Idaho Music Notes Volume 59, 2 of 3 Idaho Music Educators Association A State Unit of NAfME: The National Association for Music Education Winter 2019 Conference Issue Idaho Music Educators REGISTER ONLINE at Association www.idahomusiced. org Early Online Registration ends midnight, National Monday, January 14! Association Make Hotel Reservations by for Music December 31, 2018 for special rates Education ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ 36th In-Service Conference MUSIC CONNECTS US & All-State Honor Groups Clinic Sessions, Workshops, Reading IDAHO MUSIC EDUCATORS ASSOCIATION Sessions, Round Table Discussions, Guest All-State Honor Groups Speakers, Technology, Exhibits, Banquet, & In-Service Conference Special Events, New Friends/Old Friends, January 31- February 2, 2019 Brigham Young University - Idaho, Rexburg Networking, Collegiate, & MORE! Performing Groups featured at the Conference d ISU Children’s Choir, Sarah Davids, Conductor d Madison High School Symphony Orchestra, Douglas Hansen, Conductor d Centennial Jazz Band, Brittany Brings, Conductor d Middleton Madrigals, Daniel Child, Conductor d Idaho State University Wind Ensemble, Patrick Brooks, Conductor d Vandaleers, Paul Thompson, Conductor d Chantaire & Bel Canto Choirs, Karen Palmer, Conductor d Symphonic Band, Teton High School, Kristy Romano, Conductor d Idaho State University String Sextet, Hyeri Choi, Director d Percussion Group, Thunder Ridge High School, Richard Landaur, Director d Chantaire & Bel Canto Choirs, Twin Falls Middle Schools, Karen Palmer, Conductor d Symphonic Band, Teton High School, Kristy Romano, Conductor d Percussion Group, Thunder Ridge High School, Richard Landaur, Director d Timberline Combined Orchestra and Choir, Sean Kane & Phyllis Saunders Conductors Earn NNU Credit by attending the Conference! page10 Idaho Music Notes 2 Winter/Conference 2019 ADAPTS to every teacher. ENGAGES every student. No matter what technology is available in your classroom, Quaver’s online curriculum resources are designed to help you engage your students and enhance teaching of musical concepts and skills. Test drive our library of 6,500+ resources and customize lessons to suit your needs!

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QuaverMusic.com/IDMEAWinter19 @QuaverMusic • (866) 917-3633 Idaho Music Notes 3 Winter/Conference 2019 IMEA Officers IMEA President - Kathy Stefani [email protected] IMEA President-Elect - Thomas Kloss IDAHO MUSIC NOTES [email protected] Official Publication of the Idaho Music Educators Association, Inc. IMEA Past-President - Wayne Millett [email protected] A State Unit of NAfME: The National Association for Music Education IMEA Past-President - Ron Curtis [email protected] IMEA Secretary - Quentin DeWitt WINTER 2019 Volume 59, Number 2 of 3 [email protected] IMEA Executive Director - Karen Randolph Idaho Music Notes is published three times yearly—November, February, & May [email protected] Subscription price is included in IMEA/NAfME dues. Non-member subscription rates—$12.00 per year. IMEA Webmaster - Wayne Millett Complimentary subscriptions available for sponsors and, upon request, to Idaho principals & school administrators. [email protected] SPONSOR DEADLINES—OCTOBER 1, DECEMBER 1 & APRIL 1; RATES ON REQUEST. IMEA Publications Chair - Ted Hadley EDITOR & MANAGER—TED HADLEY, 824 Northview Drive, Twin Falls, Idaho 83301 [email protected] 208-733-1079 H / 208-600-3052 C / [email protected] / www.idahomusiced.org/©2019 IMEA IMEA State Solo Chair - Eva Hale ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ [email protected] IHSAA Representative - Kevin Howard SPONSORS INDEX [email protected] CONTENTS These are the people who keep our Content Area Chairs President’s Page: Conference Call/IMEA Capitol Day...... 6 state dues low and enable us to put String Chair - Kevin Howard Conference Information...... 7 out a quality magazine— [email protected] In-Service Conference Schedule...... 8-9 please support them. Choral Chair – Scott Anderson NNU Credit Information for Conference Attendance...... 10 All-Northwest Ad ...... 19 [email protected] Blue Rider Music...... 23 Band Chair - Christy Taylor All-State Honor Group Information...... 11 BYU-Idaho...... 5 [email protected] Institutional Members...... 12 Elem/Gen Chair - Shirley Van Paepegham BYU-Provo...... 22 Tender Toes Publications ...... 13 [email protected] Central Wasington University...... 28 Collegiate Chair - Lori Gray Idaho Orff Workshop...... 13 [email protected] College of Southern Idaho ...... 27 Advocacy Chair - Jeff Davis Collegiate News...... 14 Dunkley Music...... 30 [email protected] IMEA Workshops...... 15 FJH Music Publications...... 16 Exhibit Chair – Joel Sandford [email protected] College/University News...... 16 Guitar Workshop...... 11 Higher Ed/Research Chair – Spencer Martin University/College Scholarship Audition Dates...... 