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CMEA NEWS
CONNECTICUT MUSIC EDUCATORS ASSOCIATION
All-State 2014
volume LXV, number 4 • www.cmea.org
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CMEA NEWS
Volume LXV, Number 4
CONNECTICUT MUSIC EDUCATORS ASSOCIATION
www.cmea.org
INSIDE THIS ISSUE
President’s Report
by Stephanie Zak................................... 3
Assessing Creativity: A Subjective Dilemma
by Kim Yannon.................................... 12
CNAfME State Council
by Sarah Petersen.................................. 5
Berklee World Strings
by Joan Winters.................................. 14
Student Affairs Commission
by Ned Smith........................................ 7
Listen and Learn: The Key to Effective
Secondary General Music Instruction
by George Ober and Joe Pergola.............. 16
2014-15 Student Event Dates.............................. 7
Southern Region Report
by Theresa Voss..................................... 8
If We Build It They Will Come: Using Music
Technology to Reach “The Other 80%”
by David Brian Williams and Rick Dammers... 18
Elementary Honors Choir
by Nicole Lucas..................................... 9
2014-15 Committee Meeting Calendar................. 20
Brian Balmages Workshop.................................. 9
Cover Photo by Howard Rockwin
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CMEA awards four grants annually of up
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Details and applications are available on the
web site www.cmea.org under Professional
Development.
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October 8, 2014 Fall/Winter Workshops
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CMEA News, Summer 2014
President’s Report
by Stephanie Zak, CMEA President, Music Instructor, Meriden Public Schools
•
•
•
W
elcome To June!!!! As you read
this, many students are currently
finishing SBAC exams or preparing for
their spring performances. Educators – if
you are like me, the countdown to summer
vacation has already commenced. We
have been very busy at the CMEA office
these days, trying to wrap up business
and finalize budgets before the end of the
school year.
I would personally like to thank the
educators who attended the April In-service
Conference and the All State students. This
year was unique, hosting conference at The
Crowne Plaza and All State Festival at the
Bushnell Theater. I would like to personally
thank those directly involved with the
organizational side of the weekend:
• Kim Yannon:
CMEA Conference Chair
• Barbara Skrebutenas:
CMEA Executive Director
• Ray Sinclair and Andrew Potts:
CMEA All State Chairs
• All State Chaperones and
Chairpersons,
All State Ensemble Chairpersons
All State Conductors
The Crowne Plaza Staff
The Bushnell Staff
In my previous article I had failed to
mention that we have a new addition to
the Executive Board, Mr. David Pelletier.
David will be serving as Advocacy Chair,
replacing Barbara Skrebutenas. He
will be involved in organizing advocacy
events (such as Arts Slam), arranging
meetings with legislators at the state and
federal levels, and providing up to date
information to the membership regarding
the status of music education. For those
who do not know David, he is currently the
Maloney High School Vocal Educator and
Drama Director in Meriden, Connecticut.
Please join me in welcoming him aboard!
Some disheartening news – Ned
Smith, our Student Affairs Chairperson
will be stepping down as of June 30, 2014
to begin his Master’s Degree. His hard
work and dedication to our organization
will be missed, but he has assured me that
he will not “disappear into the sunset”.
His plan is to stay on as our CT Fest guru!
Two topics that we will be discussing
at our June Leadership meeting is the
website and Collegiate Chapter By-Laws. I
will also be hosting a luncheon for all of the
chair positions at the region and All State
Level. Ned Smith will be unveiling the
new and improved CMEA Student Affairs
Commission Guidebook. The guidebook
will clearly define roles and policies on the
Student Affairs side.
Other positions that are vacant:
CMEA Editor and CMEA Membership
Chair (a shared position). If you are
interested in either of these positions,
please contact me as soon as possible. A
Constant Contact message will be sent to
all members with additional information
in the weeks to follow.
This year Western and Eastern Region
will be voting on their new Region
Director. Instead of paper ballots, the
Executive Board approved the method of
online voting – a Constant contact message
will be sent to the Eastern and Western
region members where they will have to
click on their specified link in order to vote.
Let me stress that this is a pilot procedure
this year - It is our hope to use this method
in future CMEA voting opportunities.
In addition to the successful CMEA
Elementary Honors Chorus, I am thrilled
to announce an addition to our family-the
CMEA Elementary Honors Orchestra. In
March 2014, the Community School for
the Arts (UCONN), under the direction
of Kevin and Holly Bishop, gathered 50+
elementary string students for a rehearsal
and afternoon concert at Trinity Episcopal
Church in Hartford, CT. The overall talent
of the group blew me away!!!! My daughter
was one of the participants and still talks
about the unique orchestra experience to
this day. After listening to the rehearsal, I
knew my next step was to ask both directors
if they would join our CMEA family.
They both agreed and are in the process
of planning for next year’s concert at the
2015 Connecticut In-service Conference
April 30th-May2nd.
As of right now, the CMEA News is
mailed to every member 4 times a year.
Starting in September 2014, you will
receive two magazines (September and
Conference book) and the other two will
be available online at cmea.org.
The NAfME Eastern Division
Conference is currently accepting proposals
for sessions and performing ensembles. For
more information please visit www.bocj.
org. Applications are due June 6, 2014.
If anyone has any pictures they can
share from region festivals OR All State,
please forward them to me. I hope
everyone has a relaxing and restful summer!
CMEA News, Summer 2014
3
SUMMERTERM 2014
SESSION 1 JUNE 30 – JULY 4
INSTRUMENTAL
Baroque and Before—
Teaching Early Music for Strings
Emlyn Ngai
Teaching Beginning Strings & Band
Matt Aubin
Enhance your Teaching through
Keyboard Harmony
Pete Woodard
Exploring Jazz Improvisation
Kris Allen
ALL DISCIPLINES AND LEVELS
An Introduction to Orff
Penny Mahoney NEW!
TECHNOLOGY
Teaching Composition to Middle and
High School Students
Ken Steen
VOCAL
Inspiring Good Vocal Technique
Cherie Caluda
SESSION 3 JULY 14 – JULY 18
INSTRUMENTAL
Concert Percussion
Ben Toth
Folk Instrument Performance
Jeff Rhone
Piano Tuning I & II
Ken Lawhorn
ALL DISCIPLINES AND LEVELS
Blending Pedagogy: Incorporating General
Music Methods in Children’s Choir
Vanessa Bond NEW!
