MASSACHUSETTS VOL. 69, NO. 3 SPRING 2021 MUSIC EDUCATORS A QUARTERLY PUBLICATION OF THE MASSACHUSETTS MUSIC EDUCATORS ASSOCIATION JOURNAL

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Music Education Advocacy in a Pandemic Reflection, Resilience, Redirection Inclusive Music Education Thinking and Doing “Won’t You Be My Neighbor?” Chrome Music Lab What Will Stay After the Pandemic Is Over?

MASSACHUSETTS SPRING 2021 MUSIC EDUCATORS JOURNAL

MASSACHUSETTS MUSIC EDUCATORS JOURNAL EDITORIAL STAFF CONTENTS

Managing Editor Susan Gedutis Lindsay 3 PRESIDENT’S MESSAGE 18 HIGHER EDUCATION 33 CONTEMPORARY / JAZZ PO Box 920004 By Cecil Adderley Needham, MA 02492 Inclusive Music Thinking and 617.710.3915 Education: Doing: [email protected] 4 FROM THE EDITOR Where Do I Start? Approaches to Teaching Business Manager/ Kristen Harrington Letter from By Adam Calusi Jazz Improvisation Online Advertising PO Box 920004 the Editor By Keith Kelly Needham, MA 02492 21 IN-OVATIONS 617.680.1492 By Susan Gedutis Lindsay 36 MAJE [email protected] The Promise of 5 CONFERENCE Editorial Board Tom Reynolds, Advocacy Artistic Process: MAJE Updates Social Emotional Learning By Joseph Mulligan Faith M. Lueth, Choral MMEA Conference Monthly Virtual (SEL) Aligns the Jarritt Sheele, Culturally Standards 37 RESEARCH AND MUSIC Responsive Teaching Workshops: FREE PD TEACHER EDUCATION By Scott Edgar, Fran Kick, By Noreen Diamond Burdett Allyn Phelps, General Music and Lori Schwartz Reich “Won’t You Be Rhoda Bernard, Higher Education 7 CULTURALLY RESPONSIVE My Neighbor?” Tom Westmoreland, IN-ovations TEACHING 24 INSTRUMENTAL A Review of the Literature on Adam Grüschow, Instrumental Frameworks for Developing Community and Paraprofessionals Andrew Goodrich, Cultural Relevance in Inclusive Contemporary / Jazz in the Music Culture in Music Settings Anthony Beatrice, Classroom School Ensembles By Tina Nospal Large Municipalities By Jarritt Ahmed Sheel By Gregory Lessar Dr. Tawnya Smith, Research 41 TECHNOLOGY and Music Teacher Education 9 ADVOCACY 26 GENERAL MUSIC Chrome Music Lab: Stephanie Riley, Technology Music Education A Holistic Fun and Educational for Please send all Susan Gedutis Lindsay Advocacy in Approach to All Grades and Disciplines manuscripts to: [email protected] a Pandemic: Education in By Stephanie M. Riley Manuscripts not included immediately The Importance of the General 46 LARGE MUNICIPALITIES will be kept on file for future use. Community in Music Classroom Music Ensembles What Will Stay Deadlines: July 15 for fall, Oct. 15 for winter, By Lovely Hoffman-Wine Jan. 8 for spring/conference, and By Timothy Todd Anderson After the Pandemic April 15 for summer 30 GROWING MUSIC IN MASS Is Over? 13 CHORAL Please see the MMEJ page at massmea.org Growing Music Voices from Large for rate and spec information. Reflection, In MASS: Municipalities: Boston, Haverhill, Worcester The Massachusetts Music Educators Journal Resilience, A 2021 Update (ISSN 0147-2550) is issued quarterly to members Redirection: By Anthony Beatrice of the Massachusetts Music Educators Association, Inc. Four Educators (MMEA is tax exempt, 51-0147238, under 501-C3). 48 DISTRICT UPDATES Nonprofit postage paid at New Bedford, MA Share Perspectives By Faith M. Lueth 39 ADVERTISERS INDEX The annual subscription price of $4.00 is included in the membership dues. 50 MMEA EXECUTIVE The MMEJ is available to nonmembers BOARD AND STAFF for a subscription price of $10.00.

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SPRING 2021 | VOL. 69 NO. 3 MASSACHUSETTS MUSIC EDUCATORS JOURNAL | 1 2 | MASSACHUSETTS MUSIC EDUCATORS JOURNAL VOL. 69 NO. 3 | SPRING 2021 PRESIDENT’S MESSAGE BACK TO TOP

task; it is something we have to plan and President’s Message implement in an ongoing response to By Cecil Adderley, President, MMEA changes in our environment and economy. Your contributions to the organization are important, and your voice in your local community is huge. It will take all of us to collaborate, explore, change, modify, add, and listen as we have difficult conversations with those we report to, serve, and want This school year has been different than those of prior terms. We to work with in making arts education for all throughout the Commonwealth. have adapted our instruction, approached professional development differently, and are being creative as we look at the future of educa- This is just one of our contributions to arts education in the country and world. The tion throughout the Commonwealth, nationally, and globally. We grand picture in a post-COVID world is have taken hints from other MMEA members as to how they are to make sure that the arts thrive, and to reaching their students near and far, as well as been encouraged improve and provide greater access in the days ahead of us. All of the communities by watching a Virginia music teacher providing instruction to his of the Commonwealth have unique artistic students online in the back of his Humvee as he serves our country needs and provide an outlet for the creative in the National Guard during the transition of one presidential minds located within those borders. It will take all of us working toward expanding administration to the next. Music teachers are some of the most the reach and opportunities to more within resourceful in our communities and this level of commitment is yet those borders so that they too, may reach one example of how we, as professionals, have kept our commit- out into the greater artistic space of Mas- ments to the music learners we serve. sachusetts and beyond with your guidance. Many of the MMEA committees are work with our clinicians in a remote setting. Creative arts have working to figure out the best ways to Though different than prior festivals reach more learners in all communities. we believe that this model was the most been our home away Input from these families and teachers appropriate to create a safe environment for from home, and we have is important to complete our work and all. Feedback on this experience will inform provide opportunities for those who may all as to what we can do better if similar often taught in the have never participated in our honor procedures are to be implemented at a manner we have been ensembles, conferences, or the other related future time. Some of our students were also activities of the organization. The work selected for the All-Eastern Festival, which taught. However, of our Diversity and Inclusion committee meets during the same weekend and pro- our world, influenced demonstrates some of the work within the vided both required and optional activities Commonwealth, and our contribution to for our students. We should celebrate the by technology and an our national organization (NAfME) as we work of these young people, the teachers increasingly complex share how local improvements impact the for their guidance, and the numerous collective contributions of the state music local communities and schools for their economic market, encour- educator associations (MEAs) across our support. As we reflect on what we have ages us to look at our great nation. A great deal of this work is accomplished, we must continue to strive to reflected in how we provide District and improve these experiences and to meet the artistic assets, build upon All-State opportunities, professional devel- charge of a changing society with a focus that foundation, and opment, and conference programs related on improving the educational setting for all. to the current challenges and successes open the door to all of The final months of winter and the within all of our schools. The information beginning of our spring academic calendar the possible solutions. we collect informs us of how we can best are the times we begin to reflect on what proceed and bring more music learners we have been able to accomplish, offer the into our classrooms in every community. Your guidance to the music learners you activities we have planned, and begin to serve is key. However, the activities we One of our offerings, the Massachusetts advocate and budget for the future. Advo- have collectively planned are not free. Each All-State Festival, was moved online to cating for arts education is not something year, we all budget for programs and revise provide an experience for those selected to we do once and we have completed the

SPRING 2021 | VOL. 69 NO. 3 MASSACHUSETTS MUSIC EDUCATORS JOURNAL | 3 PRESIDENT’S MESSAGE FROM THE EDITOR BACK TO TOP protocols to remain within the guidelines all educators must follow when working Letter from the Editor with youth. And, post COVID, we antici- By Susan Gedutis Lindsay, MMEA Managing Editor pate that most of us will face even tighter budgets, which may limit some of our plans. Though some in-kind gestures may appear minor, we have to look at the grand picture of how those we partner with have been supportive and may pass on increased business cost to all organizations as they Welcome to the Silver Lining Issue! attempt to recover from their losses during the pandemic. It will take much discussion and work to move forward in the “new Serendipitously, it has turned out to be a deep dive into positiv- normal” as the guidelines post-pandemic ity. It’s unanimous: This has been a tough year. But what have will provide us a framework to work within. we learned? What’s the positive side? Creative arts have been our home away Each author in this issue explores, in ourselves or from our colleagues? Many from home, and we have often taught in their own way, their newfound solutions hear this call for a “new way” of teaching the manner we have been taught. However, to the most pressing challenges that and worry that all that they have done our world, influenced by technology and affect music teachers today. How much up to this point is no longer valid. Fear, an increasingly complex economic market, we have learned from the unexpected confusion, and discomfort disguises itself encourages us to look at our artistic assets, opportunities for change that the as anger. Have we not encountered a few build upon that foundation, and open the pandemic has provided! How we angry colleagues? Change can be hard, door to all of the possible solutions. Your have changed our teaching to address but we’ve all seen that it’s a little easier contributions and collaboration will con- inequities and diversity in the classroom. to change when you have no choice but tinue to make our communities better, and How we have responded to the rallying to do so. Music educators have seen the in turn, make our organization stronger. • cry for racial justice from the Black Lives oncoming waves of change and they have —Cecil Adderley, Matter movement. And how we have tacked hard left to sail into the winds of MMEA President recognized that our music teaching is no ecological, economic, and spiritual crises longer just about the content; so many in the world around us, and the boat educators now recognize the critical has remained afloat—not just afloat, but role of music education in our students’ skimming these waves like a seabird in social and emotional wellbeing. flight. Music teachers are movers and shakers. How is that we have not sunk, but rather In this issue, you’ll see that themes taken flight? It’s because the pandemic emerge. This issue tells the story, from has forced us to think hard about what we many angles, of how music educators are are really teaching when we teach music. adapting to new conditions, adjusting Those who appear to be thriving in this their priorities, and adopting new ways new environment seem to recognize that of thinking to best meet the needs of all we can no longer focus on the content of their students. of our work and the performances—the products of our efforts. Within the limits We are in a unique juncture in time. that the pandemic has presented, we are Everything is changing, and who forced to be creative and look more closely among us has not encountered staunch at the process, what we’re really trying to reluctance to change, either within

Please write for us! We want to hear your voice.

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MMEA Conference Monthly Virtual Workshops: FREE PD By Noreen Diamond Burdett, 2021 Conference Coordinator do and effect in our students. How can Virtual workshops instead Christine Morgan—General Music we reach them better? What are we really of in-person? Chris Memoli—Orchestra/strings trying to achieve? Can we redefine what As you probably know, the in-person 2021 success looks like? All-State Conference was canceled because Stephanie Riley—Chorus Themes emerge: Relevance. Relationships. of the pandemic. However, the indefatigable Chee-Ping Ho—Technology Inclusivity. Community. Collaboration. Conference Committee did not want Tony Beatrice—General Interest Openness. Social and emotional wellbe- a year to go by without providing PD to our ing. Connection. Change, adaptation, members, so they have been working diligently Rhoda Bernard—Teaching Students with and growth. What has changed in our to provide monthly virtual workshops. Disabilities teaching since we have gone remote, and Hopefully, you’ve already attended a few, You can find their e-mail addresses on the MMEA what new tools will we keep when things but in case you haven’t and don’t know how website (massmea.org) on the Conference page. return to fully in-person teaching? And to get on board—read on . . . You can also find “Best Practices During COVID” how can we better understand what music How does this work? resources on the Conference page. really means as we respond to a global pandemic, a social justice movement, and Each month, a Google Survey is e-mailed to You can also submit your own best practices that an evolution in education? MMEA members. Through it, they can register you want to share with members on that same (FREE) for the virtual one-hour workshop they Conference page. Lots of ideas here. choose to attend. The survey is also posted on Enjoy. the MMEA website in case the e-mail got stuck Hey, how come I don’t receive —Susan Gedutis in SPAM or was lost somewhere in cyberspace. MMEA e-blasts? Lindsay, Managing A day before (or day of) the workshop, the Here are some possibilities: Editor registered members are sent the link to the Zoom meeting for the workshop. • If your e-mail address is connected to your school system, there might be a block on their What if I want to attend the workshop, end and they go to your SPAM folder P. S. Please do consider submitting an but can’t attend on the date it is given? article. No topic is out of bounds. All I • Maybe you have requested not to receive ask for is your authentic voice. Write to The virtual workshops are recorded and are e-blasts in the past for some long-ago- me directly at [email protected], and available on the MMEA website. pertinent-but-no-longer-desired reason I’ll connect you with the appropriate What is the schedule for upcoming • Maybe your membership has lapsed. Contact subject-area editor. workshops? NAfME.org to renew your membership! Save the dates: March 23, April 27, and May Please don’t let this FREE PD pass you by! If 25. The times could vary slightly, so check you have any questions or suggestions, please the Google Survey for the exact time when contact me at [email protected]. registering, but plan on early evening. Also, check the MMEA website for updates/additions/ —Noreen Diamond Burdett, cancellations/latest news! MMEA Associate Executive Director, Conference Coordinator, Awards Chair- Who are these fantastic organizers in person, Associate Professor Boston Con- case I might want to contact them? servatory at Berklee Margaret Reidy—Band and Jazz Joe Pondaco—Composition Tom Westmoreland—Innovations

SPRING 2021 | VOL. 69 NO. 3 MASSACHUSETTS MUSIC EDUCATORS JOURNAL | 5 CIVIC ACTION FIELD GUIDE FOR MUSIC EDUCATION

Representing music educators, students, and advocates, NAfME is dedicated to ensuring the accessibility, presence, and perseverance of quality music programs taught by certified music educators, for all students across the nation, regardless of circumstance. Through active advocacy and collaboration, we are changing the national conversation about music’s role in delivering a well-rounded education to all students.

NAfME designed the Civic Action Field Guide to help music educators and education stakeholders better understand the processes behind how public education is governed and funded, with an eye toward supporting high-quality music education in districts and at the state level across the nation. With this Guide, you will be able to:

• Understand how public education is governed and funded

• Identify key elected officials in public education and their election cycles

• Identify candidates and their stances on education issues

• Register to vote

• Understand the well-rounded education programs found in Title I, Title II, and Title IV, and learn how to advocate for the availability of these funding streams to your music program under ESSA (the Every Student Succeeds Act)

• Contact your elected officials and advocate for music education

Download your copy today at bit.ly/NAfMECivicActionFieldGuide. Questions? Email [email protected] or call 1-800-336-3768.

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learning on culture as locale, people, Frameworks for Cultural Relevance language, attire, community expectations, etc. but also as lens, bridge, and finally in the Music Classroom practice. (We will consider each of these elements below.) By Jarritt Ahmed Sheel, Berklee College of Music, Cultural Responsiveness Editor Frameworks When I first read an Adam Kruse 2014 article titled “Toward hip-hop pedagogies Building a Framework for Culturally Relevant Pedagogy in the Music Classroom for music education,” I was developing a literature review for my doctoral disserta- When I think of culturally relevant pedagogy and culturally tion. I was excited to finally read something responsive teaching I immediately think back to all of the classes that seemed relevant to my research around that I have taken part in, either as an educator, student, or facilitator, hip-hop and music education. The term relevance continued to ring clear through that were titled “Culturally Relevant” or “Culturally Responsive.” each iteration of my paper, at professional Most of those courses and learning opportunities were in most part conferences, and even more so in my PD/ helpful, but also did little to nothing to help me translate what I workshops on hip-hop. learned in the classroom into actual teaching segments or deeper Kruse does a literature review of various pedagogical understandings. What was missing was clarity. Truly, scholars (Cooks, 2004; Duncan-Andrade & Morrell, 2002 & 2005; Hallman, what is “culturally relevant” or culturally responsive” facilitation? 2009; Hanley, 2007; Hill, 2009; Hill Before we can succeed in it, we need to know what it is. & Petchauer, 2013; Morrell & Duncan- Andrade, 2002; Petchauer, 2009; Emdin, Facilitation is about speaking to and larger social issues such as racism, 2010; Mahiri, 2006; Stovall, 2006, and supporting the needs/wants of the sexism, xenophobia, etc.. many others) to help delineate the different student(s). Facilitation is at the heart of • Cultural Responsiveness has a strong kinds of wisdom we can gather from the student-centered learning and engagement. focus on the doing of teaching. It refers to hip-hop culture and community. What Effective facilitation builds a rapport the facilitation of learning opportunities is so relevant and responsive in hip-hop between student and teacher that says, that seek to respond to cultural or social culture that allows billions of people all “Your voice matters, and I am interested in issues observed in the learning space over the world to connect in more ways serving your needs and your wants in the in an effort to remediate them within than we can quantify? The term “relevance” learning space.” At its best, this requires the context of the learning experience stuck, and over time it became evident that teaching through relevance: supporting through instruction that acknowledges these pedagogical frameworks that Kruse student-centered learning by choosing and respects that culture of the learner reports in 2014 can be used to describe topics, tools, and methods that are mean- in its response. the various ways in which music teachers/ ingful to them. Scholars like Dr. Geneva educators can link the content, instructional Gay and Dr. Gloria Ladson-Billings in the Both of these items are philosophical approach, selection of repertoire, means of early 1990s first coined the terms cultur- and praxial in nature. They go beyond facilitation, discussion model, etc. to the ally relevant pedagogy and culturally just instructional practices to become student. After all, the student’s growth and responsive teaching in their seminal work, instructional frameworks in the realm of health is most important in the model of and below I summarize one way of viewing social justice, equality, and equity. These culturally relevant and responsive teaching. these terms within our own field of music frameworks do not offer concrete answers Kruse used three terms to capture the ways education. but are led by students’ needs and wants. educators link student to content: Lens, The facilitator (teacher) places the learners • Cultural Relevance describes a form of Bridge, and Practice. (students) in the center and focuses the teaching that seeks to engage learners whose experiences and cultures are traditionally excluded from mainstream Cultural relevance speaks to knowing what’s hap- settings. It refers to facilitating learning pening in the world today and using your privi- opportunities that seek to address a relevant cultural or social issue within lege as facilitator to create meaningful experi- the context of the learning community ences in which students may have the opportunity or the larger society, using instruction and content that speaks to remediating to speak to situations in their music classes.