17 Idaho State University...... 2 [email protected] JW Pepper Music...... 10 Technology Chair – Jose Rodriguez Larry Gookin: Beyond the Notes...... 18 [email protected] Northwest Notes: See you in Portland! (And Idaho...)...... 19 Meadowlark Melodies...... 27 Small Schools Chair – Robbie Hanchey IMEA Consitution/Bylaws Changes...... 20, 21 NAfME...... 27, 29 [email protected] Quaver Music...... 3 Middle Schools Chair – Kathleen Tetweiler Tom Kloss: Creating More Informed Performances...... 24 Treasure Valley Community College.....24 [email protected] Lori Gray: You Can Do Active Research...... 30 Tri-M Chair - Aaron Marshall University of Idaho...... 31 Scherzo! Humor for the Music Educator...... 34 [email protected] University of Portland...... 28 Retired Music Educators - Ralph Bennett [email protected] Washington State University...... 25 www.idahomusiced.org www.nafme.org Yamaha ...... Back Cover Honor Group Chairs The mission of the Idaho Music Educators Association ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ Mixed Choir Chair - Joie Cariaga [email protected] is to advance and advocate for standards-based Music Editor’s Desktop String Orchestra Chair - Brendan Burns Education in all Idaho schools, to foster personal and Our All-State Honor Groups and In- [email protected] Band Chair - Casey Emerson professional growth of music educators, and Service Conference are ready to go! Here’s [email protected] to encourage and enhance musical opportunities a preview of all that is happening, along Treble Choir Chair - Lindsay Lowe with news about the great All-Northwest lindsay@westadaorg for all students throughout the state. Conference and Honor Groups happening Jazz Choir Chair - Corinna Steinbach ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ in February in Portland. There are great [email protected] Jazz Band Chair - Quentin DeWitt District Presidents articles here, too! Be sure to register for [email protected] President District I - Isaac Robbins both Conferences by the deadlines! [email protected] —Ted Hadley, Editor President District II - Bob Wicks NAfME Officers [email protected] John Combs, President, NW NAfME, Missoula, MT President District III - Mike Turner Scott Barnes, Pres.-Elect, NW NAfME, [email protected] Lynnwood, WA President-Elect District III - Casey Lindorfer Camille Blackburn, Past-President, NW [email protected] Ammon, ID President District IV - Roger Turner Kathleen Sanz, NAfME President, [email protected] Tallahassee, Florida President District V - Greg Goodworth Mackie V. Spradley, President-Elect, [email protected]; 208-709-3213 Austin, TX President District VI - Gary Pawelko Denese Odegaard, Past-President, [email protected] Fargo, ND President Gem State - John Randall [email protected] Photos courtesy of Brigham Young University - Idaho Idaho Music Notes 4 Winter/Conference 2019 Department of Music PURSUE YOUR PASSION

AUDITION DATES UNDERGRADUATE ENSEMBLE Rexburg DEGREES OPPORTUNITIES January 24th & 25th, 2019 BM Education Choir & Opera Salt Lake City BM Performance Band January 26th, 2019 BMA Orchestra BA Music Jazz Scholarships Available Chamber Percussion Piano DEADLINE FOR ALL MATERIALS February 1st, 2019

Department of Music (208) 496-4950 • [email protected] • http://www.byui.edu/music

Idaho Music Notes 5 Winter/Conference 2019 Coming up! Stay Tuned! President’s Can You Hear Me Now? Page A Capitol Conversation with IMEA Every now and then, marketers come up with a slogan that becomes a hit Kathy Stefani when they hone in on something that strikes a chord in us all. These are among the top slogans of our time: It Keeps Going and Going and Going = (Energizer Bunny) For Everything Else, there’s…… = (Master Card) Come to the Conference! Just Do It = (Nike) Registration is currently open for our 2019 All-State In-service A Diamond is Forever = (DeBeers Jewelers) Conference to be held on the BYU-Idaho campus in Rexburg, They’re GR-R-R-reat! = (Kellogg’s Frosted Flakes) Idaho! The IMEA Board, Chairs, and the staff at the BYU-Idaho For my money, the one that’s gotten the most bang for their buck is Verizon have all been hard at work preparing to bring us an outstanding with, “Can you hear me now?” It seems to pop up in conversation every so event. Much effort has been put forth in selecting first-rate All-State often when the first person innocently says, “Can you hear me?”