TECHNOLOGY
Pro Tools I
Gabe Herman
SESSION 5 JULY 28 – AUGUST 1
CONDUCTING
Instrumental Conducting Clinic:
Glen Adsit and Edward Cumming
INSTRUMENTAL
World Percussion and Drum Set Survey
for Music Educators
Ben Toth
Woodwind Refresher
Dan Higgins
ALL DISCIPLINES AND LEVELS
Body Mapping for Music Education
Kay Hooper
Folk Dance Around the World
Lillie Feierabend
Guitar for the Classroom Teacher
Chris Ladd NEW!
SESSION 4 JULY 21 – JULY 25
CONDUCTING /COMPOSITION
SESSION 4 & 5 JULY 21 – AUGUST 1
Learn to Teach Composition and Refine Your
Conducting Through Graphic Notation Soundscapes THE HARTT CHORAL CONDUCTING INSTITUTE
Ed Bolkovac and Stuart Younse
Glen Adsit and Michael Colgrass
THE HARTT KODÁLY CERTIFICATION PROGRAM
INSTRUMENTAL
John Feierabend, Jeff Rhone,
Band Instrument Maintenance for Wind Educators
SESSION 2 JULY 7 – JULY 11
Ed Bolkovac, Gabor Viragh
Glen Grigel
INSTRUMENTAL
THE FEIERABEND ASSOCIATION
Percussion Know-How for Music Educators
Hartt Guitar Festival:
FOR MUSIC EDUCATION (FAME)
Ben Toth
Christopher Ladd, Richard Provost,
First Steps in Music®
ALL DISCIPLINES AND LEVELS
Jason Vieux
John Feierabend
Gordon’s Music Learning Theory
Brass Refreshe
Conversational Solfege™ Beginning:
Clark Saunders and Ken Trapp
Matthew Aubin
John Feierabend
Music and Movement: Partners in Education
Rhythmic Workout for Music Educators
Conversational Solfege™ Advanced:
Lillie Feierabend and Patti Mascetti
Rogério Boccato
John Feierabend
Special Learners in the Music Classroom
School String Fleet Maintenance
Heather Wagner
for the String Educator
TECHNOLOGY
The Hartt School Summerterm is recognized
Glen Grigel
Finale and SmartBoard:
as one of the finest summer programs in the
TECHNOLOGY
Partners in a 21st C. Music Classroom
country. Hartt’s nationally and internationally
Introduction to Music Recording
Ken Steen and Miriam Schreiber NEW!
Justin Kurtz
acclaimed faculty provides students with a
VOCAL/CHORAL
ALL-DISCIPLINES AND LEVELS
diverse and innovative curriculum.
Jump Start Your Choir
Connections, Creativity, and Expressiveness
Edward Bolkovac and Stuart Younse
through Music
Summers-only Master of Music Education/
Janet Barrett NEW!
Graduate Professional Development Credits
Rich Traditions and New Creations:
Earn your MMusEd over the Summer! Hartt’s 37 – 42 credit graduate Music Education
Dance, Song, Storytelling and Literature
program can be completed in three summers with emphases in Kodály, Pedagogy,
in the Music Classroom
Choral or Instrumental Conducting. Flexible course requirements to meet your
Peter and Mary Alice Amidon
professional development needs and goals.
Hartt Summerterm Office | The Hartt School | University of Hartford | 200 Bloomfield Avenue | West Hartford, CT 06117
Dee Hansen, Director | 860.768.4128 | dehansen@hartford.edu
4
CMEA News, Summer 2014
www.hartford.edu/hartt/summerterm
CNAfME State Council
by Sarah Petersen
Our next event this spring was the
conducting masterclass. In addition
to the instrumental portion, this year
a choral session was added. While the
masterclass was on the smaller side as
far as participants are concerned, it was
a wonderful experience for all involved.
As this event occurs over the next few
years, we as a council would love to see
the participation growing year after year!
T
he Collegiate Council has had a
wonderful spring! We held two
wonderful events and we are preparing
for some wonderful changes and updates
to the structure of the council.
In February, the Collegiate Council
hosted a benefit concert for “Horns for
Kids,” a Connecticut organization that
provides instruments to school districts
in need. We had groups representing
Central Connecticut State University,
Western Connecticut State University and
the University of Connecticut. This year,
we were thrilled to raise over $250 for
Horns for Kids. We are looking forward
to continuing this annual concert for years
to come.
Wesley, Jennifer, Mary and Sarah
Conducting at the band session of the masterclass
Part of the new changes the council
has discussed is in the structure of the
organization. Our current Vice President,
Wesley Marchena, has stepped into the
position of President next fall semester
(succeeded by our current Activities
Chair, Mary Gorry, in the spring of
2015). Inspired by collegiate councils for
music education across the United States,
Wesley created by-laws for our council. To
introduce these new changes and ideas,
including a new name for the Collegiate
Council, Wesley would like to share the
following:
“After four years of being active, the
Connecticut Collegiate Music Educators
council will be changing much more than
just its name. We have found ourselves in a
time of a great transition. A transition that
will help the council develop firmer roots
to achieve even greater heights. The word
“growth”, in most occasions, is associated
with reaching outwards or expanding like
a tree or even a child. The CCME council
has taken a different approach on how we
are to grow. We have found that growth
comes from within. Having written a fresh,
ambitious constitution, we are looking
forward to strengthening the council
itself. With new positions available on the
executive council, the inclusion of NAfME
collegiate chapter presidents to the board,
and the addition of an advisory group, the
bonds between us collegiate’s will surely
establish a strong foundation with which
to build something tremendous upon. It
is a great privilege to be the next acting
president of the CCME council and I look
forward towards guiding this aspiration to
fruition.”
At the time of writing this article, the
council is still searching for students to fill
positions on the board, and we are excited
to introduce those new board members to
you in the fall. Wesley Marchena, Mary
Gorry and Jennifer Allin will all return
to the board and I will graduate into the
position of Immediate Past President, an
advisor to the council.