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Knowing your com- gives it to the learner, allowing them to Knowing your community, their expecta- tackle bigger questions offered during tions, and norms provides a wonderful munity, their expec- the experience. opportunity to develop instructional materials that speak to the whole of the tations, and norms • Practice refers to when you engage in student. provides a wonderful a new or different culture’s music/art (practices) and in doing so learn about Optimal learning experiences always result opportunity to devel- the people and the issues they face. when you select relevant repertoire, engage op instructional mate- Kruse (2014) states that, “Hip-hop as in relevant methods of instruction, and practice demonstrates a meaningful foster solid rapport. • rials that speak to the application of hip-hop perspectives. Jarritt Sheel is currently While specific hip-hop artifacts might whole of the student. assistant professor of be used in activities, it is the hip-hop music education at the worldviews and actions that impact Berklee College of Music • Lens refers to when you examine the learning experiences in these pedagogies in Boston, MA. He is lived world or issue through the art/ and research studies.” also a doctoral candidate culture you are interrogating. In this at Teachers College, framework Kruse (2014), wrote: “Using We as music educators can use cultur- Columbia University in hip-hop as a lens generally has involved ally relevant and responsive teaching as the Music and Music Education Department. exploring sociocultural issues within a bridge to meaningful understanding of He is a passionate advocate for arts education. hip-hop. This includes critiquing the current world we live in with respect hip-hop itself (e.g., gender issues in rap REFERENCES lyrics) as well as the ways in which hip- hop reflects and comments on the larger Cooks, J. A. (2004). Writing for something: Essays, raps, and writing world (e.g., socioeconomic issues present preferences. English Journal, 94(1),72–76. in1970s South Bronx block parties).” Dimitriadis, G. (2009). Performing identity/performing culture: Hip We will use the term “lens” as a means hop as text, pedagogy, and lived practice. New York: Peter Lang Publishing. to explore other relevant cultural topics using music we are familiar with within Emdin, C. (2010). Affiliation and alienation: Hip-hop, rap, and urban science education. Journal of Curriculum Studies, 42(1), 1–25. the contemporary context of our com- Hallman, H. L. (2009). “Dear Tupac, you speak to me”: Recruiting munal experience. Cultural relevance hip hop as curriculum at a school for pregnant and parenting teens. speaks to knowing what’s happening in Equity & Excellence in Education, 42(1), 36–51. the world today and using your privilege Hanley, M. S. (2007). Old school crossings: Hip hop in teacher educa- as facilitator to create meaningful Figure 1. tion and beyond. New Directions for Adult and Continuing Education, experiences in which students may have 115, 35–44. the opportunity to speak to situations in to the past and hopefully the future. Hill, M. L. (2009). Beats, rhymes, and classroom life: Hip-hop peda- their music classes. gogy and the politics of identity. New York: Teachers College Press. These frameworks (figure 1) are not Hill, M. L., & Petchauer, E. (2013). Schooling hip-hop: Expanding • Bridge refers to when the music content complete and only offer a framework and hip-hop based education across the curriculum. New York: Teachers you teach or facilitate connects to a starting point from which to enter into College Press. cultural touchpoint, usually in con- the process of creating relevant learning Kruse, A. J. (2016). Toward hip-hop pedagogies for music education. nection with a contemporary social experiences for both you and your students. International Journal of Music Education, 34(2), 247-260. issue. Similarly Kruse (2014) wrote, Whether the locale of instruction is virtual Mahiri, J. (2006). Digital DJ-ing: Rhythms of learning in an urban “In efforts to increase the relevance of or in-person, students and teachers are more school. Language Arts, 84(1), 55–62. school experiences for students, some apt to enjoy the experience of learning if Morrell, E., & Duncan-Andrade, J. (2002). Promoting academic lit- education scholars have argued for they feel empowered to achieve due to relat- eracy with urban youth through engaging hip-hop culture. Advances connecting the school curriculum to able material presented in a contextualized in Physiological Education, 91(6), 88–92. hip-hop cultures…” These connections manner that speaks to their learning style. Petchauer, E. (2009). Framing and reviewing hip-hop educational to real-life situations and familiar research. Review of Educational Research, 79(2), 946–978. I offer these three frameworks to enter into matters reinforce the importance of Stovall, D. (2006). We can relate: Hip-hop culture, critical pedagogy, creating CRP/CRT approved lessons. Since student-centered learning as a means to and the secondary classroom. Urban Education, 41(6), 585–602. there is no governing body for Culturally student success. Relating materials to Responsive Teaching (CRT) or Culturally current reality and not to the far-distant Relevant Pedagogy (CRP), each teacher past takes the power away from both has to do their best to seek a higher level of the teacher and the material itself and cultural competence on an ongoing basis.

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were doing the work. I do have to admit, Music Education Advocacy the number of video submissions decreased as the semester progressed. The pandemic in a Pandemic: The Importance was the car accident, and lessening partici- pation made me fear the damage might be of Community in Music Ensembles beyond repair. By Timothy Todd Anderson, Minuteman Marching Band Director, UMass Amherst Still, there were well over 200 students actively participating on Zoom to the very end. The glass-half-empty says that’s 50% attrition from the last performing UMMB. “Mom, Dad, I wrecked the car.” A quick check of our student enrollment But the glass-half-full answers: that’s 200 confirmed my fears. What was a band of students choosing to be part of a band that Those words, or a slight “band director” 400 students when we last took the field never meets in person. It depends on how variation on them, have haunted me for in November 2019 was now 100 fewer. It you choose to look at it. What I learned most of the past decade. felt like my 10-year fears had come true. was that while learning music and practic- “Mom, Dad, I wrecked the car.” I didn’t feel I have often equated becoming director ing marching via Zoom serves a purpose, like it was my fault; the pandemic was the of the UMass Amherst Minuteman the number one benefit by far of ZooMMB equivalent of a head-on collision, and the Marching Band in 2011 as being given was building of community. With all due result was the same: the ramifications of the keys to a high-performing automobile. respect to our colleagues in other areas, the pandemic threatened to be to the total For the preceding 30 years, Professor music classes are in a unique position to car wreck of the Minuteman Marching George Parks, Thom Hannum, Michael do that. Be it high school or college, we Band. Not a cheery prospect for the one Klesch, and countless students had built are one of the few classes that combines who held the keys! the UMMB into an organization of students from all different grade levels. At national renown. In following in Prof. When asked how Zoom Band went (or, the collegiate level, music courses bring Parks’ footsteps, I have consistently been ZooMMB, as we call it), my standard together students from a wide range of haunted by the voice in my head that response is, “I’m not going to lie and say majors. Community already was happening warned, “Don’t screw it up! Not even a it was as good as normal, but it went way in normal days, through the act of creating scratch.” Fortunately, the organization better than expected.” Not everything a musical performance together. But what seemed to still be thriving, and that is worked; we tried to find ways to teach I learned through ZooMMB was how vital because of the incredible structure Prof. marching basics through a computer and community was, especially when there is Parks created, the tradition of excellence have students practice on their own. We no performance to create it. Each Zoom that was built, the continued superb played together, from one student playing session started with activities through teaching and example of colleagues unmuted and everyone else playing on which students could get to know each such as Thom and Christine McHugh mute, or with me playing an mp3 created other. For every Zoom section rehearsal, Sirard, and the devotion of the wonderful on Finale with a click track. As we all our student leaders were instructed to take students in the band itself. know by now, it’s really anyone’s guess time to check in on each other. Sure, there how much student participation there is. were musical goals outlined for each day, And then March 2020 happened, and Like many of you, we had regular video but it didn’t take long to discover how everything changed. I know our program playing assignments to verify students secondary those were. Now, more than ever, is not alone in this. So many of us saw students need to feel a part of a community. programs impacted: student numbers decreased; performance calendars thrown If a student felt a connection, felt a part of out the window; entirely new curriculums developed. I found out in early July that a community, didn’t feel alone, then ZooMMB the Minuteman Marching Band would worked. Students had found something that be a fully virtual class for Fall 2020. The task ahead: try to create something that made their challenging lives a little better. will keep students involved and interested If that happened through playing an instrument, till we could do band again “for real.” Where to even begin? How do you interest great. But if it happened solely because our classes students in a band that never meets in existed, that’s fine too. The act of being there, person, that doesn’t play together, and that requires, after long days of Zoom of being part of something, was as worth classes/staring at computer screens, to do an outcome as anything musical. it for yet another class?

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I think we all do, especially when you who has yet to set foot on the UMass only see each other through a screen. I What students need campus, told me ZooMMB helped him would love to say that everyone in the feel a part of his university. It’s comments completely online Minuteman Marching now is community. like those that justify why we do what Band could play these five scales, perform That’s something we, we do. Much (if not all) of the cause for these rudiments, execute these color guard ZooMMB’s success was our student leaders. fundamentals. While I’m certain of Thom as music educators, Our drum major team of Anna Pless, Zoe Hannum’s students could indeed perform have a unique op- Stinson, Victoria Lee, Zoë Cohen, and those rudiments, I didn’t mind if musical Daniel Cuoco really embraced the chal- goals went unachieved. If a student felt portunity to provide. lenge of online band and went above and a connection, felt a part of a community, By creating/fostering beyond in their level of commitment to its didn’t feel alone, then ZooMMB worked. success. Online band requires a ridiculous Students had found something that made community now, there amount of enthusiasm to give students a their challenging lives a little better. If that will be that nucleus reason to be there, and it would not have happened through playing an instrument, worked without the perfect tone set by great. But if it happened solely because from which to build these drum majors. They are a wonderful our classes existed, that’s fine too. The act when our programs continuation of the leadership framework of being there, of being part of something, Prof. Parks created so long ago. was as worth an outcome as anything come back. As I write this, UMass Amherst’s spring musical. Those words were a punch to the gut. At semester is less than a week away. We will I must confess that not every student felt a the same time, I also heard from students be attempting an in-person marching band, connection. As mentioned, there were some who said logging in for Marching Band to provide that final marching opportunity who drifted away throughout the semester. was the highlight of their day. In one of for our seniors, who had no idea November One student wrote an e-mail to me telling those moments you just have to share with 2019 was to be their final performance. It me that she felt like an outsider looking in. administration, a freshman from Texas, will also give our new members a taste

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of what we usually do. It will not be the we left off. But all that can be overcome. award-winning Minuteman Marching same as normal; regulations on how many Students will learn to play together, to Band. Dr. Anderson previously served as the people can gather in one area forces the march together, and to perform again. All associate director of bands at California State creation of small-group meetings rather that can wait. What students need now is University, Fresno for five years. In addition than a large band. It will again be around community. That’s something we, as music to his marching band responsibilities, Dr. 200 students—still a long way from the last educators, have a unique opportunity to Anderson also directs the pep band, the concert in-person UMMB. provide. By creating/fostering community band, teaches marching band techniques and now, there will be that nucleus from which conducting, and works with student teachers. The “car” that was the Minuteman to build when our programs come back. During the summers, Dr. Anderson is the Marching Band, of which I was given the conductor of the Amherst Community Band. keys to in 2011? It remains to be seen what And as to that car whose keys I have? It He is a frequent clinician and guest conductor the long-term implications of pandemic won’t look the same the next time I drive with school band programs throughout New damage is. I’m fairly certain we won’t play it. But that there will be a car at all will England. Dr. Anderson holds the bachelor or march like we did in November 2019. be a result of the community created now of music from the University of Iowa, the But isn’t that always the case? Prof. Parks through Zoom Band. So Mom and Dad, master of music in wind conducting from used to start Band Camp by showing the it turns out the car isn’t wrecked. It’s just the University of Florida, and the doctorate previous year’s field show. He would tell taken on a different look for the time of education in music education from the the new members that that was a great being. • University of Illinois. His career began as band, but they couldn’t be part of it. Last Timothy Todd Anderson an instrumental music teacher in the West year’s band was over. What they could do, has been at the Univer- Marshall Community School District of though, he would say, was be part of the sity of Massachusetts State Center, Iowa. Dr. Anderson resides in next great band. That idea will never be Amherst since 2011. He Amherst, Massachusetts with his wife Jennifer more true than the next time our programs is the director of the and their cat Gatsby. come together physically. Undoubtedly more than 390-member, the work will be hard. I am sure we will all lament how far we are from where

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Reflection, Resilience, Redirection: Here is what they had to say. What have been the most helpful resources for Four Educators Share Perspectives you as you taught in this new environment? By Faith M. Lueth, MMEJ Choral editor George: Music teachers around the world are so generous. They share the websites, activities, games, and resources that they have either created or discovered. I’m connecting with them much more than I This has been a year when music teachers have demonstrated their would under normal circumstances. My usual “go-to’s” are YouTube, Jamboard, and creativity, resilience, and perseverance. In spite of being stripped Pear Deck (a Google Slides add-on). I’m cur- almost overnight of the opportunity to do what we love in the rently looking at Upbeat as a way to better way that has brought the most joy, choral educators have reflected, connect with my elementary band kids. dug in to learn new ways of making and teaching music, and they Sara: Our school district uses Google have freely collaborated with colleagues near and far. The generous Classroom, and we have been able to link many different resources to our classroom, sharing between music educators has probably been the most posi- in addition to the Google Classroom Suite. tive aspect of the last year. We have learned that we no longer need • Screencastify has been a great extension to wait for district events or All-State to network and share with for students to have repertoire explained others. Several teachers have commented that this collaboration and to them. Even post-pandemic, I hope sharing on a regular basis should continue. to continue to use Screencastify as a resource for students who are absent The purpose of this article is to summa- from class or who need extra review. rize some valuable resources for the choral • Pear Deck has been a great way to check classroom and to provide some insight in on student engagement in real time. on teaching during COVID and post Students have the opportunity to share COVID from some of our colleagues. confidential or shared answers with the We have been forced to reflect on what we teacher. do and how we do it. Many of the new • Flipgrid has been an easy way to hear strategies you have developed and the students sing. Students can choose to realignment of your priorities and new George Vallatini, Sara Carson, share their camera or not. (Most share pedagogical approaches will continue Eliot/Broadmeadow Chenery Middle their camera.) The teacher can give post-COVID. In that time when we Elementary Schools, School, Belmont direct feedback to students on their Needham are again able to be surrounded by the performances. richness of voices singing together, we will keep the good things we have discovered, Matthew: We have been entirely remote disregard some of the old that needs to go, since the beginning of the school year. and continue to stretch ourselves in new Our online learning management system, ways of learning and teaching. Schoology, has been an invaluable tool for my instruction. It allows me to post Perspectives of Colleagues course materials, resources, and assign- I asked some of our MMEA-member ments, while syncing with the gradebook teachers to respond to just a few questions. in our student information system, They represent elementary, middle, and Infinite Campus. Schoology is very user high school teaching. I am grateful for Matthew Cunningham, Carol Forward, friendly and even allows you to create Brockton High School East Longmeadow self-graded assessments and record audio/ their generosity. The teachers who shared High School their thoughts are: video feedback for student assignment submissions. Our district also purchased

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a subscription for MusicFirst, which allows In addition, professionally I hope to con- me to customize lessons and units of study We are overly product- tinue establishing connections with music and provide individualized feedback. driven educators, by colleagues and collaborate on projects with educators from across the state and across Carol: I think the most helpful resource nature of our discipline. the country. that we have had is each other as music colleagues. This environment can be so Remote instruction has Was there something that brought you isolating, and being able to post a question allowed me to joy—something most memorable as you have taught during this time? on a music education forum in Facebook or focus more on the pro- text/email a colleague with a question have George: For me, the goal of every music been the greatest resources for me. I have cess with my students— class is joy. Music brings me joy. I love been able to share lesson plans, resources, a shift which I hope playing my ukulele and singing with kids and ideas with several colleagues during over Zoom. I love jumping up and down this pandemic that I would never have will transfer into the and dancing with kids. I love seeing and thought about doing if I was still in my post-COVID era. hearing students’ creativity. I love see- classroom in the “old normal.” ing the spark of understanding in their eyes. I love hearing them say “thank you” at the As you have adjusted to new ways of teaching, cal greeting card, and more. It has been so new priorities, what will you carry forward with end of every Zoom class. you in your teaching post-COVID? exciting to see what the students pick, and I’ve learned so much about the students and Sara: It has brought me joy to share more George: I will never again take being their interests from these assignments. music beyond the standard choral reper- together for granted! I miss it so much. toire. I love choral music, and I’m grateful Will we ever be able to sing and hold hands Matthew: I have been using the breakout that we can continue to learn choral music. and play band instruments in person again? room feature on Zoom on a daily basis for I am also finding that by not having the sectionals and discussion groups. This pressure of concerts, I am able to pay more Sara: Social-Emotional Learning has been feature has been transformative in creating attention to individual students and their at the center of teaching this year. I’ve also a sense of community in my classes online. own vocal and social emotional growth. been thinking a lot about the middle-level Too seldom during in-person instruction do Now that our students are one to one, it learner. At this time, so many of our we allow students to work in smaller groups has been refreshing to hear from more students begin to separate “school music” during our ensemble classes. The more students on a personal level. I have loved from “real music.” The time to slow down frequent sectional work has allowed my hearing them individually sing on Flipgrid without the pressure of concerts has been student leadership to hone their musician- assignments because they also will say able to bridge that gap. ship skills while fostering independent “hello” and some of them even analyze their Our district has asked us to give about musicianship in my singers. We are overly own performances. I love hearing about 30–45 minutes of homework a week. The product-driven educators, by nature of our their interests and how they are doing in students are not used to having a lot discipline. Remote instruction has allowed this incredibly challenging time. of homework in chorus, and it was our me to focus more on the process with my Matthew: Like all of us, I am grateful to responsibility to come up with work that students—a shift which I hope will transfer work with wonderful kids. Their resilience was engaging and exciting for students. My into the post-COVID era. has been inspiring, and their spirits colleagues and I collaborated and thought Carol: As a high school choral director, continue to lift mine each day. A few deeply about how we can make this work I have often focused my units around memorable moments come to mind. On enjoyable for students. As I was planning concerts and performances. This year we Halloween, they all dressed as me, and for this year, I kept thinking about how have had no ability to do performances used candid pictures of me (many of which difficult it must be for the students to in person, so my focus changed to what I have no idea from where they came) as relearn school in the midst of a global I could do to make my students better their virtual backgrounds. It was quite pandemic. What will they take away from individual performing artists. We added the sight! Also, on the last day of school their choral experience during a pandemic solo performances for each other in class, before the holiday break, they all logged ten years from now? For this homework repertoire selection, conducting, and into our Zoom meeting with their cameras assignment, my colleagues and I decided to much more sight reading than usual. The off. When class began, they all turned create a Choice Board for students. They students grew in their own understanding their cameras on at the same time to reveal can choose what interests them the most. as musicians, and it was nice to see their handmade thank-you signs and messages of Sure, we have the traditional “practice reflections evolve as the semester went by. gratitude. Needless to say, my view of the chart” for the students to complete, but screen became a bit blurry after that! we also have choices such as Video Game As far as my planning goes, I will definitely Music, Musical Theatre Corner, Artist be continuing to use some of the apps that Carol: Every day I start the class with a Choice, Listening Journal, creating a musi- I discovered in the future, such as Flipgrid, “quote of the day” from a little calendar that Edpuzzle, and Soundtrap.