...... followed Honor Groups, Clinic Sessions, and Concert Hours. You will find by “Can you hear me now,” rather than a yes or no, much to the delight of the fifty-five sessions from which to choose and numerous performing second. In my home, I’m the first person, my husband is the second. At least groups during the concert hours. This is the inaugural year for one of us is delighted. both Jazz Choir and Jazz Band to be held simultaneously with Over the last decades, the voice for Music Education has diminished their Gala Concert scheduled for Friday, Jan. 31. BYU-Idaho has at the state level, becoming a little harder to be heard. In 2000, Peggy beautiful facilities for hosting this event and has made every effort to Wenner became the Arts and Humanities Coordinator at the State Dept. make this conference superb. Prior to Dr. Wenner, Gale Maxey represented the voice of music as the State We are most fortunate to have Dr. Tim Lautzenheiser with us Music Coordinator, a position he held for years…..and years! Gale had a single charge, to be the voice of music education for Idaho. His position morphed this year. He will be the Keynote speaker at the opening session, as upon his departure with Dr. Wenner assigned a much broader scope. The well as offering a session on the crucial role the educator plays in following is the current description on the Idaho State Dept of Education music learning. In addition to the sessions and concerts, there will be website of where Music fits in the scheme of education: exhibits and vendors from the music industry; our annual banquet, Arts and Humanities curriculum covers the fields of media art, visual art, featuring NW-MENC President John Combs from Missoula, as theatre, dance, music, world languages, and interdisciplinary humanities. Media well as the 2019 Music Educator of the Year award; and our annual art, which includes digital media, photography, and computer-generated artwork, business meeting with keynote speaker, Dr. Geoffrey Thomas, Supt. is a recent addition to the arts disciplines. The arts should not be confined to study Madison School Dist. # 321 and a noted TED Talk speaker. Please of only one artistic discipline, but rather as a means to help students achieve check the website for up-to-date Conference information and view mastery in a well-rounded education. The arts provide vibrant content with the tentative schedule on the next pages. significant 21st Century skills to promote progress in all academic areas of study. One of the biggest challenges this year in creating the Conference The Fall issue of Music Notes explained the re-imagining of the State schedule was assigning each to a particular category. Though you Education Department, which again looks different following Ms. Wenner’s will identify strands for band, choral, string, elementary and departure. If there is to be a direct voice heard in the Student-Centered tech, as well as general areas of interest, many of our clinicians Learning Department, it may need to be from the IMEA. The IMEA Mission are presenting on topics of broad interest, not confined to their Statement reads: particular area of performance. You will want to look closely at The mission of the Idaho Music Educators Association, Inc. is to advance session descriptions to get a feel for all that is offered. and advocate for standard- based Music Education in all Idaho schools, to foster personal and professional growth of music educators, and to encourage A few reminders about the Conference: and enhance musical opportunities for all students throughout the state. • Registration is being handled through OpusEvent.com. Early Hoping to support the first purpose of the Mission Statement, the Executive registration ends January 14th. Go to idahomusiced.org. Board of IMEA, made up of the state and district presidents, voted to pursue • See the website for a list of hotels and their contact information. hosting an IMEA HILL DAY at the state Capitol in Boise. IMEA hopes to If you can’t book one of the Conference hotels, there are meet with lawmakers to establish a positive relationship and be of service to additional hotels available in Idaho Falls. them as decisions are made that affect our profession and our students. • All-State students will be expected to be at all rehearsals on As of this printing, the date is not set, but following approval of the Board, time, chaperoned by IMEA throughout the day and under the a date will be determined and arrangements can be made. It is hoped the supervision of their delegated chaperone after the final event of each day would begin with local choirs singing the National Anthem and Here We Have Idaho. A small contingent of IMEA members hope to spend the day. morning meeting with staff at the State Department of Education, as well as Education Committee members in both the House and Senate. A group of dignitaries will be invited to an IMEA-hosted luncheon near the Capitol to discuss issues and establish contacts that will be helpful as lawmakers work their way through education legislation. More information will be available at the In-Service Conference in Rexburg. “Can you hear me now?” is more than a clever slogan as we establish communication among IMEA, the State Department of Education, and lawmakers. With cooperation among all groups, soon everyone will be saying, “Yes, I hear you now!