We would be remiss to write this
closing article for the year without
thanking Stephanie Zak and the
CMEA News, Summer 2014
5
rest of CMEA. Their support of the next
generation of music educators is incredible
and we appreciate all that they have done
to include collegiate students in the events
of CMEA. In addition, we would like to
thank the work of Kim Yannon and the
past Collegiate Council E-Boards for laying
the groundwork for the council. Without
their work, the council would not be where
it is today.
Finally, we always love to hear from
you! Please keep us updated over the
summer about the new e-boards for
collegiate NAfME chapters. Together, we
can support each other as future music
educators and the Collegiate Council
hopes to facilitate that. If you wish to get
in contact with any member of the council,
please send a note to our e-mail address:
ctcollegiatecouncil@gmail.com.
Have a wonderful spring and summer!
Sarah Petersen
2013-14 State Council Executive Board
Sarah Petersen, senior, Western Connecticut State University, President
Wesley Marchena, senior, Western Connecticut State University, Vice President
Jennifer Allin, senior, Central Connecticut State University, Secretary
Mary Gorry, junior, Central Connecticut State University, Activities Chair
Bucknell
Bachelor of Music in:
Performance
Composition
Music Education
Bachelor of Arts
expressive performance
creative improvisation
discovery and invention
cultural and historical analysis
FULL-TIME FACULTY
www.bucknell.edu/music
Paul Botelho | Composition, Music Theory
Bethany Collier | Ethnomusicology, Gamelan Ensemble
Kimberly Councill | Music Education
Barry Hannigan | Piano
William Kenny | Department Chair, Horn, Symphonic Band
Barry Long | Jazz Studies, Jazz Band
Christopher Para | Violin and Viola, Orchestra
Catherine Fowler Payn | Voice, Bucknell Opera Company
William Payn | Choral Studies, Rooke Chapel Choir
Annie Randall | Musicology
Sezi Seskir | Piano
and 22 Artist Affiliate Faculty
BucknellUniversityDepartmentOfMusic
1
6CMEA_2-3_AUG_23.indd
CMEA News,
Summer 2014
@BucknellMusic
8/23/13 3:23 PM
Student Affairs Commission
by Ned Smith
Hello all!
One last CMEA News article, at the
end of this year, I will be stepping down as
SAC Chair. It’s been a very enlightening
six years working within CMEA. I spent
three years as the State Adjudication Chair
and another three as the SAC Chair and in
both positions I had the distinct pleasure
of meeting a significant population of
the CMEA members out there. It has
been truly fantastic hearing the views of
so many music educators and, even when
there was disagreement, the open dialogue
with colleagues has always left me with
another perspective to consider whether
it be directly pertaining to a CMEA issue,
or just a thought in regards to my own
teaching and learning.
If we have accomplished anything
over the last few years, I hope we have
been able to bring a level of transparency
to CMEA. Our goal has been to provide
you with more information to better
understand how and why certain decisions
get made, where money goes, and the
rationale behind policies. We want you
to know that you are heard, and even if
we can’t satisfy everyone’s wishes, it is
important to know that your views are
brought to the table and discussed. I
hope that CMEA can continue to foster
a collegial environment that is fueled by
mutual respect and a passion for teaching
music.
We survived the transition to CTFest
for online scoring, increased opportunities for elementary students, and moved
up timelines and put into place procedures ensuring that you receive the information you need so that you can plan
ahead. We could not have done any of that
without the colleagues that I have come
to respect for their hard work and dedication. Whether we›ve worked together on
a committee, pulled together auditions or
a festival, or just had a chat at a festival,
thank you!
I have every intention of being a
very involved CMEA member and look
forward to continue working with you all
in the future. Please check the website for
information pertaining to next year. (And
as many of you would be the first to point
out, we won›t say mission accomplished
yet on the website, but we›re getting there!)
2014-15 Student Festival Dates:
Mark your Calendar!
Eastern Region:
MS Audition: November 18, 2014 Johnston MS, Colchester
MS Festival: To be announced. Please check www.cmea.org this summer!
HS Audition: November 22, 2014 Plainfield HS
HS Festival: January 9-10, 2015 UCONN
Northern Region:
MS Audition: January 10, 2015 King Philip MS, West Hartford
MS Festival: March 6/7, Central CT State University, New Britain
HS Audition: November 22, 2014 Avon HS
HS Festival: January 16-17, 2015 New Britain HS
Southern Region:
MS Audition: December 6, 2014. Washington MS, Meriden (12/13 snow date)
MS Festival: February 27/28, 2015 Lincoln MS, Meriden (3/6-7 snow date)
HS Audition: November 15, 2015 Foran HS, Milford
HS Festival: January 9-10, 2015 Middletown HS (1/16-17 snow date)
Western Region:
MS Audition: November 22, 2014 Western CT State University, Danbury
MS Festival: March 20/21, 2015 Western CT State University, Danbury
HS Audition: November 15, 2014 Danbury HS
HS Festival: January 16-17, 2015 Trumbull HS (1/23-24 snow date)
All State:
Audition: February 7, 2015 North Haven High School (2/14 snow date)
Festival: April 30-May 2, 2015 Connecticut Convention Center, Hartford
Elementary Honors Choir:
Festival: May 1, 2015 Connecticut Convention Center, Hartford
Elementary Honors Orchestra:
Festival: tentative date April 30, 2015 Connecticut Convention Center, Hartford
CMEA News, Summer 2014
7
Southern Region Report
Theresa Voss, Region Director
J
ust as we doubted the winter would ever come to an end in
Connecticut, we are now facing temperatures in the forties at
the end of April. But even if the weather does not keep up, the
calendar marches on, sometimes moving faster than we can keep
up! This always seems to be the case during the year-end concert
season for a music teacher, as we speed toward graduation. Before
we know it, it will all be behind us and we’ll have our feet up
on the porch railing, wondering if the humidity will ever break.
Before we get to summer, allow me to take a moment to
thank our colleagues who have given so much of their time and
energy this year to provide invaluable musical experiences for
our students in the Southern Region. As we all know, these are
our peers who volunteer to assist at the region level, knowing in
a couple years, someone else will do it for their own students.
We cannot function without our volunteers—please join me in
expressing gratitude for their efforts!