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I have. This year, we took a minute at the they hear a piece of music (popular, jazz, George: I am using more multicultural beginning of each class to discuss the quote rock and roll, R&B, etc.) that relates to this resources than I have in the past. My and find a way to make it more personal theme with a “question of the day” that current favorite picture book is Your Name to them. With us being in different places relates to the song. For example, when we is a Song, by Jamilah Thompkins-Bigelow. and fully remote for most of the semester, it listened to the song “Here Comes the Sun,” I am reading it in my K–2 classrooms, and served as a good way to still connect with the students were asked about a time when then I use it as a Feierabend Arioso activity, my students. It brought me joy to spend they worked through a hard time. These and have each student make up a song for that few minutes per class talking candidly are optional questions that are shared only their name. with them like we would have done if we with the teacher on the Pear Deck. Even Sara: By incorporating a “Song of the were still in the same space together. if a student doesn’t respond for me to see, Day,” I have been able to highlight artists the hope is that they will think about it on 4. What have you incorporated into your of color as well as background behind their own as they enter. teaching in terms of SEL? Successes? the songs that we are listening to. Many George: I use mindfulness exercises in Matthew: I have woven SEL-themed artists are involved in social justice and every class, either at the beginning or units into the school year. During the political causes, and the students have been end. I also take the time to make personal first few weeks of school, I taught a unit receptive to receiving this information and connections with students, asking them on resilience. We learned Abbie Betinis’ asking questions about the artists and the how their families are doing, or what they “Resilience” from the Justice Choir Song- contexts in which the artists performed. have done for fun recently, or about their book, watched TED talks on the topic, and We can then relate these themes to our pets. Pets are big! The other day Teddy, a discussed in small groups why the theme repertoire. Our repertoire selection during third grader, kept his camera off during was relevant this year. We did similar this time is critical. We are not performing class. This was very unusual for him. Teddy units on leadership, motivation, happiness, our repertoire in concert, so we have the is a bit of a class clown, always smiling and etc. Also, every Friday during the last 15 freedom to spend time really digging deep looking for an opportunity to crack a joke. minutes of class, we share our “highs” and into the pieces and their backgrounds. For I clicked the “ask to start video” button, “lows” of the week. Some students who example, we learned the piece “Dream and he clicked, “Teddy will start video don’t participate all week will speak out Keeper” and had conversations about later.” Five minutes later I chatted, “Teddy, during this time because they feel safe Langston Hughes and the Harlem Renais- please turn on your camera. I miss seeing enough to share their most vulnerable sance. I have learned so much from my your face!” He chatted back, “Why?” I moments with the class. We celebrate students while having these conversations. one another in our joy and support one replied, “Because you always make class Matthew: This year, I have been even more another in our struggles. I have arranged more fun.” Teddy never did start his aware of the repertoire I select for my weekly check-ins with students after camera during this class, but I’m glad that I ensembles, to ensure that underrepresented school and assigned all our new singers an had the chance to privately chat with him. populations are being included in our pro- upperclassman mentor. Our SEL needs will gramming. I have selected more works by Sara: In our current schedule, I see our continue when we go back in person. Even composers of color, LGBTQ+ composers, students two or three days a week. When if (and when) things go back to “normal,” women composers, and have chosen pieces I see them on Wednesdays, our classes are we must not relegate SEL to just another with themes of hope, justice, tolerance, and shortened. Last year, during our shorter DESE-imposed acronym that gets tossed equity. We frequently have very robust Wednesdays, students would work in small around. It must be at the very core of our class discussions about the meaning of the groups with “Work Together Wednesdays.” instruction. This year, I have taken that to a whole new pieces and how the themes can be seen level. We are dedicating our Wednesdays to Carol: I think everything I do has to center in today’s world. I have found that giving community building and social emotional around SEL!! Being in the arts, part of our students the opportunity to let their learning. Some days are silly, and some what we need to teach our students is to voices be heard in a safe and supportive days are serious. For example, one day FEEL—how to create emotions, tell a environment is effective in creating a more could be “would you rather” questions and story, etc. I’ve tried to get the students to inclusive music classroom. We cannot let another day could be a lesson on gratitude really dig down into the translations or the social justice issues of our world be or mindfulness. SEL is also incorporated meanings of the poetry that we have sung the metaphorical “elephant in the room.” on a daily basis. Each semester, we’ve had a this semester to help them understand Students want and need to talk about different theme that guides our repertoire what the singers were going through and to these issues, and our classroom is often the and listening. For example, during this first hopefully realize that we all have the same place where they feel the safest to do so. In semester, we worked through a theme of thoughts and feelings at some point in our preparation for our return to school, I have “Music through Challenging Times.” All of lives. closely reevaluated my classroom decor, our choral repertoire related to the theme. How have you changed your curriculum to policies and procedures, and curriculum In addition, when students enter class daily, incorporate teaching about social justice and to ensure it is representative of diverse how our art form can help heal our world? backgrounds. I want to create a classroom

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where every student can see themselves • ChorAmor • Matthew Gawronski represented. https://www.choramor.com https://matthewgawronski.com/choir- This resource is FREE and is a treasure resources For those who have little faith in the future, trove for teachers at all levels. In addi- Matthew Gawronski has both free and I say look no further than our students. tion to Advocacy, there is a Resources for-purchase resources for choir. Tools They possess the tenacity, compassion, and section that includes a Shared Folder of include interactive sight-reading videos courage to create real progress and heal our All Resources, Training Videos, Editing and followup quizzes. He has resources weary world. Each time they share their Practice Resources, Methods Resources, for younger choirs. gift of music with others, they add a little Copyright Resources and a Free more light, a little more beauty, and a little • Google Surveys can be used to check in Resources List. All of the newsletters more hope to our world. This alone defines with students one on one. Google has a are archived. This is invaluable and has their superior potential. How fortunate we feature to create customized surveys to something for every level. are to call them “ours.” allow individual check-ins with students. • ChoralTracks It can be anonymous or it can require Carol: I teach a history of rock and roll https://choraltracks.com the student to add their e-mail. class that really speaks to the social Matthew Curtis (formerly of justice issue in so many ways. Showing The greatest resource is colleagues Chanticleer) has a full library of about students how the black musicians of years working together to provide the best for 15,000 pieces of literature. He can also past were suppressed and not given the their students. Music teachers entered customize and record any piece that is acknowledgement that they deserved for the profession because of their love for not currently in the catalogue. Each their contributions to the musical art forms music and their desire to make a positive part recording includes accompaniment, of America has turned into a big part of my impact in the lives of students through recording of balanced parts, and a track teaching. I have tried, especially in the last music. Every day, music teachers wake up of each part predominant. The singing few years, to show students that music from determined to make a difference in the is excellent and demonstrates the correct all cultures has contributed to what we lives of their students and look for creative diction. listen to and how we react to things today. ways to overcome incredible obstacles. Showing students how music influenced • Edpuzzle Teaching music has always required that we certain eras in American history, and, https://edpuzzle.com effective advocate for music as an integral conversely, how the social injustices in our Edpuzzle is a great way to track what part of the curriculum. In the past year past influenced the American music, have students are watching. It allows a choral educators have persisted in finding been a huge part of exposing students to teacher to embed questions and has creative ways to teach music in a way that alternative points of view so hopefully we the option to set the viewing pace (so makes the quality of life of their students can work together to bring about positive students can’t skip ahead or watch at better. Their reflection on past practices change in our community. twice the speed). It connects easily with and setting new goals and approaches to Google Classroom. teaching has impacted the lives of students There are many resources that teachers have in the way that only music can. found useful for the choral classroom. We • Upbeat have listed some of those below. https://upbeatmusicapp.com I have enormous respect for my colleagues Upbeat is a way for students to record in the profession and am humbled by their • Music First offers a variety of resources, their parts on the same day/same class creativity, care, and resilience. • lesson plans, and sight-reading practice. meeting and Upbeat will align the It also offers the option for additional Faith Lueth teaches at videos/recordings to create an ensemble add-ons such as sight-reading factory, Berklee College of Music video. There is also an option (for an SCubed (sight-reading), and My Choral and Gordon College additional price) to remove the water- Coach. and is the MMEJ mark to use as a virtual choir recording. • My Choral Coach Choral Editor. • Flipgrid https://matchmysound.com/my-choral- https://info.flipgrid.com coach/ Teachers are raving about the ability This offers a way for choirs to practice to use Flipgrid for classes and also literature with built-in part recordings auditions. and accompaniment. You can access repertoire from GIA and Walton, as well • TpT for icebreakers/SEL as Bach chorales and other published https://www.teacherspayteachers.com music. Teachers can upload their own TpT has many resources, including music and examples. Students can already-created SEL tools and icebreak- upload their recordings of assignments ers. and receive evaluation and feedback.

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5. When there is follow-through and Inclusive Music Education: when the staff all agree to continue to reflect on how effective the inclusion Where Do I Start? has been and can continue to be. By Adam Calus, Boston Conservatory at Berklee If the process is rushed, if the systems put into place are mismanaged, if there is no follow-up and continuing discussion around practice and effectiveness, if there aren’t resources, if it begins to become “In order to be a competent music educator and do the heroic job often harmful, it isn’t right for the student. Again, demanded, teachers must be prepared to differentiate instruction to meet we as educators are working towards what the needs of an increasing variety of people” (Salvador, 2010, p. 28). is best for our students. That could mean supporting a student with an inclusive While there is no one right way to teach all student, these inclusive music education experience, or deciding not to because it students, there is a lot of great information practices will and should look different would better support the student’s learning. out there to give the music educator some depending on the needs and strengths of Where Do I Start? Being Real With Yourself strong tools with which to build a more those teaching and learning music (Ham- inclusive practice. mel 2017; Hammel & Hourigan 2017; In order to assess their readiness to serve Scott 2017; Jellison, 2015; Sobol, 2017). all learners, it is essential that the inclusive What Is Inclusive Music Education? music educator reflect on how prepared The inclusive music classroom provides Is Inclusion the Best Fit for the Student? they feel to begin this type of important a number of opportunities for students Too often, this question is not asked when work. It is too often stated by some of the to succeed academically and behaviorally including students in music classes. Too field’s most prominent writers that music (Darrow, 1999; Sobol, 2017; Jellison, 2015; often, schools continue to implement educators are not being prepared properly Darrow, 2009; Darrow, 2013; Scott, 2017; approaches for the sake of implementing in their college studies to handle all of the Hammel & Hourigan, 2017; Hammel, approaches. For inclusion to work right, it different aspects of creating an inclusive 2017; VanWeelden & Whipple, 2007). If has to be the best fit for the student. It has music space (McCord & Watts, 2010; inclusive education is ensuring that all to be a part of creating the Least Restrictive Hammel, 2001; Darrow 2009; Darrow, students have access to all of the support Environment (LRE) for the student and 2013). Educators who are more reflective on and services they need to participate support their learning goals. Inclusion their practice have been known to be more fully in general education activities and should be working to benefit the student effective throughout their service (Lind & curriculum, simultaneously reaching their and make their school experience more McKoy 2016; Edmin, 2016; Hammond, maximum potential alongside their peers, meaningful, not the opposite. Based on 2015). It is for this reason that the inclusive then inclusive music education is ensuring my teaching experience with students with music educator could ask themselves the these practices are being implemented moderate or severe disabilities, students following questions to assess their own in the music classroom. Jellison (2015) should be included into general education readiness to teach to all learners: states the following about inclusive music classrooms when: • What do I know about special educa- education: 1. They will be able to meet their aca- tion? The goal for inclusive music education demic and social goals from their IEP • What do I know about learning classes is for all students to participate more effectively. disabilities? happily and successfully. Achieving 2. When everyone agrees. When the that goal becomes possible when the • What do I know about mainstreaming student (when possible), parent of the teachers design accessible, effective and inclusion? student, and all teachers working with music programs by (1) creating a the student meet and decide together • What do I know about universal design quality music program and culture of what the outcomes, pros, and cons for learning? inclusion; (2) gathering information would be from this experience. about their students, their music • What do I know about culturally teaching environment, and activities; 3. When the resources are there to support relevant education? (3) planning and implementing flexible, the learning experience. • Do I know the difference between an effective instructional strategies in a 4. When the general education teacher accommodation and an adaptation/ universal approach to meet students’ feels confident in being able to support modification of something that happens needs; and (4) assessing (p. 142). the student. in my music class? From school to school, classroom to • Do I know what type of classroom setup classroom, teacher to teacher, student to is best for my students?

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A music teacher’s attitude has an impact on Know Who Your Students Are: The Investiga- 3. Speak with the student’s parents or the way they create positive learning experi- tive and Collaborative Process other caregiver about how to best serve ences for all learners in their classroom “Getting to know individual children reveals the student. (McCord & Watts, 2010; Jellison, 2015; the personal characteristics that make them 4. Speak with teachers who have had the Darrow 2009; Darrow, 2013). Negative who they are. And children who are more student in the past. attitudes about students with disabilities in understandable as individuals are more the music classroom may stem from lack of teachable as learners.” (Jellison, 2015, p. 2). 5. Speak with any partner organizations information, prior experiences, or difficult or other service providers outside of situations that remain unresolved or were Knowing your students is arguably the school that may be supporting the unsuccessful (Darrow, 2009). The inclusive most important thing that will inform student. music educator has a responsibility to be how you work with them. Getting to know 6. Look at the student’s IEP, IEP at a conscious of the way they are treating all glance, or other documentation there students. Positive attitudes of both teachers may be on the student. and students can be easily developed in The inclusive mu- a number of different ways in the music sic educator has a The inclusive music educator unsure of classroom. The inclusive music educator where to start in the investigative process could consider the following questions responsibility to be could start with these things listed above. when reflecting on their own attitude Keep in mind, once you know who your towards students with disabilities or when conscious of the way students are and where you are challenged reflecting on an experience they had during they are treating all in serving them, some questions to ask oth- a music class: ers will arise. Reflect on how all students students. Positive at- are doing in your classes, ask yourself what • Have I ever worked with students with a you need to know about them to serve diagnosed learning disability? titudes of both teach- them better, and find that information out • Am I seeing my students for what they ers and students can in a way that is meaningful to you. can do or for what they cannot do? be easily developed in Getting Started • Am I using person-first language when thinking about and reflecting on my a number of differ- Whether you are just getting started in students with disabilities? your practice as a music teacher or you are a ent ways in the music veteran trying to serve your students better, • Do I treat all students in my class fairly there are simple ways you can go about or and appropriately? classroom. adjust your practice to be more inclusive • Am I focusing on positive or negative in the music experiences you create for all your students. Remember, being more interactions with students in my music who exactly your students are will be an inclusive in your music education practice classes? investigative and collaborative process is less about what you are teaching and (Hammel & Hourigan 2013; Jellison, 2015; • Do I have a positive attitude, language, more about how you are teaching it. There Scott, 2017; Hammel & Hourigan 2017; and level of respect around all my are a number of great music teachers in the Miceli et al., 2006). In order to understand students? world, but, as mentioned many times, some their students better, the inclusive music just aren’t prepared to serve all learners Reflection is an important part of an educator could: educator’s practice and it starts preservice. (especially those with disabilities). This lack The music educator should make it a point 1. Work hard to find the student’s of preparation doesn’t come from a music to enter their service with an open mind strengths through positive interactions educator’s inability to teach music. Rather, and understand that they will learn a and giving the student multiple it comes from a lack of knowledge about lot by doing and then reflecting on what opportunities for success in the music disability, Universal Design for Learning, they have done. This process is especially classroom. and other inclusive practices. Get educated. Find out what great educators are doing important in the first years of an educator’s 2. Speak with other staff in their school to reach and teach all of their students. service, as most music educators come about how to best serve the student. Remember that our mission as music into the field not fully ready for what If it is a student with a disability, it educators isn’t to teach some; it is to do all awaits them in schools (Hammel, 2001). is helpful to speak with the special we possibly can to teach all. There are a number of things the inclusive education teacher and other special educator can do to be ready for their education staff about how to best serve In closing, here are some things to consider students, reflecting on how prepared they the student. as you get started or move forward in your feel entering their practice can help. inclusive music education practice:

