may choose a course ofaction. This supervisory approach isappropriate to use when time is short andconcrete actions need to be taken or when theteacher lacks needed knowledge, skills, orexperience necessary to affect change. To beeffective, the teacher must view the mentor asa credible source and the mentor must bewilling to take responsibility for the actions ofthe teacher. This suggests that effectivementors who find a directive approachnecessary develop relationships with thosethey supervise. They work with these teachersover time and provide additional feedbackwhen needed.

Mentors who choose to use a collaborative

When Helping Hurts: Developmentally Appropriate Teacher MentoringEditor’s Note: This article appears as one of a series written especially for Ala Breve by experts in the field of music education.

By Michael A. Raiber, PHD

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approach may do so for several reasons. Theymay determine the teacher being advised isfunctioning at a moderate level. The teacherdemonstrates the ability to make effectivedecisions, but may not have the confidence toimplement actions with authority.Additionally or alternatively, the mentor maydetermine the teacher’s knowledge base issimilar to his or her own and both mentor andteacher are invested in the decision beingconsidered. Often, when a collaborativeapproach is used, both the mentor and theteacher are equally committed to solving theproblem. A collaborative approach requiresthe mentor and teacher openly discusspossible solutions and reach an agreed-upondecision regarding how to improve instructionthat is genuinely acceptable with both parties.As a result the teacher is affirmed in his or herideas about teaching.

When an effective mentor determines theteacher is functioning at a high level andpossesses most of the knowledge andexpertise necessary to be effective, he or shewill often choose to use a non-directivesupervisory approach. In doing so the mentorwill start by asking open-ended questions toguide the teacher’s thinking, but decision-making and implementation remains the soleresponsibility of the teacher. The mentor willnot interject ideas, but only clarify thethoughts or ideas provided by the teacher.The goal of this approach is to assist theeducator in thinking through alternatives thathelp the teacher reach his or her ownconclusions.

Developmentally Appropriate MentoringMatching a teacher’s developmental level(Fuller & Bown, 1975) with a specificsupervisory approach (Glickman, 1985) islikely to provide the most effective mentoringoutcomes for all involved. This suggests adirective approach would be most effective forteachers operating at a self-concerns level. Atthis point, mentor feedback should not onlyprovide solutions to immediate issues, but alsohelp direct the teacher’s concerns away fromself and more toward teaching. As teachingconcerns become the educator’s primaryfocus, mentoring should change to a morecollaborative approach. As the mentor andteacher work together to find answers to theissues at hand, effective mentors steerconversations away from teaching concernsand focus on student learning. In effect,

mentors model this concern for the teacher.As the teacher’s concerns become centered onstudent learning, the effective mentor movesto a non-directive approach, coaching theteacher as he or she makes decisions forthemselves. In general, as teachers becomeincreasingly aware of their impact, they areprovided greater autonomy.

A note of caution is necessary at this point,because the process outlined above appears tosuggest that effective mentoring is verysystematic with teachers consistently movingfrom one concerns level to the next. Fullerand Bown note, however, that teacherdevelopment is not linear, but fluid, as teacherconcerns tend to revolve rather than evolvedepending upon context. Therefore, thementoring approach must be fluid as well.Even if the mentoring approach has beennon-directive, it is not uncommon to find itnecessary to provide a directive approachwhen teachers are in new environments orhave new information to apply to theirteaching. Additionally, a teacher may be atdifferent stages of development in differentenvironments. For example, a young banddirector’s concerns may be focused on studentlearning in the concert ensemble, but due tolack of experience, he or she is self-concernedwhen working with a jazz ensemble. Effectivementors will match their supervisoryapproach to the developmental leveldemonstrated by the teacher at any given time.Mentors have had and will continue to have atremendous effect on young music educators.When mentors effectively assess a teacher’sdevelopmental level and match theirsupervisory approach to that assessment, theyare likely to find their feedback and advice tobe increasingly effective. The outcome willbenefit many, but most importantly, studentsin music classrooms will be the primarybeneficiaries of effective teacher mentoring.

References

Conway, C. (2010). Issues facing musicteacher education in the 21st century:Developing leaders in the field. InH. S. Abeles & L. A. Custodero(Eds.), Critical issues in music education:Contemporary theory and practice, (pp.259-275). New York: OxfordUniversity Press.

Drafall, I. E. (1991). The use of developmental

clinical supervision with student teachers insecondary choral music: Two case studies.Available from ProQuestDissertations and Theses database.(UMI No. 9210787)

Fuller, F. F. & Bown, O. H. (1975). Becominga teacher. In K. Ryan (Ed.), Teachereducation 74th yearbook of the NationalSociety for the Study of Education, partII (pp. 25-52). Chicago: Universityof Chicago Press.

Glickman, C. D. (1985). Supervision ofinstruction: A developmental approach.Boston: Allyn & Bacon.

Glickman, C. D., Gordon, S. P. & Ross-Gordon, J. M. (1995). Supervision ofinstruction: A developmental approach (3rded.). Boston: Allyn & Bacon.

Killian, J. N., Dye, K. G. & Wayman, J. B.(2013). Music student teachers: Pre-student teaching concerns andpost-student teaching perceptionsover a 5-year period. Journal ofResearch in Music Education, 61(1), 63-69.

Miksza, P. & Berg, M. (2013). A longitudinalstudy of preservice music teacherdevelopment: Application andadvancement of the Fuller andBown teacher concerns model.Journal of Research in Music Education,61(1), 44-62.

Powell, S. (2014). Examining preservice musicteacher concerns in peer and fieldteaching settings. Journal of Researchin Music Education, 61(4), 361-378

Dr. Michael Raiberis a Professor ofMusic and holds theBusey Chair inMusic Education atOklahoma CityUniversity. .

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FAMEFuture Alabama Music Educators

Open to High School Juniors and Seniors

Thursday, January 21, 2016 9:00 A.M. - 4:00 P.M.Renaissance Montgomery Hotel at the Convention Center

Application and $20 registration fee are due postmarked no later than January 8, 2016

Student_____________________________________________________________ Grade ____________________

Nominating Teacher ____________________________________________ NAfME # _________________________

School Name ____________________________________________________________________________________

School Address __________________________________________________________________________________

Teacher Phone ________________________________ Teacher Email ______________________________________

This student participates in (circle all that apply): Band Chorus Orchestra

The FAME program includes many important topics for students considering a career as a music educator.This year’s program features Dr. Tim Lautzenheiser and a performance by the Boston Brass.

NEW! AMEA provides a $1000 scholarship opportunity to a FAME participant who plans to major in musiceducation at an Alabama college or university. Visit www.alabamamea.org for details.

Lunch will be provided by AMEA

Mail this application, along with the $20 registration fee, to:

Sara Womack, AMEA Past President2130 Banberry DriveHoover, AL 35244

Postmark Deadline: January 8, 2016

_________________________________________ ________________________________________________Signature of Student Signature of Parent if Student is under 18

Publicity WaiverI give AMEA permission to take photos of FAME attendees and use thephotos for publicity purposes. By this authorization, I understand andagree that no participant shall receive remuneration and that all rights,

title and interest to the photos and use of them belongs to AMEA.

Enclose $20 Registration FeeMake checks payable to AMEA

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PRSRT STDUS POSTAGE

PAIDDothan, AL 36303Permit No. 623

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