For High School:
Brian Cyr, Adjudication Co-Chair and Festival Co-Chair/Co-Host
Dean DellaVecchia, Adjudication Co-Chair
Jessica Shearer, Adjudication Site Chair
John Gage, Band Chair
David Pelletier, Choir Chair, Festival Co-Chair/Co-Host
Aaron Barkon, Orchestra Chair
Erik Elligers, Jazz Band Chair and Jazz Head Judge
Kevin Buno, Voice Head Judge
Suky Bryan, Strings Head Judge
Stephen St. Georges, Percussion Head Judge
Mark Gahm, Winds Head Judge
For Middle School:
Scott Ferguson, Festival Chair
Maureen McGovern, Adjudication Chair
Stephanie Zak, Adjudication Site Co-Chair
Marta Kwiczor, Adjudication Site Co-Chair
Neil Shilansky, Head Judge Chair
Matthew Fried, Band Co-Chair
Olivia Malin, Band Co-Chair
Keith Traver, Co-Mixed/Treble Chorus Chair
Laura Traver, Co-Mixed/Treble Chorus Chair
Marta Kwiczor, Jazz Band Co-Chair
Brian Hutton, Jazz Band Co-Chair
Chris Jones, Orchestra Co-Chair
Katie Jones, Orchestra Co-Chair
Kathy Dravis, World Drumming Chair
I would also like to thank our CMEA SAC Chair, Ned
Smith, who has worked tirelessly (and always with a smile!) to
assist us through every step of the school year. His guidance and
camaraderie has made my first year as Southern Region Director
a very enjoyable experience.
I wish you each a successful and fulfilling end to your school
year, and a summer full of all of your favorite things.
Need information about your membership?
Contact NAfME Member Services at
1-800-336-3768 or
MemberServices@nafme2.org.
www.nafme.org
Music Education • Orchestrating Success
8
CMEA News, Summer 2014
Elementary Honors Choir
Nicole Lucas, Danielle Horan, Co-Chairs, CMEA Elementary Honors Choir
C
ongratulations to the 2014
Elementary Honors Choir! Almost
200 students from 49 schools across
the state participated in this year’s
fantastic event. Teachers and students
worked extremely hard to prepare for
an amazing day in April at the CMEA
Conference. On Friday, April 4, students
had the privilege to work with Dr. Joy
Hirokawa in preparation for a concert
that same afternoon. Not only was
this a great experience for the students,
it also provided the teachers with the
opportunity to watch Dr. Hirokawa in
action.
Please mark your calendars for next
year’s Elementary Honors Choir - Friday,
May 1, 2015! If you would like to
participate in next year’s choir, please check
the CMEA website and this newsletter
in the fall for more information and
registration forms. Hope to see you there!
BRIAN BALMAGES coming to CT-ASTA Fall Workshop
by Nola Campbell
Thursday, October 23, 2014
9:00 a.m. to 4:00 p.m.
University of Hartford,
Konover Center
C
omposer, conductor, performer,
producer, BRIAN BALMAGES,
will be the guest Presenter at the annual
CT-ASTA Fall Workshop this year on
Thursday, October 23rd at the University
of Hartford Konover Center. I’m sure
most of you already know and love his
many string orchestra compositions,
and guess what? He also has a new string
method book in the “Measures of Success”
series that he will introduce to us at the
workshop. And ALL attendees who
register more than a week in advance will
get a free copy!! So talk with your music
supervisors and/or administrators now to
get that day off. Lunch at the 1877 Club
is again included in the price, so plan
on eating a fabulous lunch as well, and
catching up with your string friends. The
cost is $45.00 for ASTA/CMEA members,
$65.00 for non-members. Contact Nola
Campbell @ nolaviola@hotmail.com for
more information. Don’t forget to bring
your instruments!
The four sessions will include the
following:
NO MORE LIMITATIONS! Composing
and choosing orchestra music for all levels
Music for younger ensembles is often
held to a different standard than music
written for advanced groups. This clinic
will provide a tangible list of elements that
can, and should be included in any piece
regardless of grade level. Gain insight into
repertoire selection while also seeing how
it impacts the way a composer writes for
these various types of ensembles!
MEASURES OF SUCCESS FOR
STRINGS! Unlock the true potential of
your beginning string students! Discover
“Measures of Success for Strings,” an exciting
and powerful new string classroom method
that combines time-tested pedagogy with
outstanding sequencing and repertoire.
Designed to foster musical growth by
focusing on the presentation of new
concepts through repertoire, “Measures
of Success for Strings” systematically
presents and reinforces musical techniques
in a practical and positive way. Prepare to
experience a new level of “success” with
your beginning string students!
NEW STRING ORCHESTRA MUSIC
READING SESSION: An In-Depth
Look Behind the Scenes. This new music
reading session will highlight new string
orchestra pieces just released in the summer
of 2014. During the session, Balmages will
provide insight into series guidelines that
composers follow and will also tie this into
aspects of the opening session, “No More
Limitations!”
READING SESSION: The Music and
Development of Brian Balmages. In this
session, directors will be exposed to a
wide variety of music by composer Brian
Balmages. This will not always involve
“bestsellers,” but rather will be designed
to show the development of the composer
from the standpoint of orchestration, form,
texture and other compositional aspects.
CMEA News, Summer 2014
9
All-State 2014
10
CMEA News, Summer 2014
CMEA News, Summer 2014
11
Assessing Creativity: A Subjective Dilemma
Kim Yannon, DMA
F
or the last in my three part series, I would just like to put in a word or two about the
assessment of creativity. Many of us either shy away from evaluating a student’s creative
output altogether, for fear of entering into the subjective realm or we resort to assessing the lower
order skills and knowledge upon which the task was built. The latter is helpful and certainly a
rubric based on these skills (start on Do, four measures, quarter notes and eighth notes, etc…)
can serve as a checklist for students and teachers, especially if the composition is a vehicle for
evaluating understanding of musical notation. But let me challenge your thinking for a moment
and suggest that not only is the subjective evaluation of creative product valid, it has been shown
to be reliable through research.
When we think about the assessment
of creativity, we must separate the
evaluation of the process by which novel
ideas are created and the resulting product.