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1. Consider what you teach. Is it based on Autism Society. (2020). What is autism? Retrieved May 05, 2020, Hammel, A.M. (2017). Teaching music to students with special needs: standards? Is it to skill-build or simply from https://www.autism-society.org/what-is/ A practical resource. New York, NY: Oxford University Press. to create a positive experience? What Autism Speaks, INC. (2020). What is autism? Retrieved May 05, 2020, Heath-Reynolds, J., & Vanweelden, K. (2017). Steps to do your students want to learn? What from https://www.autismspeaks.org/what-autism?gclid=Cj0KCQjw designing authentic assessments for students with dis- 17n1BRDEARIsAFDHFexTXDILnCfdvPd2yiCtiA7L29DpvgnHLtnD_dLk- abilities in music classes. Music Educators Journal, 104(2), 27-31. does the school want you to teach 5v2AVUGP7ZzZqWIaAgVGEALw_wcB doi:10.1177/0027432117733028 them? What are your personal musical Cassidy, J. W., & Colwell, C. M. (2011). University students’ percep- The Hello Foundation, INC. (2019, October 04). Who is on your strengths and abilities and how are you tions of an inclusive music production. Journal of Music Teacher special Education Team? bringing those to the classroom? Check Education, 21(2), 28-40. doi:10.1177/1057083711411714 (FREE PRINTABLE). Retrieved May 05, 2020, from https://thehellofoundation.com/schools/who-is-on-your-special- out Jellison (2015, p. 109) for more CAST. (2018, August 31). The udl guidelines. Retrieved May 05, 2020, education-team/ questions to ask when considering what from http://udlguidelines.cast.org/ Hourigan, R. M., & Hammel, A. M. (2017). Understanding the mind you will teach your music students. Colwell, C. M. (2002). Learning disabilities in the music classroom: of a student with autism in music class. Music Educators Journal, Implications for the music educator. Update: Applications of Research 104(2), 21-26. doi:10.1177/0027432117732386 2. Teach students with the intent that in Music Education, 21(2), 9-16. doi:10.1177/87551233020210020401 every student in your class is reaching Individuals with Disabilities Education Improvement Act, H.R. 1350, Crockett, J. B., & Malley, S. M. (2018). Handbook of arts education PL 108-446 (2004). their maximum potential every day and and special education: Policy, research, and practices. Abingdon, has everything they need to have the Oxon: Routledge, an imprint of the Taylor & Francis Group. Jackson, Y., & Hammond, Z. (2015). Culturally responsive teaching and the brain: Promoting authentic engagement and rigor among absolute best music learning experience. Cross, A. F., Traub, E. K., Hutter-Pishgahi, L., & Shelton, G. (2004). culturally and linguistically diverse students. Thousand Oaks, CA: Elements of successful inclusion for children with significant dis- Corwin, a SAGE Company. 3. Reflect on your practice. Is every abilities. Topics in Early Childhood Special Education, 24(3), 169-183. student in your class getting everything doi:10.1177/02711214040240030401 Jellison, J. A. (2015). Including everyone: Creating music classrooms where all children learn. New York, NY: Oxford Univ. Press. they need to succeed? Ask yourself Darrow, A. (2009). Barriers to effective inclusion and strate- how was today? How was this week? gies to overcome them. General Music Today, 22(3), 29-31. Jellison, J. A., Draper, E. A., & Brown, L. S. (2017). Learning together: How was this month? This semester? doi:10.1177/1048371309333145 The instinct to do good and peer-assisted strategies that work. Mu- sic Educators Journal, 104(2), 15-20. doi:10.1177/0027432117713823 This year? What can you do to be Darrow, A., & Adamek, M. S. (2017). Recent and continuing initia- better? Why did this go wrong today? tives and practices in special education. Music Educators Journal, Kurth, J. A., & Gross, M. (2015). The inclusion toolbox: Strategies and Remember how awesome that was 104(2), 32-37. doi:10.1177/0027432117733029 techniques for all teachers. Corwin. yesterday, why did that happen that Darrow, A., & Armstrong, T. (1999). Research on music and autism Lind, V. R., & McKoy, C. L. (2016). Culturally responsive teaching in way? Consider everything that happens implications for music educators. Update: Applications of Research in music education: From understanding to application. New York, NY: Music Education, 18(1), 15-20. doi:10.1177/875512339901800103 Routledge. in music class, what you can learn from it, and adjust your practice to better Darrow, A., & Hammel, A. M. (2017). Introduction: Maintaining our Mccord, K. A., & Watts, E. H. (2010). Music educators’ involvement proud history of teaching music to students with disabilities. Music in the individual education program process and their knowledge serve all your students. Educators Journal, 104(2), 13-14. doi:10.1177/0027432117734170 of assistive technology. Update: Applications of Research in Music Education, 28(2), 79-85. doi:10.1177/8755123310361683 4. Repeat steps 1–3 forever and always. Darrow. (2013). Culturally responsive teaching. General Music Today, 26(3), 32-34. doi:10.1177/1048371312472502 Miceli, J. S., Sobol, E., Makowski, M. T., & Mergen, I. (2006). A four-way perspective on the development and importance of music Now, more than ever, we must consider Dobbs, T. (2017). Equity in music education: Being “schooled” Learning theory-based prek—16 music education PARTNERSHIPS the needs of the learners in our music on disability. Music Educators Journal, 104(2), 51-53. involving music for special learners. Journal of Music Teacher Educa- spaces. We are in uncharted waters with doi:10.1177/0027432117732313 tion, 16(1), 65-78. doi:10.1177/10570837060160010108 teaching remotely, but that doesn’t change Elkins, J., & Carrington, S. (2002). Bridging the gap between Ott, P. (2011). Music for special kids: Musical activities, songs, instru- inclusive policy and inclusive culture in secondary schools. Support the fact that every lesson we prepare must ments and resources. London: Jessica Kingsley. make space for all. I am confident in the for Learning, 17(2), 51-57. doi:10.1111/1467-9604.00236 Salvador, K. (2010). Who isn’t a special learner? A survey of how Emdin, C. (2017). For white folks who teach in the hood ... and the thousands of brilliant music educators music teacher education programs prepare future educators to rest of y’all too reality pedagogy and urban education. Boston, MA: in our state. As we navigate the current work with exceptional populations. Journal of Music Teacher Educa- Beacon Pr. landscape for teaching we will continue to tion, 20(1), 27-38. doi:10.1177/1057083710362462 Eredics, N. (2018). Inclusion in action: Practical strategies to modify create opportunities for everyone to learn Scott, S. J. (2017). Music education for children with autism spectrum your curriculum. Baltimore, MD: Paul H. Brookes Publishing. music in the best way possible. • disorder: A resource for teachers. New York, NY: Oxford University Fuelberth, R., & Todd, C. (2017). “I dream a world”: Inclusivity in Press. Adam Calus is the choral music education. Music Educators Journal, 104(2), 38-44. Sobol S. (2017). An attitude and approach for teaching music to doi:10.1177/0027432117735875 Executive Director special learners. Lanham, MD: Rowman & Littlefield. Hammel A. M., & Hourigan, R. M. (2013). Teaching music to students of Education through Toshalis, E. (2015). Make me!: Understanding and engaging student with autism. Oxford: Oxford Univ. Press. Music - Massachusetts. He resistance in school. Cambridge, MA: Harvard Education Press. Hammel, A. M. (2001). Preparation for teaching SPECIAL LEARNERS: is currently a student in Whipple, J., & Vanweelden, K. (2005). The effects of field experience Twenty years of practice. Journal of Music Teacher Education, 11(1), the Master of Music in on music education majors’ perceptions of music instruction for 5-11. doi:10.1177/105708370101100103 Music Education program secondary students with special needs. Journal of Music Teacher at Boston Conservatory at Berklee. Hammel, A. M. (2004). Inclusion strategies that work. Music Educa- Education, 14(2), 62-70. doi:10.1177/10570837050140020109 tors Journal, 90(5), 33-37. doi:10.2307/3400021 Whipple, J., & Vanweelden, K. (2007). An exploratory study of the REFERENCES Hammel, A. M., & Hourigan, R. M. (2017). Teaching music to students impact of field experiences on music education majors’ attitudes with special needs: A label-free approach. New York, NY: Oxford and perceptions of music for secondary students with special needs. Allport, G. W. (1954). The nature of prejudice. Cambridge, MA: University Press. Journal of Music Teacher Education, 16(2), 34-44. doi:10.1177/10570 Addison-Wesley. 837070160020105

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The Promise of Artistic Process: Social Emotional Learning (SEL) Aligns the Standards By Scott Edgar, Fran Kick, and Lori Schwartz Reichl, NAfME Members

Most ensemble directors will confirm that performing is the core music standard for which we spend the most time preparing. It’s the ultimate result of the ensemble’s preparation and often motivation. However, the National Core Music Standards in the United States also include creating, responding, and connecting. What happens when the standard of performing is restricted? Will music educators consider other performance avenues, both live and virtual? Or, perhaps we will focus on the three remaining standards with greater emphasis? The promise of artistic process still exists. Are we, as music educators, acknowledging and accepting this?

Reprinted with permission from Music in a Minuet NAfME blog. Click here to access the original post.

“An ounce of performance is worth pounds of promises.” —Mae West The pandemic has limited the ability for performing arts educators and students to perform to the degree we once had. In many schools, reductions have been placed on the quantity of students permitted in a given learning area; restrictions have been placed on how close students can be spaced from one another; rehearsal and performance venues have remained off limits; and opportunities Source: https://www.nationalartsstandards.org/ for performance have been cancelled or postponed. Safety, which Prior to the pandemic, many music educators might have poten- needs to be educators’ moral compass as we continue to move tially painted themselves into a corner by defining music education forward this academic year, is going to dictate how frequently primarily based upon performance success. However, at the onset performances occur and how differently they look, sound, and of the pandemic, if one perused social media one may have seen inspire. music teachers posting in a frenzy about not being able to “do” what they and their students once did: perform. Quotations such as “I have to lower my bar or expectations.” “What will we do now?” and “I’m a band director!” were plastered everywhere. The idea of the concert band, or the concert choir, or the full orchestra, or the dance company, or the full ensemble versus the individual being the center focus of the arts curriculum has permeated for years. Yes, the full ensemble is important. Yet it is the individual musician/performer who is ultimately the primary core contributor in any ensemble. When the individual student performers improve, the entire ensemble will improve. Many performing ensemble directors forget that our licensure is in the field of music education, which involves teaching students how to learn music—not only perform it. It is the individual student Photo courtesy of Music for All & Jolesch Enterprises and their development as a person, learner, and musician that makes any program successful.

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Source: Wayne Markworth and Fran Kick, Centerville High School, Ohio https://player.vimeo.com/video/467523431 When we define our role of “band director” or “choral conductor” For SEL to be effective in teaching students the life skills needed to or “orchestra conductor” as fixers of notes and rhythms in search of navigate their world after they leave our music classroom, it must a clean performance, we’re going to find ourselves, at the very least, be embedded into curricular content. For us, as music educators, not meeting our students’ needs this school year. The trauma our it must be musical. We must make SEL intentional and meaning- students have brought back with them, after months of not engag- ful—it does not “just happen,” and we cannot rely on the inherent ing in a formal educational setting with disruptions to navigate, fertile ground and potential that music education provides to teach requires a different approach to make music education relevant to our students these skills. If we are relying on music to latently our students. We’ve always taught students to be resilient in our teach these skills instead of music educators intentionally embed- performing ensembles. Now, we need to help them to be resilient at ding SEL into their work, we will miss a great opportunity. SEL an individual level for the greater good of music education. is not another box we need to check or another item we need to When performance is restricted, many music educators have squeeze into our time with students. When done well, Musical SEL become concerned about what we will accomplish in our learning (MSEL) should feel like great music teaching! If it feels like SEL is spaces. The pandemic has allowed us to broaden our points of view distracting from teaching music, then we are not doing it optimally, beyond “just performing” and provided a promise to more equally nor maximizing the true power of music. align the remaining standards. This realignment could potentially allow students to individually fall in love with music in a new way! The challenge that we now have is how to build relationships with students if/when we’re not able to meet in person.

Creating a Path to Performance Social Emotional Learning (SEL) is a skill-based approach that can help navigate this transition by building students’ self-awareness, self-management, social awareness, relationship management, and responsible decision-making skills (simplified to the three goals of: SELF, OTHERS, DECISIONS). SEL enables us to respond to challenges instead of reacting to them. Music is inherently emo- tional. It makes us feel. Music is social. It has been a rallying call for humans, always. It is essential that music teachers capitalize on https://player.vimeo.com/video/467525427 the connections between SEL and music. It is our secret weapon with super powers, and our students need it and need music Voice and Choice in the Music Classroom education now more than ever! Two central thoughts are at the heart of SEL when troubleshooting this concern. We need to honor our students’ voices. Maybe we “If we are relying on music to haven’t provided a space to amplify their voice and vision as much as we should have in the past. However, now we can ask students latently teach these skills instead what they want out of their musical education. What can they bring to the table? What can they do to help our programs thrive? of music educators intentionally Then, we need to give them choices. Oftentimes our students, embedding SEL into their work, while highly effective at working well within our programs, gener- ally do not have a lot of choices. If we can start to unpack voice and we will miss a great opportunity.” choice, then our students will still have the ownership and pride we have come to develop as an entire ensemble. Students will be

22 | MASSACHUSETTS MUSIC EDUCATORS JOURNAL VOL. 69 NO. 3 | SPRING 2021 IN-OVATIONS BACK TO TOP energized and inspired to contribute productively to our programs analyzing the social, cultural, and historical context. Ask students by building relationships in new, unique, and more individualized to elaborate on the following prompts: ways. • Explain what music you have chosen to Aligning the Standards listen to or perform recently. How can we utilize SEL to align our music standards (when • Identify reasons for selecting this music. performing is restricted) and allow students to have a voice and • Interpret the expressive nature of this music. choice in our program? Consider these strategies: • Identify the effect the music is having on you. Creating. Use the essential questions from the national music standards to form lessons, produce writing prompts for reflection, • Identify music that is the “theme song” for or facilitate significant discussions with students: a social justice issue you are passionate about. • “How do musicians generate creative ideas?” Connecting. Make meaningful connections to real-life scenarios. Many authors, composers, and performers have admitted to • “How do musicians make creative decisions?” experiencing writing/performance block during the pandemic. • “How do musicians improve the quality of their creative work?” They have shared the reasonings for this, how they have overcome it, and the motivation that has inspired them to write, compose, • “When is creative work ready to share?” or perform again. Invite these artists into your learning space (face-to-face, virtually, or through a recording) to share their personal interests, experiences, ideas, and knowledge of creating, performing, and responding. Allow your students to ask questions of these artists. Then, ask your students how they can relate through their discipline, experiences, and daily life. *See www.selarts.org for more ideas to intermix SEL and the National Core Arts Standards.

Photo courtesy of Music for All & Jolesch Enterprises

Fulfilling the Promise The promise of artistic process still exists and can be amplified through SEL regardless of face-to-face or virtual instruction! The strategies of creating, responding, and connecting allow us to honor our students’ voices and continue to build relationships with them. We can acquire the knowledge, attitude, and skills to understand our students’ emotions, help to navigate these emo- tions, establish and maintain positive relationships with them, and provide students with choices to make responsible decisions about Photo courtesy of Music for All & Jolesch Enterprises their music education. While we long for traditional performances Responding. Understand how students are responding to music to resume, we can still achieve artistic processes. We must promise during a global pandemic, a social justice movement, and an evolu- that music education can survive and thrive during times of tion in education. Their responses to music are often informed by uncertainty, even if it looks different. •

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Scott Edgar is author of Music Education Developing Community and and Social Emotional Learning: The Heart of Culture in School Ensembles Teaching Music and is an associate professor of By Gregory Lessard, Scituate Public Schools music, music education chair, and director of bands at Lake Forest College. He received his doctorate of philosophy in music education from Community and culture building is critical for the success of the University of Michigan, his master’s degree in education from the University of ensemble directors during the best of times. It is even more Dayton, and his bachelor of music in music important during this adventure of COVID-19 as well as political education degree from Bowling Green and social unrest. This challenging period requires much planning, State University. great creativity, and tremendous flexibility. This article offers Fran Kick is the author suggestions for building esprit de corps within your ensembles. of What Makes Kids Kick and since taking an Recognize that your students are human and that they have something in common educational leave of absence beings with a great range of emotional with you. Sincerely greeting your students from teaching instrumental and physical needs. They are in your only takes a few seconds to a few minutes, music, developed a part- ensemble to make music, but they also yet it is often the most important thing time speaking adventure into a full-time want to be part of something bigger than you do all day. mission. Today, Fran presents virtually and themselves. The students want to be cared in-person more than one hundred programs for, and they especially want to care for Remote learning has made it very every year across the United States and others. Even the hardest-to-reach students challenging to stay connected with my Canada to thousands of college/university, truly want to be connected to their peers and students in the Gates Middle School high school, and junior high/middle school to you. It is our responsibility not simply to 7/8 Grade Band in Scituate. Chatting students, plus the many people who work make great music, but to help our students with kids in the hall, having band lunch, with them. He has his B.A. in music become great people. band parties, field trips, before and after education and a M.A. in educational school jams etc., are not options right Greet all of your students every time you psychology. now. In an effort to reach out, I have started see them. Start with easy routines. Ask setting up evening Zooms with each of Lori Schwartz Reichl has them what they did on the weekend. A my students. These sessions are just simple parlayed her experience great conversation starter is “What did you check -ins. “Hi, how’s it going? What can I of establishing and do for fun this week?” That is often the do to help you?” Many students are shocked maintaining music most important question I ask. Take the that one of their teachers has taken the time programs in various time to really listen to your students and to visit with them! educational settings then relate to them. Hold high expectations while being into a portfolio career of serving as an Make the time to get to know your compassionate. Ask the students always active adjudicator, clinician, conductor, students personally. Do you really know instructor, speaker, and writer. Lori is the to do their best. Understand that their your students? Can you go beyond best will vary from day to day. Support author of over 60 articles and interviews knowing their name and part? Do you for an assortment of education publications. them as they learn to be more consistent as know their friends, hobbies, family, pets, musicians, and people. Be sure to let them She is well known for supporting the academic strengths and weaknesses, hopes mentorship of educators and motivation of know that it is OK to make mistakes. When and dreams? Or are they simply your they do make mistakes, help them learn and K–12 and collegiate students. Learn more third best trumpet player? If your students about Lori at MakingKeyChanges.com. grow from them. Above all, have fun. If the are excited about building a go-kart, get students are not having fun, many of them excited with them, even if you have no will begin to look for other opportunities. interest in go-karts. If you can relate to building a go-kart, share your story. Maybe Students need a purpose. Your ensembles you don’t even know what a go-kart is; you need a mission. Performing great music can simply share what you did for fun over at your next concert is a good start, but the last week. Sharing your stories will help is not enough. Asking the audience to your students realize that you are human donate canned food as admission for your concerts is a great way to support

24 | MASSACHUSETTS MUSIC EDUCATORS JOURNAL VOL. 69 NO. 3 | SPRING 2021 INSTRUMENTAL BACK TO TOP your local food pantry. It will also show your stepped up to cover a solo for a sick friend Section leaders and drum majors drive students that they can make a positive impact at the concert. Students are always doing your ensemble forward. The good ones on their community with their music. outstanding things. Try to catch them in the know as much about your group as you act! do. Many times, the leaders are fixing Marching the Memorial Day Parade is problems before they become disasters. first and foremost about honoring the Make a big deal of these awards while Developing trust and responsibility among veterans in your community. Spend some presenting them. Take the time to explain your student leaders spreads to the entire time discussing why we live in the greatest why the student earned the award. Thank ensemble. The section leaders, through many country on earth and how our democracy the student for being kind or outstanding. training sessions, know that their job is to has been preserved by men and women Encourage others to behave the same way. serve the other students in the band, not the willing to sacrifice their lives for all of This repeated attention to positive behavior other way around. They take great pride in us. Each spring I march my band to the will pay huge dividends for your students helping others. Through their service, they local veterans’ cemetery. When we arrive and your ensembles. earn respect from the rest of the band students. at the cemetery, the students see the flags This allows the section leaders to lead. and gravestones of hundreds of men and women from their local community who It is our responsibility It is not an uncommon sight in our middle served our country. Their military service school band rehearsals to have a student on and sacrifices allow us the opportunity to not simply to make the podium directing the entire operation. study music and be free. great music, but to help Section leaders hold extra rehearsals and serve as a resource for the other students. Students Perform music for the seniors at your local frequently learn better from other students. nursing homes. In 2019, I was pleasantly our students become Have you noticed it often takes you several surprised when the students in our top jazz great people. tries to explain something and the students are band declared that they weren’t interested still unclear as to what you are asking of them? in performing at the next competition. Then, almost as if it were magic, a student Instead, they proposed visiting the nursing says exactly what you were saying and the homes in town to perform for the seniors Encourage your students to participate whole room suddenly understands! Students again. They reasoned that would be a in honor ensembles. Every student who teaching students is a very powerful method better way to share their music. As 13-year- attends a music festival returns with a of education. olds, they understood the value of their heightened sense of excellence. Encourage music and wanted to give it to those who them to share their experience with their Several years ago, our school hosted the would cherish it most. There are countless peers. The students are often eager to share Sr. SEMSBA music festival. I wanted my opportunities to enable your students to the amazing exercises that the conductor 7/8 band students to attend the Senior help and interact with their community. did during the festival. Adopt these new SEMSBA Band rehearsal. This would be a warmups and techniques into your rehearsals. Create rewards that are not about musical great source of inspiration for the middle ability. I use several weekly awards to Engage student leaders in your ensemble school students. There was one problem. I inspire the qualities that I would like to see with real responsibility. You are not able would be very busy helping host SEMSBA, in my band students. All the awards are to do everything that needs to get done. and I was not available to chaperone. music stands painted by the students. We Assign tasks to your students. Be sure to Fortunately, several teachers were willing have a gold, silver, and bronze stand for the engage all of your students, not just the to volunteer. Rather than have the teachers kids who practice the most each week, and most eager kids. Does your library need to lead the seventh and eighth grade band they are great extrinsic motivators. However, be organized? Do your chairs and stands students, I asked the teachers to hang back the two awards I value the most are the need to be set and then put away? Do your and let the 14-year-old drum major be in Outstanding Stand and the Kindness Stand. music stands need to be tightened? Does charge. She capably took attendance, while that struggling student need some extra reminding the students to behave and to be The Kindness Stand is awarded to a student lessons and maybe a friend? Yes, you are quiet. Once the group was focused, she led who shows kindness to another member capable of doing all of those things, but so her peers from the middle school to the high of the band. Nothing makes our band are your students. Engage section leaders, school auditorium. They traveled quietly better more than the kids who are kind to equipment managers, librarians, publicists, to the rehearsal, sat silently for 45 minutes each other. I look for acts of kindness big photographers, etc. The students you listening to the rehearsal, and headed back to and small throughout the week, and often involve are thrilled to help, and by asking, the middle school without incident. students will tip me off to moments I don’t you are paying them a compliment. You’re catch. The Outstanding Stand is awarded to This student-led field trip was possible not just entrusting them with an important part of because of the drum major’s excellent leader- the student who goes above and beyond to the ensemble. The job will get done and make the band better. Maybe they cleaned ship skills. The trip was possible because every your students will gain confidence, pride, student knew they were an important member the band room, held an extra rehearsal, or and connection to the music community.

SPRING 2021 | VOL. 69 NO. 3 MASSACHUSETTS MUSIC EDUCATORS JOURNAL | 25 INSTRUMENTAL GENERAL MUSIC BACK TO TOP of the team. They knew what was expected, and they took their mission very seriously. Try A Holistic Approach to Education doing that with almost any other class of 65 middle school students and imagine what in the General Music Classroom chaos might ensue. This field trip was also great preparation for our future trip to hear By Lovely Hoffman-Wine, M.Ed. the Boston Pops perform in Symphony Hall!

Conclusion For further reading, I highly recommend “The education for mind and body was also linked to education for the spirit. Therefore, in the writings of Dr. Tim Lautzenheiser. His the African tradition, it is the role of the teacher to appeal to the intellect, the humanity, masterful insights on directing ensembles and the spirituality in [their] student.” —Lisa Delpit and building strong culture have become the blueprint for my career. The Art of Our world is always changing and evolving. In less than a year, we Inspired Teaching: A Blend of Content and have seen significant events unfold that have transformed America’s Context has become my “band director’s Bible.” course. Given the frequency of change in our society, the most I have given copies of it to my friends and colleagues so that they too can benefit from Mr. sensible prediction would be that teachers’ educational training Lautzenheiser’s wisdom. My copy is dog eared would have also evolved. Unfortunately, that is not the case, and and stuffed with sticky notes. Any time I run educational training programs have remained very much the same. into difficulty, I look through those pages and frequently find the solution I am seeking. When we examine our schools and educational institutions, we continue to see that the priority is “teaching to the test” and training As you plan your next concert, look for opportunities to build a stronger culture our students to “pass” standardized assessments. and community. Empower your students in But isn’t education more than this? Lisa So what does a holistic education look music and in life. By helping them become Delpit says educators should “appeal like in the general music classroom? great people, you will concomitantly create to the intellect and humanity” of our First and foremost, students should see great ensembles. • children. In other words, we have the themselves represented in the curriculum. Gregory Lessard is a band responsibility to educate the mind For example, in the music classroom, director in the Scituate and nourish the whole child. Holistic the composers, the genre of music, Public Schools where he education in the 21st century demands instruments, and history must reflect teaches 4th-8th grade that our children see themselves reflected our children’s culture and experiences. instrumental lessons and in the curriculum, that the curriculum is Incorporating a culturally responsive cur- leads 7th & 8th Grade relevant, and that their social-emotional riculum plays a vital role in shaping our Band at Gates Middle needs are met. students’ identity and aids in improving School. In addition, he student confidence and achievement. Representation teaches brass pedagogy Examples in General Music at Bridgewater State “Students bring [background knowledge] University and is an to the classroom every day, including their In one of my music lessons, students accomplished nature culture, language, and life experiences. learn about the origins of jazz, which photographer. Lessard is a graduate of UMass When we acknowledge this background may be considered American classical Lowell and of Bridgewater State University. knowledge as assets and tap into it, we cre- music. Students learn that jazz music’s ate an optimal environment for learning.” origin is West African music and that —Education team at Understood.org elements such as syncopation and We have the responsibility to educate the mind and nourish the whole child. Holistic education in the 21st century demands that our children see themselves reflected in the curriculum, that the curriculum is relevant, and that their social-emotional needs are met.

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improvisation, which are key characteristics to adopt a new approach and be flexible this unit included the current dialogue in of jazz, come from Africa. For many of and willing to adapt to the times and needs America around removing and renaming my Black and Brown students, seeing of our students. monuments and spaces like “Christopher themselves represented in the curriculum Columbus Park” in Boston, which dishonor instills a sense of pride. They feel they are Example in General Music Indigenous Peoples’ plight. Students part of the learning and that they are not In celebration of Indigenous Peoples’ Day, related to this topic and shared frustration just outsiders looking in. This also plays a we honored the stories of Native peoples by about being part of a group that is often vital role in building their confidence and learning about historical and contemporary overlooked and unheard. This lesson was self-esteem when they learn that African Native American musical artists. During not limited to learning about Indigenous Americans developed American classical this lesson, we listened to a performance by music, but it allowed us to have a culturally music—individuals who look like them indigenous hip-hop artist Supaman. The relevant conversation that directly impacts and share their experience. performance included traditional Native their future and lives today. American instruments, spiritual chants, During the holiday season the tendency Social-Emotional is to teach Christmas songs, and too dancing, and hip-hop. We discussed often, diverse holidays like Chanukah and “Our emotions need to be as educated as our Kwanzaa are ignored. In my class, I am Too often we focus intellect. It is important to know how to feel, intentional about teaching students the how to respond, and how to let life in so that history of Kwanzaa and why it is important on teaching “standards” it can touch you.” —Jim Rohn throughout the African diaspora and and following our If there is one thing we have learned during Black community. We learn that Kwanzaa COVID in America is the importance came out of a necessity to reconnect Black curriculum while of mental wellness. Quarantining has Americans to their African roots. Students forced us to be alone and have less human not only experience Kwanzaa through students may question interaction. Our students may feel it the music, but they also discuss important the reason for most because developmentally, they should questions that force them to reflect on their be interacting, growing, and learning with identity, including, “How has learning learning something their peers but instead are isolated. Music about Kwanzaa helped you to learn more is powerful because it is therapeutic and about your heritage? Which principle of they will never use or can help students express their innermost Kwanzaa is most important to you and apply. As a result, thoughts and feelings. Music can help your community and why?” Approaching students cope with these difficult times, education from a holistic perspective is students don’t believe so we have to be intentional about using empowering because it helps students learn music as a vehicle to address their social- about the subject matter and discover so that what they are emotional needs. much more about themselves. learning matters. Examples in General Music Relevance As educators, we have I remember teaching one class after George “Relevance . . . helps students see that the Floyd’s death in which students expressed content is worth knowing by showing how to adopt a new a variety of emotions about the incident. it fits into their current and future frame of approach and be Many of my students felt that what reference.”—Robin Roberson happened was unjust, and it forced them to flexible and willing Given the current highly racialized and reflect on their own lives as Black children political climate, we cannot ignore what is to adapt to the in America. To create a space for students happening in the world. As educators, we to process this ordeal, we discussed J. must create a space where students can times and needs Cole’s song “Be Free” as a way to unpack their feelings. Students created original discuss how current events affect their of our students. lives and community. This makes learning spoken word and hip-hop compositions relevant—because students can relate to with freedom as the theme using a music what is taught—and also meaningful. Too how a new musical form was created that production program. For many students, often we focus on teaching “standards” and incorporated traditional native music with this was the first and only opportunity to following our curriculum while students contemporary hip-hop. Additionally, we share their thoughts about the incident. may question the reason for learning discussed the similarity between Black As educators, we cannot ignore what is something they will never use or apply. As a people who created hip-hop music and happening around us in our classroom. result, students don’t believe that what they Native American peoples who are victims We have to design lessons that support are learning matters. As educators, we have of racism and oppression. An extension of the social-emotional development of our

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children. When we do this, we help our Parrish, C. (2015, November) Music, Diversity, Dance [Video]. Our children spend TED Conferences. https://www.youtube.com/watch?v=tLSC- students heal, and we provide them with V0lqys&t=51s healthy ways to process and respond to the the most critical years Roberson, R. (2013). Helping students find relevance. Retrieved challenges we face. of their lives in our January 20, 2021, from https://www.apa.org/ed/precollege/ There is a Nigerian proverb that says, ptn/2013/09/students-relevance “A child is what you put into him.” Our classroom. We have to Lovely Hoffman is an children spend the most critical years of be strategic about the award-winning musical their lives in our classroom. We have to theatre performer, singer, be strategic about the time we spend with time we spend with our songwriter, and music our students. That begins with changing educator. In 2017, Lovely the way we think and teach. The holistic students. That begins released her single, “My philosophy of education is critical because with changing the way Black Is Beautiful,” a it does more than build knowledge; it song about self-love, self-acceptance, and develops character. Our students come to we think and teach. pride, which went viral and reached #45 us from diverse backgrounds with so much on the Adult Contemporary Radio Charts. knowledge and experience, and our job is Lovely has been featured on CNN, BET, The to bring all of that out so that they can live Delpit, L. (2012). Multiplication is for White People: Raising expecta- Boston Globe, and Essence magazine. With tions for other people’s children. New York: The New Press. happy and purposeful lives. • over 15 years in the classroom, Lovely’s focus Ford, D. (2020). Social-emotional learning for Black Students is inef- is culturally significant music and character fective when it is cultural-blind. Retrieved January 12, 2021, from REFERENCES https://diverseeducation.com/article/166341/ development. Her songs, including “A Culturally responsive teaching: What you need to know. (n.d). Hoffman. L. (2017). I wrote a song to help my students build Kwanzaa Song” and “Black Lives Matter,” Retrieved January 15, 2021, from https://www.understood.org/en/ confidence. Retrieved January 15, 2021, from https://www.cnn. have been used in classrooms across the school-learning/for-educators/universal-design-for-learning/ com/2017/05/09/opinions/teaching-children-self-esteem-hoff- country. To learn more about Lovely and her man-opinion/index.html What-is-culturally-responsive-teaching work, visit www.LovelyHoffman.com.

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• Composition-based or improvisation- Growing Music based instruction • New or expanded technology-based In MASS: A 2021 Update programs of instruction. Massachusetts Music Educators Association • Student learning centers and indi- vidualized instructional programs • Programs designed for special learners (as distinct from modifica- The Growing Music in MASS Foundation is here and ready to tions or adaptations of regular lesson help teachers and schools struggling with pandemic-related issues planning) for the 2021–2022 school year. Recently, we have received several • Developing methods, tools, and inquiries about the range and scope of our block grant programs, strategies that measure student and we look forward to receiving those applications and more later growth and achievement this spring. • Developing online and distance instructional models that provide For this school year, a Future Symphony please write to us and let us know your virtual teaching and learning Hall Scholars grant was given to a thoughts. We’re always open to new • Curriculum integration Greater Boston community instrumen- ideas. tal program to develop and fund online Our website provides contact e-mail that Here again are the block grant descrip- lessons at the high school and middle teachers may access should they have any tions in a nutshell: school levels. In the absence in many questions. The address is gmmchair@ gmail.com. The GMM Committee typi- schools of in-person instruction or the Future Symphony Hall Scholars, funding use of hybrid instructional models, grants to schools that are specifically cally accepts applications in the spring it is vital that the valuable work of designed for instrumental and vocal/ and reviews them over the summer. musical teaching and learning goes on. choral performance skill enhancement, As always, we welcome member ideas, The foundation funded a Classroom and typically fall into these categories: along with contacts or referrals for pos- Innovations proposal in Western Massa- • Private, semiprivate, or small group sible donors and donations—corporate, chusetts, allowing the school to purchase lessons and targeted instruction charitable, or individual—so please pass for every student, from kindergarten our program information on to them, or to grade 3, classroom instruments • Master classes by visiting professional send their contact information to us so that could be kept at home for online musicians, conductors, or musical that we can extend an invitation. Lists learning. This teacher is exploring and mentors of donors are updated regularly on the refining methods for measuring and • Sponsoring or attending perfor- website and in MMEA publications. evaluating student growth in compliance mances and performance-related with the state curriculum frameworks —Tom Walters, events and the school district’s requirements. GMM Committee Chair • Financial support for students While this year will probably not participating in advanced college, see Symphony Hall Scholarships, Visit conservatory, or music school that initiative will return in 2022, programs growingmusicinmass.org conditions permitting. On our website, growingmusicinmass.org, you will find • Instructional and support materials to find out more information about each of our giving Classroom Innovations grants are initiatives and block grant programs, about our giving designed to allow member teachers the Future Symphony Hall Scholars to explore a range of strategies and initiatives and block and Classroom Innovations projects. methods of musical instruction and We encourage teachers to apply, even if grant programs, the evaluation. Falling into but not limited you’re not entirely sure about what types to these categories, grants will be of instruction you’ll be able to offer for Future Symphony Hall available at all levels of music education next year. Further, if member teachers from preschool to college. Scholars and Classroom have ideas for grant programs that may not fit exactly into these categories, • Specific nontraditional instruments Innovations projects. and ensembles Please apply!

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MASSACHUSETTS MUSIC EDUCATORS ASSOCIATION Growing Music in MASS 2021 Donation Form

I’d like to donate to the Growing Music in o My company will match my gift. Please make check payable to: MASS family of giving initiatives The gift form is enclosed. MMEA Your name as it will appear in the All-State concert Donations may also be made through PayPal o Symphony Club - $5,000 and up program and MMEA publications: at our website, MASSMEA.org. o Concert Benefactors - $2,500–$4,999 (MMEA is a 501(c)3 nonprofit, so your donation o Conductors Circle - $1,000–$2,499 is tax-deductible. Please put “GMIM” on the memo line so that we can track your donation.) o Musicians Guild - $500–$999 MAILING ADDRESS: o Patrons - $200–$499 MAIL TO: o Friends - $100–$199 MMEA P.O. Box 920004 o Donors - up to $99 Needham, MA 02492

TOTAL ENCLOSED: $ EMAIL:

Young musicians throughout Massachusetts thank you for your support! Fold and tear on dotted line to separate form.