The origin of process evaluation began with
Guilford’s Structure of Intellect Model
(1967), which defined intelligence as the
confluence of many mental/intellectual
abilities which Guilford organized around
three dimensions: Operations, Content,
and Product. Defining the Operations
dimension are congruent and divergent
thinking processes. Congruent thinking
engages one in critical analysis in order
to reach a solution. Divergent thinking
results in the generation of many possible
12
answers. Guilford associated divergent
thinking with creativity and assigned four
characteristics to such creative thinking:
Fluency: the ability to quickly generate
many possible solutions to a problem,
Flexibility: multiple approaches to or
categories of solutions, Originality: the
novelty of ideas, and Elaboration: the
development of original ideas. This
milestone declaration influenced many
tests of creative thinking, including tests of
musical creative thinking. I administered
the Webster Measures of Creative Thinking
in Music (1984), based on Guilford’s work,
to the subjects, grade 5 students, in my
dissertation study. The test measured these
divergent thinking abilities: Extensiveness:
literally the amount of time spent in
continuous idea generation, Flexibility:
the ability to employ and manipulate the
musical elements of pitch, tempo, and
dynamics, Syntax: the extent to which a
musical idea makes sense, and Originality:
the extent to which the ideas generated are
unique. While the evaluation of process in
this manner can yield much information
about the aptitude for creativity, it is
not practical for evaluating multiple
creating projects. Evaluating the finished
product is more manageable and, if done
regularly and combined with descriptive
CMEA News, Summer 2014
feedback, can serve as formative and
summative assessment of musical creativity.
I would like to make the case for product
assessment that includes, but does not
solely rely on, the evaluation of lower order
skills and knowledge.
Theresa Amabile developed her
Consensual Assessment Technique (1982),
CAT, as a subjective measure of creativity.
It has been shown to be applicable to
many fields, including poetry, visual
art, storytelling, and caption writing.
CAT has influenced research concerned
with adapting this technique to musical
creativity. According to Amabile, “a
product or response is creative to the
extent that appropriate observers (experts
in a particular domain or field) agree it
is creative.” Studies designed to test the
reliability of CAT have found a high level
of agreement among experts in a field even
when they have not been trained to agree.
Maud Hickey (2001) tested the reliability
of CAT on fourth and fifth grade children’s
compositions and found the highest level of
reliability/agreement from general music/
choral teachers. Priest (2006) found similar
results when teachers were given audio
recordings to assess and found the least
amount of agreement when teachers were
given only a written score.
So, what does this mean to us? I
believe it is a defense of the subjective
measurement of musical creativity.
However, we must agree on the following
assumptions:
Students of all ages are capable of
generating responses that are unique to
them and appropriate to the domain and
to the given stimuli.
Music educators are considered
experts in the domain of children’s
musical creativity and therefore consensual
assessment of such work can be highly
reliable.
students. In order to judge whether
something is unique to a particular student,
they must have the opportunity to generate
many musical ideas. You will notice right
away if students rely on and repetitively
cite similar melodic and rhythmic patterns,
instrumental choices, etc…or whether they
“think outside their boxes” in order to try
new ideas.
An example of a creativity rubric
which address the dimensions of technique,
creativity, and appropriateness for the given
stimuli might be:
Novice
Basic
Proficient
Exemplary
Creativity
Response is not novel
for the creator, is copied
from another, or there is
no measurable response
Response is weakly novel
and occasionally builds
on previous patterns of
responses with many
verbatim citations (i.e.
“stuck in a rut”)
Response is novel
for creator, builds on
previous patterns of
responses with occasional
verbatim citations
Response is very novel
for the creator - builds
on patterns of previous
responses in novel ways
or is comprised of brand
new ideas.
Appropriateness
Response is not
appropriate for the
given parameters of
tonality, rhythm, style,
compositional technique,
etc…
Response often
deviates from the
given parameters of
tonality, rhythm, style,
compositional technique
etc...
Response is mostly
appropriate and only
rarely deviates from
the given parameters of
tonality, rhythm, style,
compositional technique,
etc...
Response is consistently
appropriate and is created
within given parameters
of tonality, rhythm, style,
compositional technique,
etc...
Technique
Response does not
demonstrate accurate
digital, instrumental,
vocal, and/or
compositional technique
Response inconsistently
demonstrates accurate
digital, instrumental,
vocal, and/or
compositional technique
and mistakes do detract
from the musicality of
the presentation.
Response demonstrates
mostly accurate digital,
instrumental, vocal,
and/or compositional
technique and mistakes
do not detract from
the musicality of the
presentation
Response demonstrates
consistently accurate
digital, instrumental,
vocal, and/or
compositional technique
I am intrigued by the possibilities for
regular engagement in musical creativity
in the classroom. I am excited about
the continued development of tasks that
include not only self, peer, and teacher
assessment, but the teaching of the creative
process and the evaluation of creative work
that goes beyond the assessment of lower
level skills and knowledge. Please consider
joining me at CCSU July 28 – August
1 for a class in teaching creativity and
using creative pursuit to build a music
learning community in your classroom.
It is important to note that in
developing a scoring device for musical
creativity, many researchers have included
a dimension for the evaluation of technical
ability. I have used a technical dimension
to evaluate the technical performance of a
creative product as well as students’ ability
to demonstrate concepts such as repetition
and contrast (unity and variety), tension
and release, and melody construction. This
not only allows for the evaluation of skills
and knowledge, but separates the students’
technique from their ability to be creative.
Also important to consider is the
regularity of creating projects with your
I am looking forward to the ideas we can
generate together!!
Resources
Amabile, T.M. (1982). Social psychology
of creativity: A consensual assessment
technique. Journal of Personality and
Social Psychology, 43, 997-1013.
Guilford, J.P. (1967). The nature of
human intelligence. New York, NY:
McGraw Hill.
Hickey, M. (2001). An application
of Amabile’s consensual assessment
technique for rating the creativity
of children’s musical compositions.
Journal of Research in Music Education,
49(3), 234-244.
Webster, P. (1987) Refinement of a
measure of creative thinking in music.
In C. Madsen and C. Prickett (Eds.),
Applications of Research in Music
Behavior (pp. 257-271). Tuscaloosa,
Alabama: The University of Alabama
Press.