Growing Music in MASS AND MASSACHUSETTS MUSIC EDUCATORS ASSOCIATION DONOR LIST 2020/21

CONCERT BENEFACTORS $2,500+ Lexington Symphony Orchestra FRIENDS $100 – 199 DONORS UP TO $99 Jody Marsh Rosalie Cohen Scholarship Fund Howard Rockwin Enterprises Dr. Cecil L. Adderley III Lori J. Anderson Johnetta Smith at the Celebrity Series of Boston Irene Idicheria and Nathan Tiller Paul and Doris Alberta Steven and Carol Archambault Dr. Tawnya and Karin Smith- Hendricks MUSICIANS GUILD $500+ MA Instrumental and Choral Jost Woodwinds, David Jost Anthony Beatrice Conductors Association Robert and Nancy Stoll David French Music Company Paul and Gale Livingston Frank and Sarah Casasdow MA MEA—Central District Tom and Susan Walters Mark and Cynthia Napierkowski Ruth Debrot PATRONS $200 – 499 Dr. Walter M. Pavasaris Greg A. Williams Needham Music Inc. Leslie Randall Dooley Dr. Sandra Doneski Dr. David Neves Linda Ethier—Sharon Gerry’s Music Shop Orchestras Ms Joyce Neves Barbara Green-Glaz Susan Gedutis Lindsay and Ron Glaz Richard Vaughan The Yemin Family

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that I could teach a variety of levels Thinking and Doing: at once. If I could create space of “working together,” I would be able Approaches to Teaching Jazz to mitigate the loss of in-person music making, while simultaneously be a Improvisation Online better individual guide to the students By Keith Kelly, Paradise Valley Community College, Phoenix, AZ in my various jazz performing groups. Contemplating the ways I could facilitate and engage both during class Spring 2020 was a harrowing experience for teachers and students. time, and how I might help students organize their out-of-class time led Throughout the summer, I reflected on the many challenges, to positive learning outcomes. What twists, and outright failures of teaching exclusively online. I found kinds of processes did I find most many ways in which my “thinking and doing” did not match the valuable as a learning? What kinds of current situation of remote learning, particularly as it related to repetition of behavior might students engage in if the goal was something the performance teaching realm. In the big band, jazz combo, and other than a live performance in front jazz improvisation courses, I failed to provide the kind of deep, rich of an audience? In moving the focus to social and musical experiences students expect. The instantaneous how we as musicians and improvisers direct our own improvement both in “pop” of working on creating music in-real time in the same space and out of class, the learning outcomes together was not possible. The ways of learning jazz that so many became stops along the way and not of us enjoyed as students and long to perpetuate with future gen- the destination (musical performance). erations seemed distant. I’ve seen the great sadness this has created 2. Fewer Topics/More Resources in our music education community for teachers, students, parents, One of my first realizations about and guardians, and the results of the rushed distance-education what didn’t work in Spring 2020 is that my expectations of pace were way format frustrated all of us. off. With a global pandemic—all the My response to this sudden shift to remote My Thinking Process emotional and economic strife visited on us all—there was no way my jazz teaching and learning was to use the 1. Process Over Outcome summer months to prepare fall semester courses could move at the same veloc- classes through reflection, reassessment, The most obvious challenge in teach- ity we had in previous semesters. On and re-imagining of performance-driven ing online is the difficulty of playing top of removing our in-person public coursework. I found some unique ways of together in real time. I brainstormed performances, the shock of transition- thinking about teaching in the online space and workshopped a vast array of the ing and the unknown length of our and creating activities centered around available resources for synchronous struggles took a serious toll on the the individual needs of students, all while playing online, with colleagues at my ability to focus, sustain, and perform, still providing opportunities for social college and from folks around the which affected me and the students. interaction. It was by no means a silver country. There is nothing we found Adjusting focus towards process bullet, but it was a start. This broadening that replaced the experiences of con- also meant spending more time on of my thinking about the online learning nection and the feelings of joy created individual topics and covering fewer space resulted in Fall 2020 being one of the when we make music in-person. Every ideas. While I might have expected the most successful and impactful semesters app/program or option had some hard- jazz combo to learn a tune in a week’s of teaching in my 20+ year career. In this to-overlook drawbacks, not the least of time—one rehearsal plus out of class article I present the questions I had about which being access to and familiarity work—that simply was not possible. I structuring successful remote teaching and with a variety of technologies. I did not also needed to provide more resources learning with my students. I then detail want to increase disparities within the and to have them available digitally. how I figured out ways to engage students classroom. How could I put more tools in front in meaningful learning in an online format. Looking at the broader learning of students? Tools that they could Finally, I present suggestions for activities outcomes possible, I was intrigued explore with and also hone? How could that helped me navigate the transition to that students might develop better I create more depth in the work, say in remote teaching and learning. practicing habits, have more agency the case of learning a transcription, so in their choice of course of study, and a student might have musical material

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they could turn to day-after-day, with In an online meeting, my sound is of call-and-response technique can be new ways of looking at or engaging on and the students are muted. I play chaos in person, and is biased towards with? What must I do to prepare folks a short-musical phrase (ii-V-I chord those who can quickly determine the to do this this kind of practice outside progression, two-measure idea, for notes and rhythms. It also allows little of the (now virtual) classroom? instance). I repeat this phrase while room for deviating from whatever the students transcribe the idea. They leader is playing. The online environ- 3. Everyone at Their Own Pace have the freedom to approach this ment allows for a “sandbox” mentality: In the pre-pandemic jazz course, it was in whatever manner works for them. all students can play their own thing easy for me to say “everyone do your without interfering with one another. best, we are a team.” But in fact, the The variation of having students demands of performance meant that As I continue to refine practice improvisation all at once, only I would spend more time with folks my remote teaching hearing what is streaming from my who needed attention to “come up” to computer, has its pluses (more attempts the level of other players. I would give practices . . . I will for students, opportunity for student my time and energy to the areas and continue to strive exploration) and minuses (cannot students that needed to be shored up, provide in-the-moment feedback, in order to execute a top-flight perfor- to listen to student students don’t hear each other). But, mance. Students at the higher-end of these are mitigated in that after this the performance spectrum would get feedback, including activity has transpired for some time, I less attention and often exhibit signs their feedback to ask students if they would like to share. they felt like they were being held back They might share themselves playing by student with less experience. How each other, and will the ii-V-I idea, or maybe a few choruses might I mitigate that in the current interrogate my own of solo over the harmonic progression. circumstance? How might I truly serve Students may also record themselves the needs/desired goals of all students teaching practices— while the activity is going on and then at all levels? all with the hope of share that recording with me (or the I thought at length about being more whole class) with an opportunity for equitable in the online environment, continuing to be a feedback. This activity models practice to the extent that I could control, and approaches a student might then use creating assignments that had a variety quality resource for outside of class. I found incredible of levels, both in terms of depth and students who place success in 15- to 20-minute chunks of breadth. For example, if working a time focusing on one idea, tactic, or blues melody and solo, “Au Privave” their trust in me. strategy related to improvisation. by Charlie Parker for instance, how 2. Shared (Online) Spaces could I create a “choose your own adventure” framework that would serve Some may get it right away; some When classes were in person, I devoted each student where they were at, in may take some time or want to write time in each class session for students and out of class? This is a lot of work, it down. The differentiation here is if to share what tunes they were learning, no doubt. But to think in a telescopic students are able to learn the phrase, what other types of music they were manner about a topic, allow more time, while I may continue to play the phrase listening to, how their practicing was and provide more scaffolding, could I in the original key, advancing students going, or to ask questions. To continue curate in and out of class activities that can start to play the idea in other keys, creating space for students to share connect to each person, as a person? or at other tempos, or with different what they are learning with each other, rhythms. One common change I make I found shared online space is impor- Activities is to use a recording—something from tant. I use Canvas (my institution’s supported LMS) to share material with 1. I Play, You Play IReal Pro, an Aebersold play-along, or a loop that I have constructed in students, and as the venue for students One of the best activities, and most GarageBand—and everyone plays on to submit work to me. However, for obvious, is that since making music mute along with what they hear out of students to share their work with in real time online is difficult, let’s their headphones. Another variation each other, I found Google Drive a embrace the challenge. Here are a few is to have this be a student-led and better option. I create class folders, variations on the idea of one-person student sharing activity. give all students access, and use class playing, and the others playing along time to show how we might use the The wonderful aspect of this in an or responding. These examples are shared space. During the fall semester online setting is everyone has their jazz-specific, but likely would work in 2020 students shared YouTube clips, own private space to explore. This kind other music ensembles. compositions they’ve written, assign-

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ments they were working on, and big band! The variety of assignments tracks they produced. It’s a powerful was impressive, as was the amount of tool for me to connect with students time and effort they put into them. I and for students to connect with found that the students were excited each other. Students know Canvas to share their work, and the quality of is “school space,” and Google Drive work was high. As a result, the students is “their space.” We also use a shared felt satisfied, and their feedback class playlist in Spotify, and students indicated that the process-based could add tracks they liked and wanted approach—while different from the to share with the class. We also used pre-pandemic format—was a valuable additional existing online formats. For one. example, some students have their own YouTube channels, other students share Spring 2021: What’s Next? classwork on social media sites, and I plan to continue and expand on “thinking these lead to another level of interac- and doing” shared in this article. The words tion with students in the class and the of jazz legend Clark Terry still ring true for wider music community. me: “Imitate, assimilate, innovate.” Clark Another interesting thing I’ve found Terry’s words inspire my teaching as I look is that listening to tracks or watching forward to another semester of jazz teaching video clips are more engaging for and learning. As I continue to refine my students when I ask them to provide remote teaching practices, I constantly comments. For instance, I might be remind myself that I must continue to showing a video clip of a performance look around at successful music programs, and ask students to write comments classes, and teachers. I will continue to in the chat. Or, using a shared Google strive to listen to student feedback, includ- Drive page, I ask the students to have ing their feedback to each other, and will NAfME their current assignment open to share interrogate my own teaching practices—all with each other to receive feedback with the hope of continuing to be a quality GRASSROOTS from their peers. To help with peer resource for students who place their trust ACTION CENTER feedback, I create breakout rooms of in me. Perhaps these small insights I’ve 2–4 students so they can interact with shared will spark future conversations, Add Your Voice to the each other. After 10–15 minutes of or contribute to better common practices Legislative Process small group conversation, the students in jazz education, remote learning, or return to the main room and I ask for otherwise. Most of all, I hope we can share their observations and thoughts, and a kind of hope and joy about the new ways On the NAfME Grassroots provide feedback as necessary. of conceptualizing remote teaching and Action Center page, you can: learning that can come from this incredibly 3. Student Choice: What to Share, What trying time in music education. • • Support music education in to Work On Dr. Keith Kelly is the federal education policy When leading a performance ensemble Coordinator of Music • Get involved with the in an online setting, what stands in for Humanities and Perfor- legislative process the concert? Some teachers have taken mance at Paradise Valley the approach of using apps to organize Community College in • Engage your members large-scale video/audio performances, Phoenix, AZ, leading of Congress something that requires a large amount a program dedicated to of time and an extensive amount of helping students develop skill and experience. I chose instead their voice as improvisers, composers, and to allow students to share work during performers. He can be reached at keith.kelly@ Go to bit.ly/NAfMEgrassroots the semester of which they were paradisevalley.edu, or through his website (case-sensitive) and take most proud. Students chose to share at https://keithbkelly.com/ recorded choruses of solos, some chose action today. a transcription, others shared contra- facts they wrote, and one student even went so far as to take a contrafact they wrote and subsequently arranged for

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President’s Message By Joseph Mulligan, MAJE President

I hope everyone is healthy and staying safe. MAJE is happy to announce that we are putting together a spring festival where schools can submit recordings and receive feedback from adjudica- tors on what the band is doing well and what areas can continue to grow. MAJE will set up its usual registration, and once registration closes you will be e-mailed a folder where you can upload your Music Education audio recordings. Recordings can be live or virtual depending on and your situation; this information will be taken into account, and Social Emotional judges will listen to the performance providing feedback. Judg- Learning ing will take about a week. Once complete, MAJE will take the comments and place them into the folders where the submissions were uploaded for ensembles to review. This festival is open to This brochure participants of all the various traditional MAJE festivals: Senior includes key talking and Junior Big Bands, Combos, and Choirs. points for music education advocates What’s the format of the festival? from highly respected members of the Ensembles will submit a virtual or live jazz community as well as having a to use as they recording with a maximum length culminating event that provides a goal communicate with of 20 minutes. Ensembles can choose to help motivate students during a decision-makers to perform however many songs of difficult time. about the place of various styles they would like in that 20 So much has been taken from our minutes. There will be no rubric, medal students this year and MAJE wants to music education in rating, or finals. MAJE would like to help you give something back to them. any school setting. focus on the education and provide ensemble specific feedback. If you have any questions or would like to get more involved in MAJE What is the festival going to cost? please feel free to contact me at joseph. Download your To cover the expenses of judging, [email protected] brochure at Google add-ons, and organizational Best wishes bit.ly/MusicEduSEL fees, MAJE will be charging each group $150. In return, ensembles will Joseph P. Mulligan, MAJE President Questions? Email receive quality recorded comments [email protected]

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Paraprofessional Roles and Responsibilities “Won’t You Be My Neighbor?” Paraprofessionals (also referred to as “aides,” “paraeducators,” “assistants,” or simply A Review of the Literature on Paraprofessionals “paras”), are staff members assigned to sup- port students with disabilities throughout in Inclusive Music Settings the school day both in inclusive and in more segregated settings. With the hiring By Tina Nospal, Cambridge Public Schools of more paraprofessionals, there has been a growth of corresponding issues in this The small world of belonging we call our neighborhood is where we area, such as what Giangreco and Doyle live out our longings, where we learn how to behave, how to treat (2002) described as the changing roles of paraprofessionals. Multiple (and often each other, and how to embrace and love ourselves. The insightful ambiguous) demands on paraprofessionals, Irish poet John O’Donohue writes, “The ideal neighborliness means combined with the lack of proper supervi- a balance between caring for those near you, but also keeping space sion, have created an environment where many students with disabilities receive free to engage and inhabit your own life” (O’Donohue, 2002, p. 45). their special education services primarily These basic humanistic values to guide behavior were also echoed or exclusively from paraprofessionals. by Fred Rogers in his television show, Mr. Rogers’ Neighborhood. The Giangreco and Doyle (2002) further stated that the research literature does not present question Mr. Rogers asks, “Won’t you be my neighbor?,” can be seen a conceptual or theoretical rationale that as an invitation for conversation with the people who happen to live explains “the practice of assigning the least and work adjacent to us, the individuals with whom we belong in a qualified staff members to make crucial local place—in other words, our community. decisions and provide primary instruction for students with the most complex needs” We need community in order to develop the contemporary music classroom is a (p. 3). and grow. Humans cannot survive in isola- community whose success depends on Similar concerns that relate to a lack tion. Yet at the same time, in a community, the communication and support of many of clarity in paraprofessionals’ roles no one person can have their own way. We individuals. I believe that Mr. Rogers and responsibilities were also noted in experience challenges that provide us with would advise us to gather together to form Giangreco, Suter, and Doyle’s (2010) an opportunity to voice our desires, to raise an effective group to do the work that an study. The authors reported that some questions, and to look for creative solutions individual working alone would not be able paraprofessionals operated with high levels in order to relieve these tensions. to accomplish. He would certainly advise of autonomy and provided the bulk of us to share responsibility and embrace As music educators, we are quite familiar instruction to disabled students, despite a diversity. Most of all, he would advise us to with the notion of the classroom as a general consensus among educators in the get to know our neighbors. community, where all members—students field that only certified staff are responsible and paraprofessionals alike—belong and Paraprofessionals: Our Closest Neighbors for planning instruction. Such approaches are encouraged but are also given the not only defy logic but represent serious As a music educator who works at a school proper space to realize their individuality. inequities and double standards that would where inclusion happens regularly, I have As our communities become more diverse, not be considered appropriate if applied to found that in today’s diverse music class- however, closeness can be difficult. We students without disabilities (Giangreco, rooms, support means everything. There are often called to exercise patience and 2013). find that we desperately need each other’s is a large body of research that suggests Indeed, paraprofessionals perform support and help. This is especially true in collaboration among staff is essential in everything from clerical, instructional, to schools with inclusion programs, where the inclusive settings, but very little is known even some administrative tasks. Being challenges of educating students with dis- about how paraprofessionals collaborate given too many responsibilities, including abilities may seem daunting. While music with other members of the IEP team and the demanding and sometimes daunting teachers typically turn to books and online music teachers. This literature review is my task of providing support for students materials for support, most often, the best initial effort to examine paraprofessionals’ with a variety of cognitive and/or physical resources are the special educators and roles and responsibilities, as well as to shed disabilities (Burdick & Causton-Theoharis, paraprofessionals in their schools—their a light on their collaborative practices. I 2012), can result in poor performance and closest neighbors. briefly reflect on the findings of these stud- ies, and also address the overall strengths possibly lead to disengagement from their Not unlike the old image of the neighbor- and weaknesses of the current literature in work demands. hood as a group of local people who the context of music education. knew each other and met with each other,

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In summary, the overuse and misuse of and instruction that happens in inclusive relationships between paraprofessionals and paraprofessionals is a symptom, not a cause, classrooms, Giangreco, Edelman, Broer, students with disabilities. Questions worth of a larger problem (Giangreco, 2013). I and Doyle (2001) found that general exploring include how these relationships contend that the real problem is the lack education teachers were more engaged affect paraprofessionals’ self-perceptions, of opportunities and proper training for with their students with disabilities—a as well as how effectively paraprofessionals collaboration with the special education critical feature necessary for meaningful interact with general, special-subject teach- team. The presence of a paraprofessional inclusion—and were more likely to work ers, and other children without disabilities. does not relieve teachers of professional collaboratively with paraprofessionals responsibility to educate all students in Paraprofessionals in Art and Music Settings their classrooms, but rather offers an oppor- The skills and experi- In the studies I reviewed, paraprofessionals tunity for supporting and improving access in art and music were mainly seen as a to the curriculum (Causton-Theoharis & ence paraprofessionals necessary support that allowed students Burdick, 2008). better access to the curriculum. Unfor- bring to the classroom tunately, a number of issues have been Skills and Training may not always be identified related to utilizing their support. A lack of skills and training, including In a study conducted in 2012, Burdick and the needed preparation and supervision to readily apparent, Causton-Theoharis identified specific areas ensure that paraprofessionals are qualified but when considered that needed improvement: (1) respect and to provide services, is another persistent value for paraprofessionals and students issue. Paraprofessionals are often immersed thoughtfully can be with disabilities; (2) providing access in too many educational activities in a to materials, instruction, and peers; (3) variety of educational settings every day a starting point for improving communication; and (4) fading and lack the proper training or specific crafting successful paraprofessional support. guidance to execute these responsibilities. support. Collabora- Researchers who have studied paraprofes- A second corresponding issue is related sionals in inclusive music settings have to teacher preparation programs. It is tion between music reported similar findings (Abbott & important that the teacher certification Sanders, 2013; Bernstorf, 2001; Conway, process adequately prepares teachers to and paraprofessional Rawlings, & Wolfgram, 2014; Darrow, work with students with special needs and educators is essential 2010; Hammel, 2004; McCord & Watts, with paraprofessionals; inclusion of these 2006). In the music classroom, the purpose, competencies into pre-service education to ensure engaging duties, and responsibilities of paraprofes- should be required, but is currently not and meaningful sionals should be clearly and carefully (Riggs, 2004). As a result, general educa- defined at the outset of the position tion teachers—as well as special subject experiences for all (Conway, Rawlings, & Wolfgram, 2014). teachers—typically lack the knowledge, The authors stated that this may help skills, and dispositions to most effectively students. members across the school community to collaborate with paraprofessionals (King- understand how paraprofessionals fit into Berry & Boone, 2012). According to the the various contexts of the school and the authors, training teachers to work with when paraprofessionals were assigned to district at large. paraprofessionals and implement effective their classrooms rather than to individual Majerus and Taylor (2020) investigated strategies is a critical component to a students. “Current research on paraprofes- elementary music teachers’ perceptions of successful inclusive education. sionals’ interactions with students and staff paraprofessional participation in the class- Interactions and Collaborations of Parapro- suggests the need to establish collaborative room. While most of the surveyed teachers fessionals with Students and Staff relationships with paraprofessionals to expressed enthusiasm about working with ensure that their interactions are consistent paraprofessionals, collaboration between Giangreco, Suter, and Doyle (2010) found with overall efforts to support teachers and them was practically nonexistent due to that although “collaboration among all students” (Giangreco, Suter, & Doyle 2010, time constraints, schedule conflicts, and team members is essential for inclusive p. 47). lack of administrative support. The authors education to be successful, important suggested that music educators advocate for issues pertaining to collaboration with As Cook and Cook (2011) pointed out, more effective partnership between them paraprofessionals remain understudied more research is needed to document the and paraprofessionals by assuming the lead and inadequately understood” (p. 42). instruction and interactions that occur in respectful communication and provid- In their research, which examined both in classrooms. Findings may not only ing administrators with research-based the collaboration with paraprofessionals provide insight into the effectiveness of paraprofessionals, but also shed light on the evidence. The authors also concluded that

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there is a need to place more emphasis on for all students. Identifying paraprofes- Darrow, A. (2010). Working with paraprofessionals in the teaching practical collaborative strategies in sionals’ skills and experience is another music classroom. General Music Today, 23(2), 35-37. https://doi. org/10.1177/1048371309352345 elementary music methods courses, which important recommendation—the skills might help pre-service and novice music and experience paraprofessionals bring to Giangreco, M. (2013). Teacher assistant supports in inclusive schools: Research, practices and alternatives. Australasian Journal of teachers gain the confidence needed to the classroom may not always be readily Special Education, 37(2), 93-106. https://doi.org/10.1017/jse.2013.1 communicate effectively. apparent, but when considered thought- Giangreco, M. F., & Doyle, M. B. (2002). Students with disabilities fully can be a starting point for crafting Similarly, McCord and Watts (2006) and paraprofessional supports: Benefits, balance, and band- successful support. Finally, collaboration aids. Focus on Exceptional Children, 34(7), 1-12. http://edps410665. discussed issues related to collaboration between music and paraprofessional weebly.com/uploads/3/7/7/6/3776314/giangreco_doyle-2002-_ between music and special educators, and educators is essential to ensure engaging para_support-_benefits_balance_band-aids.pdf offered web, print, and media resources. and meaningful experiences for all students. Giangreco, M., Edelman, S., Broer, S., & Doyle, M. (2001). Parapro- Among the included materials were: (1) a I believe I emulate Mr. Roger’s ideals when fessional support of students with disabilities: Literature from list of articles on the topic of inclusion and the past decade. Exceptional Children, 68(1), 45-63. https://doi. I say that in a world that faces so many collaboration in the instrumental music org/10.1177/001440290106800103 ecological, economical, and spiritual crises, classroom, (2) a template form that might Giangreco, M., Suter, J., & Doyle, M. (2010). Paraprofessionals improving communication and collabora- guide discussion with the special educator, in inclusive schools: A review of recent research. Journal of tion can result in an ongoing collective Educational and Psychological Consultation, 20(1), 41-57. https://doi. and (3) practical examples that illustrate responsibility, which can ultimately make org/10.1080/10474410903535356 how teachers can use the principles of our neighborhoods kinder, safer, and Hammel, A. (2004). Inclusion strategies that work. Music Educators Universal Design for Learning (UDL) lovelier places. • Journal, 90(5), 33-37. https://doi.org/10.2307/3400021 to help all students learn. The authors King-Berry, A., & Boone, R. (2012). When the music changes. Inter- specifically highlighted the importance of Originally from North disciplinary Journal of Teaching and Learning, 2(3), 169-185. https:// paraprofessionals, stating that they serve “as doi.org/2158-592X Macedonia, Tina a source of information and ideas and can Nospal received her Majerus, C., & Taylor, D. (2020). Elementary music teachers’ experi- relay suggestions between the special educa- ences training and collaborating with paraprofessionals. Update: undergraduate and tion and music faculty” (p. 30). They stated Applications of Research in Music Education, 39(1), 27-37. https://doi. graduate degrees in that in practice, “Music teachers are often org/10.1177/8755123320935635 piano performance from unaware which students in their classroom Mccord, K., & Watts, E. (2006). Collaboration and access for our Boston Conservatory, have disabilities and don’t know how to children: Music educators and special educators together. Music and music education Educators Journal, 92(4), 26-33. http://enigmasleuths.pbworks. adapt instruction to meet these students’ from Boston University, com/w/file/fetch/54550348/Collaborate%20and%20access.pdf needs” (p. 28). Hammel (2004) offered where she is currently a doctoral candidate. O’Donohue, J. (2002). Eternal echoes. Perennial. practical ideas and suggestions on adapting Her work focuses on collaborative practices of Riggs, C. (2004). To teachers: What paraeducators want you instructional methods and materials for music teachers and paraprofessionals. Tina to know. Teaching Exceptional Children, 36(5), 8-12. https://doi. special learners. She stated that music has been teaching Kodaly music at Cambridge org/10.1177/004005990403600501 educators should invest time in getting to Public Schools since 2009. know their paraprofessionals by inviting them to observe and allowing them to offer REFERENCES suggestions based on their experiences with ADVERTISERS INDEX and knowledge about particular students. Abbott, E., & Sanders, L. (2013). Perspectives of paraeducators on Overall, challenges for paraprofessionals collaboration in music therapy sessions. Canadian Journal of Music UMASS Amherst IFC Therapy, 19(1), 47-65. https://doi.org/10.1093/mtp/30.2.145 in the music classroom include lack University of New Hampshire 2 of collaboration and communication, Bernstorf, E. (2001). Paraprofessionals in music settings. Music Educators Journal, 87(4), 36-48. https://doi.org/10.2307/3399723 Berklee College of Music 12 inconsistent supervision and guidance, Bridgewater State University 17 ambiguous roles and responsibilities, and Burdick, C., & Causton-Theoharis, J. (2012). Creating effective para- professional support in the inclusive art classroom, Art Education, KodÁly music institute 28 issues related to respect and appreciation, as 65(6), 33-37. https://doi.org/10.1080/00043125.2012.11519198 UMass Dartmouth 29 well as occupational identity. Causton-Theoharis, J., & Burdick, C. (2008). Paraprofessionals: Gate- Gordon College 32 keepers of authentic art production. Studies in Art Education, 49(3), Conclusion 167-182. https://www.inclusiveschooling.com/app/uploads/ The Hartt School 40 articles/Studies_Spring08.pdf Music and paraprofessional educators Boston Youth Symphony Orchestra 47 have much work ahead of them in order Conway, C., Rawlings, J., & Wolfgram, T. J. (2014). Collegiate Longy School of Music 51 to actively engage all students in music connections: The story of a licensed teacher in a paraprofessional music position. Music Educators Journal, 101(2), 83-87. https://doi. Gordon College Graduate 52 learning. Literature suggests that lessons org/10.1177/0027432114543564 Yamaha 53 for inclusive settings should better clarify Cook, B. G., & Cook, S. C. (2011). Unraveling evidence-based David French Music Co. BC roles for paraprofessionals; having adults practiced in special education. The Journal of Special Education, 47(2), in the classroom provides an opportunity 71-82. https://doi.org/10.1177/0022466911420877 rather than an obstacle in improving access

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Chrome Music Lab: Fun and Educa- tional for All Grades and Disciplines By Stephanie M. Riley, MMEJ Tech Editor

As if you needed one more reason to love Google, Shared Piano Versatility is the name of the game here. You can do everything now they give us music educators Chrome Music from learning keyboard basics such as note identification, to Lab. Chrome Music Lab is free, works on all devices plunking out tunes and collaborating with another person or with from iPhone/iPod to iPad to Chromebook to laptop your student if they are remote. Have a music theory class? This and desktop, and works on any browser. No app part of the Chrome Music Lab is great for basic composition or for practicing intervals, and even a helpful aid if trying to com- needed. No account needed. Just open musiclab. pose. The program includes seven instruments, two of which are a chromeexperiments.com, and you’re in business. drum kit and drum machine. The keyboard can be played right on an iPad screen, using the According to their website, “Many teachers have been using mouse, or by using these specific keys on a computer keyboard: Chrome Music Lab as a tool in their classrooms to explore music and its connections to science, math, art, and more,” and I am one In order to collaborate with your student or have students collabo- of them. Included here in this article are a few ideas on how to utilize this array of music technology in various classrooms and at various stages of education.

rate with each other, simply click and send a link either through chat on Zoom, Google Classroom, or whatever means you use in your classroom. Once you both have the link and are in the “room” together, you can play simultaneously with no delay. Each person can even choose a different instrument; you aren’t limited to just the same instrument that was originally chosen. This opens up so many possibilities for collaboration for in-person and remote. Classes can play together in real time, and of course this allows for musical connection. You can record/archive the work you did together and pull out for future use—this could be great for a digital portfolio! This program could never replace a real piano, but it certainly serves the short-term creative purpose.

Song Maker Chrome Music Lab has 14 “experiments” currently up and running. Song Maker is a brilliant compositional device. The user can They are: edit in the settings how long their composition is (up to 16 bars), Shared Piano Arpeggios Oscillators beats per measure (2–7), division of beats (single beat to divisions of four—fabulous when trying to help students understand the Song Maker Kandinsky Strings difference between compound and simple time), scales included Rhythm Voice Spinner Melody Maker are major, pentatonic, and chromatic, your choice of starting pitch (working in a specific key with Orff instruments in person Spectrogram Harmonics Chords and you’re trying to include a synchronous remote student? No Sound Waves Piano Roll problem!), and has a range of 1–3 octaves. For our super visual learners, Song Maker is divided into grids

SPRING 2021 | VOL. 69 NO. 3 MASSACHUSETTS MUSIC EDUCATORS JOURNAL | 41 TECHNOLOGY that make it very easy to understand where each measure starts (alternating white and gray). There are bold blue lines to let us know when the beat changes (vertical line) and where the octave changes (horizontal line). Pitches are color coded in rainbow order (this could work with boom whackers!), and where the basic percussion is placed, the visual identification at the bottom of the grid is very clear and differently shaped.

Also included is the option to voice record. Teaching your chorus how to improvise from home? Trying to get your rock history classes to write some blues lyrics? This is a great way to help students create and understand 12-bar blues construction, and then have the ability to practice improvising/compose lyrics and a melody and receive feedback from their teacher. The bonus here is that only those with the link can view and hear what was created. The downside, of course, is: don’t lose the link!

Rhythm Spectogram Rhythm is a much simpler program, but certainly valuable. This According to the website, “A spectrogram is a picture of sound. A part of the lab has four fun little character duets playing three dif- spectrogram shows the frequencies that make up the sound, from ferent percussion instruments and each duo plays for either three, low to high, and how they change over time, from left to right. four, five, or six beats, all with a simple eighth-note division. While it With this experiment you can compare spectrograms of different appears as a simple part of the lab, this program can help teach those sounds, or use the mic to see what your own sounds look like.” particular beat patterns, ostinatos, and can help students learn how Great when talking about basic physics and acoustics in music! mixed meter can be composed and emphasized differently as well as how syncopation can play a role in composition and meter.

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Voice Spinner In Voice Spinner, “Spin the spinner like a record player—slow, fast, forward, backward—to hear how it affects the sound. You can also record your own voice or other sounds around you. The pitch of your voice gets higher when spun faster, and lower when spun slower.” Technological discussions about microphones and turntables can easily occur with this Chrome Music Lab experi- ment.

Harmonics For our older students—particularly music tech or music pro- duction students—Harmonics is worth a look. “The harmonic series is a set of frequencies with a simple relationship: twice as fast, three times as fast, four times, and so on. Musical intervals emerge from this natural phenomenon, such as the octave and the major chord (like the opening notes of ‘Star Spangled Banner’).” Sound Waves Just like a few of the above experiments, you could tag team Another science-based Chrome Music Lab is Sound Waves. some lessons with your physics or science teacher to look into this On the site, it states: “Sounds travel through the air like waves “other side” of music. through water—but a lot faster. The blue dots represent air mol- ecules bouncing back and forth as sound travels through them. Tap the magnifying glass to zoom in and see a red line graphing the position of one molecule, tracing the shape of the wave.” If there was ever a year to tap into our colleagues, this is certainly Arpeggios Arpeggios allow a student to see the circle of fifths progression it. From art collaborations to in both major and minor keys, and then of course allow them to computer science to physics and hear what the tonic arpeggio in that key sounds like. A student could take a lead sheet and “play through” the progression, or a even our language and literacy teacher could play through the progressions and have students teachers, there’s opportunities improvise or sing a specific melody along with them. in all of it here!

Piano Roll This experiment is based on those old player pianos. Who doesn’t love a player piano? Full of nostalgia and fun music. This experi- ment allows you to create your own piano roll. Combine this lesson with the YouTube video from “How It’s Made” and have a fun time creating and discussing.

Oscillators Another great experiment for a music tech or music production class is Oscillators. This experiment visually shows how each type of oscillation works and sounds. Drag your finger up and down to change the oscillator’s frequency, or swipe to hear different types of oscillators. To hear a really slow oscillator, pick the square Kandinsky shape and touch the very bottom of your screen. This is helpful “This experiment is inspired by Wassily Kandinsky, an artist when explaining various editing elements in DAW programs such who compared painting to making music. It turns anything you as Soundtrap or Band Lab. Talking about editing or producing draw—lines, circles, triangles, or scribbles—into sound.” Many in a rock history class? This is a great way to show those students discussions can be had at all levels and using this program could what’s happening in the editing process as well. I also suggest make for a great collaboration with the art teacher in your school. the website Learning Synths by Ableton (not Chrome Music Lab related) if working on/learning about oscillators and other synthe- sized sounds.

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Strings This experiment lets you explore the Relationships Over Rigor: natural mathematical relationship between a string’s length and its pitch. For example, Teaching Band During a Pandemic the second string is half the length of the By Christopher Noce and Paul Halpainy, Concord, Mass. first, and it plays the same note an octave higher. Strings is great for a beginning guitar class, beginning strings, or again, a great addition to a collaborative science lesson in your school at any level. This year, we find ourselves reimagining music education in a Melody Maker vastly unfamiliar environment. Whether remote or hybrid, rehears- A much simpler version of Song Maker, ing indoors, outdoors, or online, the landscape is significantly Melody Maker uses grids for creating sim- ple and short melodies. In the experiment, changed for our ensembles. It is easy to grieve the loss of concerts time moves left to right and pitch goes up and festivals and those moments of magic in rehearsal that we to down. The user would then tap to add just cannot replicate, but do not confuse what brings our students notes, then use the buttons on the bottom to play and change your melody. Great for back to ensembles year after year. It is not the Gold Medal creating ostinatos and having your students Showcase at Symphony Hall, or the trip to New York City, or that play along with other instruments pitched perfect performance of the piece you programmed that was just or percussion. out of reach. It is the relationships. The reason all of those other Chords wonderful experiences are so memorable is not so much what we The final experiment is Chords. Chords is accomplished, where we performed, or how we got there, but who a simple way to visualize for students what a major or minor chord on any starting we shared those moments with. The prestige and acclaim we can pitch looks like. Chords are in root posi- help our students achieve is certainly a source of motivation that tion and are highlighted in yellow. gives us a sense of pride, purpose, and direction, but after the The playground that is Chrome Music glow of achievement fades, what sticks with us is more often that Lab opens up a wide range of music lessons from super simple and basic to conversation on the bus, that silly thing that happened backstage, sophisticated. This program can allow or something special about that particular group of students. us to help our students learn remotely, synchronously, and asynchronously. What’s older students, who have an expectation more is the opportunity that presents itself of what being in band should look like, here for collaboration with other teachers the younger students have no idea what in our building. If there was ever a year to they are missing out on: experiencing tap into our colleagues, this is certainly how amazing it is to perform together. it. From art collaborations to computer Much like those of you who are new science to physics and even our language to our profession, they do not have the and literacy teachers, there’s opportunities years of experience to compare against in all of it here! this current moment. They are having the time of their lives. Ignorance is Happy creating and collaborating! • bliss, of course, but we have also made Building and developing these concerted efforts to invest in these Stephanie Riley is relationships during the pandemic is relationships as much as possible in a MMEJ’s technology difficult. We have been able to sustain number of ways: editor. She is an 8–12 pre-existing relationships with our choral music educator older students, who we have known Small talk. When we can, we open the at the Dennis-Yarmouth for several years. Our focus this year Zoom several minutes before class Regional High School has shifted to cultivating relationships and leave it afterward. This allows for where she is responsible with our youngest students in this new conversations that cannot typically for choirs grades 8–12, learning environment. There is a great happen during a rehearsal, when we beginning piano, music technology, and deal of opportunity at the beginner are limited by time and the number of theory classes. She is also an avid lifelong level, especially this year. Unlike our students present. Students know that singer of choirs.