CMEA News, Summer 2014
13
Berklee World Strings
by Joan Winters
W
aterford High School hosted the
Berklee World Strings on April 26th,
with an afternoon workshop given by the
20 piece ensemble and its music director
Eugene Friesen. Close to 150 students
and adults participated in the workshop
that introduced first steps of improvising
for classically trained players. It also
included learning a couple of international
folk tunes by ear. The evening concert
was a huge success with many soloists
improvising, allowing all the cellists,
violists, violinists, bassists, harpists and
mandolin players in the audience to hear
how it is done so easily!
Many thanks to CMEA for supporting
this venture with their grant donation.
I highly suggest everyone applies for
these grants that enable you to bring
great musical programs and outstanding
musicians to your schools.
THERE IS NO SUBSTITUTE FOR
KNOWLEDGE, CRAFTSMANSHIP AND SERVICE.
ATELIER CONSTANTIN POPESCU
The Premier Source of Bowed Stringed Instruments in Connecticut and Westchester
We Offer the Finest Selection
of Stringed Instruments for
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203 661-9500
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203 227-9577
e-mail: atelierstrings@aol.com • www.atelierconstantinpopescu.com
14
CMEA News, Summer 2014
Experience the Evolution of
Visit www.4wrd.it/SBrassCONMEA
CMEA News, Summer 2014
15
Listen and Learn: The Key to Effective Secondary
General Music Instruction
by George Ober and Joe Pergola
We propose that it’s time for all secondary general music teachers to employ
the skills and techniques necessary to create a stimulating and effective
secondary general music program in all our schools.
T
eaching secondary general music can be one of the most challenging and one of the most
rewarding courses for music teachers. The multitude of requests for guidance regarding
curriculum and learning goals on social media teacher sites demonstrates widespread concern
about teaching this subject. There is no question that secondary general music instruction instills
significant discomfort in teachers who are assigned a full schedule or just a single section.
Issues in Secondary General Music
Education
Why do so many secondary music
educators feel insecure when asked to teach
general music? Perhaps it’s the amount of
preparation necessary to teach a music
course to predominately non-performing
music students! Maybe it’s the lack of a
unified sequential curriculum! Possibly
it’s question of which materials will be
useful! Maybe it’s the fear of disciplinary
issues due to a lack of confidence in the
lessons being taught! Whatever the reason,
music educators desperately need resources
and a research based curriculum designed
specifically for today’s secondary general
music student
Learning Goals for Secondary
Education
It’s important to ask ourselves the
following question. What are the essential
skills and knowledge that all students
should learn. For some educators the
primary goal is to have students perform
on instruments such as recorder, guitar,
percussion and electronic keyboard? In
other programs the most important skillI
is for all students to know how to read and
write traditional musical notation? From
16
a humanities perspective the primary goal
may be to understand music history?
However, since the vast majority
of students required to take secondary
general music are not members of a school
performing group, the most important
goal must be the development of “listening
skills”.
The Importance of Aural Skills
We live in a world where MTV, VH1
and YouTube have replaced aural acuity
with visual imagery, the need to increase
our students ability to better appreciate
music by developing listening skills is
essential. We need to help our students
develop the aural skills necessary to
perceive the expressive qualities inherent
in various musical styles.
Instructional Sequence
This can be accomplished by having
students understand and recognize the basic
elements of music such as beat, tempo,
dynamics, rhythm, instrumentation and
form. The development of independent
listening skills for each basic element
provides the building blocks for the ability
to a) hear, b)describe and c) identify the
qualities inherent in music of varying
CMEA News, Summer 2014
style. By incorporating these basic skills
into an instructional design, can help all
our students cultivate the skills needed
to demonstrate an aesthetic response
to music.Initially, the basic elements of
music should be described and discussed
in non-technical terms, supported by
various learning activities involving
description, creation and performance all
in conjunction with appropriate listening
examples.
Gradually, connections to proper
terminology and musical symbols should
be used to describe, analyze and assess
listening examples.
Instructional Activities
(Beat/Tempo)
Students need to internalize beat and
tempo. With repeated listening activities,
students can learn to maintain a steady
pulse in varying tempos by clapping or
tapping.
(Dynamics)
The ability to recognize and identify
various dynamic levels including crescendo
and decrescendo is a listening skill all
students can develop.
(Rhythm)
With developmental practice students
can learn to audiate and perform notated
basic rhythm problems.
Have students learn to compose four
(4) measure rhythm patterns.
(Form)
Using simple song form, (Intro, Verse,
Chorus, Bridge) students can develop the
listening skills necessary to graph song
form.
True knowledge of the basic elements
of music is exemplified by aural recognition
and oral description. In other words,
students must be able to recognize each
element in isolation and in relationship
to other elements present in the music.
Students must be able to describe the
function served by each element and how it
is connected to the style being performed.
Conclusion
Each individual teacher must choose
the best material suited for the level
and age of their students. All styles of
music should be employed; classical, jazz,
rock etc. Emphasis should be placed on
current popular styles because success
in introducing students to new musical
concepts is considerably easier when the
student is dealing with familiar music.
Plus, when students see that “their music”
is accepted by the teacher, they are more
receptive to listening and learning about
other styles of music. Secondary general
music teachers must stay open-minded and
up to date with the ever changing styles of
popular music.
It is time secondary general music
develops a curriculum design and effective
pedagogy that builds the listening skills
necessary for students to better appreciate
the expressive qualities inherent in all styles
of music.
69th CMEA In-Service Conference April 29-May 2, 2015
Connecticut Convention Center, Hartford
CALL FOR SESSION PROPOSALS
Music educations professionals, companies, and organizations are invited to submit session proposals for the 69th CMEA In-Service Conference being held in Hartford at the Connecticut Convention
Center April 29-May 2, 2015. Proposals received by the deadline will be reviewed by the Conference Planning Committee. The Committee will be guided in the selection of sessions by the following criteria: Quality of presentations (objectives and organization clearly communicated); innovation
(brings new learning to conference attendees); importance and relevance to the profession (connects
o statewide and national initiatives in arts education); practical and useful to our membership (easily
replicated in a classroom).