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if they come early or stay late, they can and effort this year has been spent on we do not need to wait for things to be unmute and chat, and they really enjoy that providing an experience that resembles back to “normal” to start that work. Invest freedom and the opportunity to connect band, an experience that we think will feel in relationships, especially at the founda- with their peers and teachers. relevant to our students: virtual ensemble tion of your program, now—the repertoire, performances, SmartMusic assignments, festivals, and trophies will all still be there Nonverbal feedback. We use Zoom’s composition activities. All of these are later. If we can come out of this year with reaction features as much as possible and really important ways to engage with our a greater sense of community, belonging, encourage the students to do the same. The discipline as we navigate this pandemic, but and humanity, our programs—and more sense of community is really enhanced they do not get to the core of what being importantly, our students—will be all the when our students virtually clap for their in band means for our students. There is a better for it. • peers or put up a laughing emoji at a (bad) sense of belonging and community we can joke from one of their band directors. We Christopher Noce and Paul Halpainy achieve through some of this, but dialing also do a lot of “fist to five,” to gauge teach bands in Concord, Massachusetts. down the rigor and taking the time to understanding and success when everyone Under their direction, the Concord Bands reconnect with students is a more impactful is muted, and encourage students to use have commissioned new works for band, way to build and maintain relationships. the chat if they are uncomfortable sharing received accolades from the Massachusetts publicly. This also gives a sense of busy-ness Instrumental and Choral Conductors’ and activity, which enhances the social Association (MICCA), and performed component often missing from the online Invest in at Boston’s Symphony Hall, the Berklee environment. relationships, Performance Center, and the Josie Robertson Opportunities for modeling and sharing. especially at the Plaza at Lincoln Center in NYC. The culture Where appropriate, we have students lead and community built within and around the songs and exercises on Zoom. On occasion, foundation of your Concord Bands is a major point of focus and pride for the program. we invite students to demonstrate some- program, now—the thing they are proud of (not necessarily Christopher maintains an something especially challenging) for their repertoire, festivals, active musical life both peers. and trophies on and off the podium Low stakes and small victories. This started as a clinician, conductor, at the beginning of the year, when we asked will all still be performer, and teacher. students to share their name, instrument, there later. Christopher lives in and a very boring fact about themselves, Worcester, Massachusetts rather than something unique/special or a If we can come with his wife Emma, reason they joined band. This continues daughter Margot, and son Reuben, where with open-ended challenges on Google out of this year they enjoy all that the metropolis’s second-city Classroom or Flipgrid, like our current with a greater sense status has to offer a young family: lately, this “5-Day Challenge,” where we have asked has been restricted to walks, off-peak grocery our beginners to play their instruments for of community, shopping, takeout, curbside-pickup, and more any amount of time, five days in a row. belonging, and walks. Increased time investment. We have spent Paul is currently a doctoral more time with our beginners than ever humanity, our student in music education this year, whether it is staying a bit late to programs—and at Boston University. As a answer questions, offering an extra help trombonist, Paul has toured session, or a master class for students and more importantly, extensively throughout a grown-up at home to learn more about our students— Europe and North America their instrument from a guest performer. and remains active in This extra investment of time has helped us will be all the several local groups. As a teacher, Paul hopes overcome the myriad of challenges related to instill in his students the characteristics of to teaching beginner band musicians on better for it. being dedicated musicians. Paul resides in Zoom. Natick, MA with his wife Jennifer and two daughters, Jemma and Penelope. When scaffolding these approaches This year, it is unlikely that we will achieve up to older students, it is important to even half of what we typically aim to remember that adapting these approaches accomplish. Many of our programs are does not necessarily mean increasing the going to be in need of some (or a lot) of rigor or expectation. So much of our time rebuilding over the next several years, but

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classroom. Throughout the past year of What Will Stay After the Pandemic teaching remotely, we’ve worked hard to maintain the human connection that is Is Over? Voices from Large Municipalities: so important to our students, but it hasn’t been easy. There is just no substitute for Boston, Haverhill, Worcester making music in person. That said, we have found Padlet and Soundtrap to be By Anthony Beatrice, Boston Public Schools, MMEJ Large Municipalities Editor particularly useful in helping to foster communication and connection during This past year has been quite a journey in reimaging music remote learning. education. We have asked music educators from our large cities Padlet is basically just an online bulletin- to reflect on what has changed in their teaching practice that board, but it has been a great way to have students share their thinking openly. For they think they will keep in their pedagogical toolboxes once example, while exploring the habits of we return to our new normal. effective practice, students shared their ideas for what an effective routine looks Taryn Souza metronome in my classroom after we go like by posting a response on the Padlet. Students can browse all responses and leave Grade 6-8, Beginner to back in person, because I notice that it will comments, while the teacher can export all Intermediate Concert Band just make everything that much easier once responses with the click of a button. Worcester Public Schools they “get it.” All the musical elements will come together that much better and easily In order to emulate after they’ve really nailed down WHY performing together, I’ve metronomes exist. It’s now a tool that helps Perhaps the most had a huge shift in digital music creation them, instead of an annoying clicky thing through the use of SoundTrap with my that “distracts” them. important change concert band kiddos. The students work is a strengthened diligently to record their parts as accurately Alyssa San Pedro as possible (with the use of a metronome, of K-8 General Music commitment to course), so their parts can come together in Hernández K-8 School, actively fostering a the studio as if they’re playing all together Boston Public Schools in the band room. It’s not quite the same collaborative and obviously and not as energizing in the I have embraced the moment, but the final product is really neat opportunity that remote inclusive classroom. and the students are finding a lot of pride learning has given me to allow student in their work. But here’s the thing: They’re interests and popular culture to be a part learning more and more how each of their of my curriculum. Creating several Google I’m sure most fellow music teachers are parts truly matter, and they have to be Forms with videos and discussion questions familiar with Soundtrap, but it is an accurate in order for them to even line up has allowed students to choose the lens online Digital Audio Workstation (DAW) and sound together with the rest of their through which they engage with a topic similar to GarageBand. Soundtrap has studio members. and offered me a clearer view of student interests. Using popular culture, namely most features you could want, but its true They’re becoming more critical listeners Among Us, to inspire review activities and power lies in its ease-of-use and online and able to give constructive feedback to just have fun with students is something I collaboration. One way that we like to use their peers. It’s caused me to put a huge plan to continue. Soundtrap is through small group activities shift of focus on tempo and rhythmic that we call “Maker Sessions.” Students accuracy and working with a metronome Brian McCullock split off into breakout rooms and work together to create a short piece of music daily. (Also, tuning . . . they now GET Band, Beginning Band, according to a prompt. when they’re not in tune because the Guitar, Music Tech recording studio doesn’t lie.) And though South High Community These are not groundbreaking approaches, it felt super robotic at first, I’m seeing School, Worcester Public and we used the tools prior to the students really working hard to perfect Schools pandemic, but they’ve directly improved their parts so they can contribute to their student engagement during remote studio’s collaboration and be part of the Perhaps the most important change is learning. It’s become clear just how much I magic. Moving forward, post pandemic, I’d a strengthened commitment to actively relied on proximity to build a collaborative like to continue to implement the use of the fostering a collaborative and inclusive

46 | MASSACHUSETTS MUSIC EDUCATORS JOURNAL VOL. 69 NO. 3 | SPRING 2021 SPRING 2021 | VOL. 69 NO. 3 MASSACHUSETTS MUSIC EDUCATORS JOURNAL | 47 LARGE MUNICIPALITIES DISTRICT UPDATES BACK TO TOP culture, especially in my ensembles, so I plan to make culture and collaboration a District Updates more regular and deliberate feature in my classroom. NORTHEASTERN DISTRICT

Barry Davis Thank you all for participating in the The Northeast District will be providing K-4 General Music Senior and Junior District Virtual Audi- leadership clinics for students selected tions. A big thank you to Brian Fulks, for the Junior and Senior Sestival. Senior Golden Hill School, Technology Coordinator, and Lauren Festival students and directors will have Haverhill Public Schools Ignos, Auditions Coordinator, for making a clinic and workshop with Dr. Tim The most profound the seamless transition from in-person to Lautzenheiser. Junior Festival students change in my teaching has been developing virtual auditions for the year. and directors will have a clinic and cross-curricular relationships with every workshop with Dr. Matthew Arau. Final information and dates for the clinics will aspect of my students’ learning. I went NORTHEASTERN DISTRICT from seeing students once a week in my CALENDAR be posted on our website www.northeast- classroom, to every day for eight weeks in erndistrict.org as they become available. MARCH MAY theirs. It allowed me to connect not only Mon, March 8 Sat, May 1 Please reach out to the executive board if with them but also with their teachers 5:00 p.m. 12:00 p.m. we can help you in your school district. Virtual: Executive in their everyday learning environment. Virtual: Junior Festival Board Meeting Please remember to take care of yourselves It allows me to develop my curriculum Leadership Clinic w/ as you navigate all the changes that this Tues, March 16 Dr. Matthew Arau around music, while sprinkling in things Junior Audition year has brought. Keep your head up and Mon, May 10 Videos Due from their day in my language. “Cross- 5:00 p.m. know that you are appreciated! curricular” is no longer just that the student Sat, March 20 Virtual: Executive is learning about Western Expansion; let’s 12:30 p.m. Board Meeting —Tom Bankert, Northeastern Virtual: Senior Festival Mon, June 14 District Chairperson sing a frontier song, incorporating language Leadership Clinic w/ 5:00 p.m. Dr. Tim Lautzenheiser into my speaking and into my lessons that Virtual: Executive reinforces topics that students need in order Board Meeting to be lifelong learners. * * * As we finish up this school year and begin planning for the next, try to take stock CENTRAL DISTRICT of your own transformation as a music educator. Spend a few moments to journal I would like to thank Senior High Con- Please check the website often for these adjustments to your practice and cert Chairperson Arthur Pierce, Assistant updates: cdmmea.org Concert Chair Craig Robbins, and all of revisit them next year. Though this has Stay safe, most certainly been the most stressful and the ensemble managers for a well-attended trying times in recent public education, and superbly run virtual festival! The —Todd Shafer, the silver linings can help us reach more opportunity for students to observe or Central District Chairperson students now and in the future. • participate in a virtual masterclass with a professional musician is rewarding and CENTRAL DISTRICT CALENDAR 2020 Anthony Beatrice is the benefits students in their progression as UPCOMING CONFIRMED DATES Executive Director for the musicians. (Please check the website for updates Arts in the Boston Public concerning auditions etc.) Schools. He is the Large Congratulations to all Central District musicians who auditioned and those who MARCH MAY Municipalities editor for Wednesday, March 10 Wednesday, May 5 the MMEJ. were accepted into the All-State Festival. Executive Board Executive Board Meeting Meeting Moving on to our Junior Festival, we are excited to offer every student who APRIL JUNE Wednesday, April 7 Wednesday, June 9 auditions the chance to attend a virtual Executive Board Spring Virtual Dinner masterclass on the original concert date of Meeting Meeting May 1st. Details are being finalized and will be posted on the website.

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WESTERN DISTRICT

As we near the one-year mark of this I am continually amazed by the creativity, at 4:30 via Zoom. Link will be sent out pandemic, I find myself reflecting on all dedication, and tireless efforts put in by to all members currently on the email of the things I was doing this time last the Western District Festival Commit- distribution list. year. All-State was the last time many tee, whose members have completely If you are not receiving our emails, please of us saw each other in person rather reimagined our auditions and festival visit www.mmeawd.org and follow the than over Zoom. As festivals approach, processes and have developed a plan for a link at the bottom of the page to join the we are reminded of our last in-person truly excellent set of festivals this year. I mailing list! performances and conducting opportuni- will be forever in their debt. We are pleased ties. Through this reflection, it is easy to to welcome our Senior Festival clinicians: It has been a long and strange year that focus on the losses we have all experienced Helen Cha-Pyo for orchestra, Moira Smiley we have navigated together and now more over the last year, but I would like to for chorus, Alex Shapiro for band, and than ever I am so thankful to work with encourage you to focus on the perseverance, Brian McCarthy for jazz band. Morning such inspiring colleagues in the resilience, and the creativity that has sessions with the clinicians will be followed Western Mass and across the been awakened by this uniquely difficult by an excellent selection of special interest Commonwealth. situation. We have discovered new ways to groups in the afternoon that will be open to —Amanda Johnson work together, collaborated with colleagues students and educators alike! Please join us Western District Chair near and far, and found new ways to for this wonderful professional development connect with our students. Maybe meetings opportunity. Junior clinicians will be will be more accessible to more people if we announced as soon as their slate is finalized continue them over Zoom when life goes and we are excited to offer an excellent WESTERN DISTRICT CALENDAR “back to normal.” Maybe we will realize festival experience and special interest Executive Board meets monthly on the first Tues- the value of taking the time to work on sessions for our junior students as well. day of each month. All members are welcome to composition with our large ensembles now attend. Please contact ajohnson@belchertownps. Western District Meetings org to be added to the distribution list to receive that we’ve been forced to figure it out in an invitation to our monthly meetings which will crisis mode. Maybe it’s as simple as truly • Executive Board meets 1st Tuesday of be held virtually for the 2020/2021 school year. understanding the value and the necessity each month at 4:30 via Zoom. Please March 5: Junior Festival Registration Closes of self-care in our personal and professional contact [email protected] to March 13: Senior Virtual Festival lives. Whatever silver lining you find receive the Zoom link if you would like March 20: Junior Virtual Festival in your reflection as the anniversary of to attend. March 27: Senior Ensemble Recordings Due shut-down looms, I truly believe that this April 3: Junior Ensemble Recordings Due experience will make us all stronger. • Our Spring “Dinner” (General Member- ship) meeting will be Tuesday, May 4th

EASTERN DISTRICT

Our Virtual Junior Festival wrapped up hours of 9:00am and 3:00pm on Saturday, String Orchestra: Elizabeth Reed, Execu- on Saturday, January 31st and results were March 13, and the virtual ensemble tive Director of the National String Project posted (on time!) later that evening. We videos will be available approximately one Consortium, and educator in Fairfax are extremely grateful to all the judges who month later. Repertoire is being selected County, VA based on the accepted students and will took a few weeks to adjudicate numerous Just a friendly reminder to please update be announced after our February board video submissions, and to our hard-working your e-mail addresses and those of your meeting. auditions committee who tallied all the department when you are logging into scores. We had 551 students audition. Out We are lucky to have the following amazing Avenir to register students for auditions. of those 551 students, we accepted 304 educators as our conductors for this year’s Please know that we are here to support you musicians into the Virtual Junior Festival. Virtual Junior Festival: Congratulations to all who auditioned and and your programs. If we can ever be of any to all who were accepted! Wind Ensemble: Terry Reynolds from help to you and your students, please reach Somers High School, NY out. This year, the Eastern District Junior Festival is going virtual! Accepted students Choral Ensemble: Justin Glodich from Val- —Brianna Creamer will participate in a 1-2 hour masterclass/ ley Central School District in Montgomery, Eastern District Chair rehearsal with their conductor and prepare NY one piece for a virtual ensemble video. The Jazz Band: Harry Watters, a jazz trombon- virtual offerings will occur between the ist and Jupiter Artist from Texas

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SOUTHEASTERN DISTRICT

The success of our Senior Festival was incredible. Five ensembles spent two days MMEA Executive Board & Staff in workshops, sessions with composers, virtual rehearsals, and ultimate recordings. Students were engaged throughout and Board of Directors Administrative Staff Members showed remarkable willingness to interact. Liaisons & Support Congratulations to Jillian Griffin, Concert Executive Officers Chair, and her amazing team of managers, PRESIDENT NAFME E. DIV. PRESIDENT Personnel Dr. Cecil Adderley Keith Hodgson assistant managers, and conductors. Special PRESIDENT-ELECT staff members thanks to Clearwater, Inc. for funding our NAFME E. DIV. PRESIDENT-ELECT Dr. Heather Cote Susan Barre INTERIM EXECUTIVE DIRECTOR conductors! Michael LaCava IMMEDIATE PAST PRESIDENT NAFME E. DIV IMMEDIATE Dr. Sandra Doneski Our Junior Festival is rolling out nicely and PAST PRESIDENT INTERIM ASSOCIATE DIRECTOR Marc Greene Dr. Noreen Diamond Burdett students will get a shortened experience CLERK Sara Durkin SUPERINTENDENTS ASSOCIATION PO Box 920004 with some groups doing a virtual ensemble TREASURER Dr. Kim Smith Needham, MA 02492 617.680.1492 experience. Kids will get merchandise for Thomas O’Toole CMMEA CHAPTER PRESIDENT Kamden Dennis their involvement. MMEJ MANAGING EDITOR District Chairs PRINCIPALS ASSOCIATION Susan Gedutis Lindsay We do not have a Chair Elect at this CENTRAL DISTRICT Michael LaCava MMEJ BUSINESS MGR. Todd Shafer writing. Hopefully that will happen in the TRI-M LIAISON Kristen Harrington near future. EASTERN DISTRICT Meredith Lord DESIGN PRODUCTION Brianna Creamer Respectfully submitted, Megan Verdugo NORTHEAST DISTRICT Subcommittee —Bill Richter Tom Bankert Chairs support personnel SOUTHEAST DISTRICT AUDITIONS COORDINATOR Southeastern District Chair Bill Richter CONSTITUTION/BY-LAWS Dr. Heather Cote Michael Lapomardo WESTERN DISTRICT DATABASE MANAGER Amanda Johnson NOMINATING Dr. Sandra Doneski Rick Lueth Representatives GROWING MUSIC IN MASSACHUSETTS Council Chairs ELEMENTARY Thomas Walters Sara Allen Santos BAND COUNCIL DISTINGUISHED SERVICE AWARD Margaret Reidy MIDDLE SCHOOL Dr. Noreen Diamond Burdett Andrea Cook CHORAL COUNCIL ADVOCACY CHAIR Catherine Connor-Moen HIGH SCHOOL John Mlynczak Meredith Lord JAZZ COUNCIL LOWELL MASON AWARD Jeffrey Holmes HIGHER EDUCATION Dr. Noreen Diamond Burdett Reagan Paras ORCHESTRA COUNCIL ADVOCACY AWARD Kristy Foye Eastern District Updates K–12 ADMINISTRATIVE REP Dr. Noreen Diamond Burdett Christopher Martin GUITAR COUNCIL Check the MMEA Eastern District website Harry Wagg PAST DISTRICT CHAIR Committee Chair for 2020/2021 calendar dates Information Rebecca Damiani MUSIC COMPOSITION COUNCIL ALL-STATE AUDITIONS Joseph Pandaco will be forthcoming on the Junior Festival Michael Lapomardo for 2020/2021 GENERAL MUSIC COUNCIL ALL-STATE CONCERT Cathy Ward Sarah Grina PDP’s are available for participation in IN-OVATIONS COUNCIL ALL-STATE CONFERENCE Tom Westmoreland Eastern District activities—more info can Dr. Noreen Diamond Burdett be found on the Professional Development PROGRAM LEADERS COUNCIL AWARDS Christopher Martin page on our website. Dr. Noreen Diamond Burdett RESEARCH & MUSIC MEMBERSHIP TEACHER EDUCATION Cynthia Grammer Dr. Tawnya Smith

50 | MASSACHUSETTS MUSIC EDUCATORS JOURNAL VOL. 69 NO. 3 | SPRING 2021 SPRING 2021 | VOL. 69 NO. 3 MASSACHUSETTS MUSIC EDUCATORS JOURNAL | 51 52 | MASSACHUSETTS MUSIC EDUCATORS JOURNAL VOL. 69 NO. 3 | SPRING 2021 SPRING 2021 | VOL. 69 NO. 3 MASSACHUSETTS MUSIC EDUCATORS JOURNAL | 53 Massachusetts Music Educators Journal P.O. Box 920004 Needham, MA 02492