All sessions are 60 minutes in length and all presenters are expected to be registered for the conference. Presenter may attend the conference for free on the day they present and will be offered a reduced registration rate for the other conference days. Accepted sessions will not be scheduled unless
registration is received. Presenters will be notified of acceptance by January 30, 2014. Co-presenters
must also be registered for the conference at the reduced rates.
Steps to proposal completion:
1. Go to CMEA.org and click link for online session proposal form.
2. Complete form before November 1, 2014.
3. Upon acceptance, pre-register for the conference.
A tentative schedule will be available online by the end of February.
CMEA News, Summer 2014
17
If We Build It They Will Come:
Using Music Technology to Reach “The Other 80%”
in Secondary School Programs
David Brian Williams, PhD (Illinois State University Emeritus)
Rick Dammers, PhD (Rowan University)
I
n music education we begin children’s elementary music experience by encouraging everyone
to join in music making through singing and performing on rhythm instruments, autoharps,
recorders, flutophones, and more. Music making and music learning include one and all;
everyone gets to participate. Music teachers use participatory music making as a way to introduce
concepts of rhythm, pitch, melodic shape and harmonic changes, and form and style.
Then what happens? As our students
matriculate through levels of schooling,
music participation becomes more selective.
We move from participatory music making
as a model to the traditional performance
model where perfection is a key goal: no
wrong notes and fewer opportunities for
creative music expression. Performance
ensembles—band, orchestra, chorus,
marching band and jazz band—dominate
the secondary music curriculum with a
general music class or advanced placement
theory perhaps added to the curriculum.
For those students attracted to these
ensembles the benefits of this training
and experience is expansive and well
documented. Some students go on to
professional music careers; others carry
their extra-musical and musical experiences
with them into other careers and as an
integral part of their personal lives. We are
not advocating changing this component
of our nation’s music education tradition.
Dave Williams’ review of several
studies (Williams, 2012) has shown that
on average across the country, by the time
students advance through middle school
to high school, only 20 percent of students
are involved in these traditional music
classes (also see Elpus and Abril, 2011
and NJAEP, 2014). Many students who
participated in music making in the lower
grades have since distanced themselves
18
from school music. These are what we
call “The Other 80%,” the students who
no longer are active in the traditional
secondary school music program. It is
further insightful, that while nationally
only 20 percent on average are involved
in traditional secondary performance
ensembles, a much greater percentage of
students sing or play an instrument outside
of school. The longitudinal series of
studies, Monitoring the Future (Johnston
et al., 2010), showed that over some 30
years, an average 57% of students in 8th,
10th, and 12th grades—not just those in
music classes—reported that they play an
instrument or sing outside of school at least
once or twice a month if not daily. In terms
of lifelong music making, the NAMMcommissioned Gallup survey (NAMM,
2003) showed that 54% of households have
someone that plays a musical instrument
and 48% play two or more (see Williams,
2012, for a full discussion of these data).
McAllester’s predictions in the 1967
Tanglewood report were incredibly
prescient. He stated some 60 years ago:
“We have a splendid beginning
in the early grades, when children are
sometimes lucky enough to get acquainted
with rhythm and melody on all sorts of
simple and unconventional instruments.
They have the thrill of exploring the
delights of free creativity without a long
CMEA News, Summer 2014
apprenticeship in technique first.... We
might entertain the idea that someone who
never does develop skills on conventional
instruments could become a gifted
performer on unconventional ones....
Someone who never learned to read
conventional notation might nonetheless
become an outstanding composer in some
medium where notation has yet to be
invented, or may even be impossible to
invent” (p. 97).
Field of Dreams. Change is on the
horizon with new playing fields designed
within our traditional music curriculum.
Music teachers, innovative and selfmotivated, are creating new environments
for The-Other-80% to explore students’
creative music potential. It is being
done in many ways: song writing, guitar
and ukulele ensembles, Mariachi bands,
drumming circles, and various ethnic
ensembles. All these activities help bridge
music education in school with music in
society and use these activities to nurture a
greater knowledge and appreciation of the
building blocks of music that encourage
lifelong music making. They do so with
the challenge, like Ray Kinsella dreaming
of the return of Shoeless Joe Jackson to
baseball, that “if we build it, they will
come.”
Technolog y at Bat. An everexpanding group of teachers is using
music technology as a strategy to reach
these students. They are using laptops
and tablets with software like GarageBand,
Mixcraft, and Abelton Live, to engage
these “non-traditional” students in ways
that nurture creative performing and
composing talents. Reading traditional
notation and performing on traditional
instruments are not, as McAllester
suggested, a prerequisite—students’ ears
become their guide with the music teacher
as their music creativity coach.
We built the website http://
musiccreativity.org several years ago as a
way to collect the stories of music teachers
who were building their own music
technology field of dreams; an online
forum to share success stories working
with non-traditional music students. Like
those teachers implementing guitar and
ukulele ensembles, the students motivated
to make music through technology were
discovering ways to bridge school music
training with the music they enjoyed in
society: rock, hip-hop, DJ mixes, mashups, jazz and more.
Go the Distance! In Rick Dammers’
research (Dammers, 2012), he found that
some 14 percent of high schools in the
nation have some form of technologybased music classes. On our website
(musiccreativity.org) you will find some 30
profiles of teachers who have been successful
using technology to build programs
for the non-traditional students. They
often start with one class--perhaps even
an after-school activity. As the program
expands, the profiles show more advanced
classes added in music technology, MIDIbased performance ensembles, studio
recording and mixing, and even studentmanaged recording labels. As the voice
to Kinsella encouraged, “go the distance,”
the success of these programs develop
their own kinetic energy. Students, some
academically or behaviorally challenged,
gain self-confidence, increased positive
attitudes, and find intrinsic reward from
creating and performing music in new and
novel ways.
Take the Initiative and Build It?
You may be asking, as Ray Kinsella did,
“What’s in it for me?” Following the belief
shared by most music teachers that if music
is important, it is important for everyone,
creating a technology-based music class
can be tremendously rewarding, both
through successfully reaching the ‘other
80%’ student and through exploring the
creative pedagogical possibilities offered
by technology. Beyond these rewards, the
expansion of the music program improves
the program’s position within the school,
since the more students that study music, the
more important music will be to the school.
A perusal of the profiles on our
website will show technology programs
that have greatly expanded from the first
class offering. These programs have grown
large enough with expanded student
interest that the school administration
begins to view them as integral to overall
curriculum and are more proactive in
providing new funding and resources to
ensure their continual success (e.g., profiles
on our website from Greenwich H.S. in
Connecticut, Brookfield H.S. in Georgia,
and Lebanon H.S. in Ohio). In one high
school, some 60 percent of students take at
least one music technology class. Further,
these teachers report that many students
continue after graduation to college study
in music performance, business, recording,
and technology.
You may be surprised to find that your
school administrator is more supportive
of classes for the non-traditional music
student than you think. Rick’s survey
of secondary school administrators
(Dammers, 2012) found that two-thirds
of high school principals surveyed agree
that music technology classes would be
valuable in their schools and 56% who
offer no music technology indicated that
it would be feasible to offer such a class in
their school.
Whether you use ukuleles or
GarageBand, take the initiative and create
an experience designed for the nontraditional music student. If you build
it, not only the other 80% will come, but
the sponsors will as well—the parents and
administrators!
Resources
Dammers, R. (2012). Technology-Based
Music Classes in High Schools in the
United States. Bulletin of the Council
for Research in Music Education, 194,
73-90.
Elpus, K. and Abril, C. (2011), “High
school music students in the United
States: A demographic profile”,
Journal of Research in Music Education,
59:2, 128-145.
Johnston, L.D., Bachman, J. G.,
O’Malley, P. M., et al (2010),
Monitoring the Future: A Continuing
Study of American Youth (8th, 10th,
12th Grade Surveys), database from
http://www.icpsr.umich.edu/icpsrweb/
ICPSR/ssvd/studies?prefix=M.
Accessed 10 September 2011.
McAllester, D. (1967) “The
substance of things hoped for”, from
Documentary Report of the Tanglewood
Symposium, Reston, VA: MENC,
96-99.
NAMM (National Association of
Music Merchants). (2003, April 21).
Gallup organization reveals findings
of “American attitudes toward
making music” survey. Retrieved,
November 13, 2013, from http://
www.namm.org/news/press-releases/
gallup-organization-reveals-findingsamerican-atti
NJAEP (New Jersey Arts Education
Partnership). (2013, January 28).
New Jersey School Performance
Reports. Retrieved, February 8, 2014
from http://njaep.org.
Williams, D. B. (2012). The nontraditional music student in secondary
schools of the united states: Engaging
non-participant students in creative
music activities through technology.
Journal of Music, Technology, and
Education, 4(2-3), 131-147.
CMEA News, Summer 2014
19
CMEA Executive Board 2013-2014
PRESIDENT
STEPHANIE ZAK
stephanie.zak@meridenk12.org
IMMEDIATE PAST PRESIDENT
DALE D. GRIFFA
past-president@cmea.org
griffad@stlukesct.org
Phone 203-801-4847
Fax (w) 203-972-3450
PRESIDENT ELECT
michael ances
mances@monroeps.com
EXECUTIVE DIRECTOR
Barbara Skrebutenas
cmea@snet.net
Phone 860-632-1847
Fax 860-632-1853
NORTHERN REGION DIRECTOR
walter culup
wculup@ctreg14.org
SOUTHERN REGION DIRECTOR
THERESA VOSS
ctsrdirector@gmail.com
WESTERN REGION DIRECTOR
NICK ALBANO
nalbano@fairfieldschools.org
Eastern Region Director
MATT DELASSUS
MDeLassus@ellingtonschools.net
RICHARD DIAMOND
RDiamond@ellingtonschools.net
STUDENT AFFAIRS COMMISSION CHAIR
NED SMITH
cmea.sac@gmail.com
STATE ARTS CONSULTANT
SCOTT SHULER
(w) scott.shuler@ct.gov
Fax (w) 860-713-7081
860-713-6746
2014-15 EB/SAC
Meeting Dates
Executive Board/Council (EB/EC)
Student Affairs Commission (SAC)
4:15 pm unless noted
September 9
EB
September 16
SAC
October 7
SAC
October 14
EB
November 4
SAC
November 11
EB
December 9
SAC
COLLEGIATE CNAfME
STATE COUNCIL
Sarah Petersen
ctcollegiatecouncil@gmail.com
January 6
SAC
Professional Development Chair
KIM YANNON
kystock@msn.com
Phone 203-982-1537
Fax (w) 203-250-7614
March 3
Membership Chair
John Kuhner
jkuhner@cheshire.k12.ct.us
May 12
Advertiser Index
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Five Towns College.............. 2
January 13
EB
February 10
SAC
EB
March 10
SAC
April 7
SAC
May 5
SAC
EB
June 2
June 13
SAC
Leadership Retreat
(time TBD)
CMEA is a 501C3 non-profit organization and is a federated state affiliate of the
National Association for Music Education (NAfME). Membership is open to all
music teachers and those involved in other music education related work.
The CMEA NEWS is published four times a year in September, December,
March and June. Opinions expressed in this publication are those of the author
and do not represent an official position of CMEA. A subscription to the NEWS
is included in the annual membership fee.
Hartt.............................. 4
2014-15 Publication Copy Deadlines are:
Rayburn Music....... Back Cover
August 1, November 1, February 1 and May 1
Quaver....... Inside Front Cover
Manuscripts should be sent directly to the CMEA NEWS Editor at
cmeanews.editor@gmail.com
Yamaha..........................15
20
CMEA News, Summer 2014
For advertising information and rates, please visit www.cmea.org .
It’s time to start a
Tri-M Music Honor
Society chapter.
Strengthen your school’s Music. Honor. And Society.
Starting a Tri-M Music Honor Society chapter will help show the value of your music
program to the school. It will also benefit your students by allowing them to:
e Build an impressive record for college
e Grow as leaders in music
e Serve their community
Ready to start a chapter? Follow these easy steps:
1.
2.
3.
Visit nafme.org/tri-m to download your chapter activation form or call 1-800-336-3768.
Send in the activation form with your chapter activation fee ($50-$125 based on the
size of your school)
Receive a packet from NAfME with a guide to start your chapter – and get going!
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