Idaho Music Notes 6 Winter/Conference 2019 Conference Information All-State 2019 Timeline January 30, 2019 — Check-in/Sectionals/Part Checks Pizza with the Presidents Madison High School IMEA Catered lunch for Collegiate Members January 31-February 2, 2019 —All-State Groups Friday, January 31, noon-1 PM, Room 181 Rexburg, Madison HS and BYU-Idaho Free Food for our collegiate members will be provided at the first “Pizza with the Presidents” luncheon at the IMEA In-Service Conference. In order for student members to be able to learn about 2019 Conference Timeline their state music association and connect with leaders, several December 31, 2018 — Make hotel reservations by presidents will be joining the students for lunch, including John this date for special rates Combs, current NW-MENC president, Camille Blackburn, NW- (Motel Rooms at Rexburg Motel 6 & Idaho Falls still open) MENC past-president, Kathy Stefani, IMEA president, Wayne January 14, 2019 — Last day for online registration Millett, IMEA Past-President, Mallory Hunt, state collegiate at www.idahomusiced.org president, as well as presidents from affiliate members such as American Choral Directors and American Bandmasters Association, late registration fees apply after this date. American String Teachers Association and the American Orff- January 31-February 2, 2019 Shulwerk Association. In-Service Conference in Rexburg. MAKE A DONATION — HELP A Frequently asked questions about In-Service Conference Registration COLLEGIATE MEMBER ATTEND Q: Can I register for the In-Service Conference online? A: Yes! Online Pre-Registration is done through the OpusEvents. Go to THE BANQUET! OpusEvents to register. Be sure to make your hotel reservations soon. Be sure to register online for the Conference before January 14. Q: Can I pay my registration fee with a credit card? A: Credit cards will be accepted. (You may also send a school or person- The Conference is always a good time of professional growth, al check. Purchase orders will NOT be accepted!) learning “best practices” and best of all, connecting with colleagues. Collegiate representation continues to grow each year, and this Q: I don’t teach high school and I don’t have students in All-State. Can I year, you have the opportunity to support a CNAfME member by come at a reduced fee? A: IMEA/NAfME represents all levels and all areas of music educa- donating to their banquet expense, again found on the registration tion; consequently, the full fee is expected of all active music educators, page. regardless of their area or level of instruction. The In-Service Conference and the Idaho High School All-State are two separate events that are held BYU-IDAHO WIRELESS ACCESS at the same time. The sessions and concert hours at the In-Service are The guest wireless network is called “BYUI_Vistor” and doesn’t designed to address every teaching level and area. require a password. It has open access to the internet, but limited Q: How do I join IMEA/NAfME? access to BYU-Idaho network resources like printers or files A: You can join NAfME/IMEA by accessing the national web site at: shares. www.nafme.org. (High school instructors need to remember to keep their membership current in order for their students to be eligible for All- WANT $300 TO ATTEND THE State and the State Solo Contest.) CONFERENCE? APPLY TODAY! Q: What does my registration includ? A reminder to all IMEA members that IMEA offers a $300.00 A: All registrations (with the exception of the FREE retired category) include 1 banquet ticket and entrance to all clinics, concert hours, ex- Professional Development Grant to help offset the cost of attend- hibits and both GALA Concerts. Extra banquet tickets and extra GALA ing the conference. Each IMEA District is allowed one grant, with Concert tickets are available on the registration form. A limited number the exception of DIII, which has two. Application is made through of banquet tickets will be available on-site. your district president. Download the Application for more infor- The fine print ... mation. All applications are due January 5th. IMEA will accept NAfME membership cards for Conference Regis- tration that are current through February 3, 2018. Members without a current valid membership will be notified by email and must renew at the REGISTER ONLINE at time they register at the In-Service Conference or prior to the Confer- ence. www.idahomusiced. org If a member claims to have paid NAfME, but has not yet received a valid membership card, it shall be the responsibility of the IMEA Secre- Early/Online Registration tary to immediately check with the NAfME director of membership and finance. If membership is verified by NAfME, admission will be assured; ends midnight, if membership is not verified, the member must make membership pay- ment at the registration site and a stop-pay at NAfME will be issued. Monday, January 14! CONFERENCE SCHEDULE ———>>> IMEA IN-SERVICE CONFERENCE 2019 Wednesday, January 30, 2019 7:00 Reading Sessions BAND: Room 159, Snow Building, Christy Taylor, presiding GENERAL MUSIC: 185, Snow Building, Shirley Van Paepeghem Sponsored by J.W. Pepper Music CHORAL: Room 189, Snow Building, Scott Anderson, presiding STRINGS: Room 153, Snow Building, Kevin Howard, presiding Thursday, January 31, 2019 7:30 Conference Registration, 7:30-Noon/1-5 PM, Downstairs Foyer, Snow Building 8:00 EXHIBITS OPEN! Snow Drama Theater, Snow Building All-State Band, Orchestra, Treble & Mixed Choirs rehearse at Madison High School; Jazz Choir & Jazz Band at Madison Junior High School 9:00 Opening Session, Barrus Concert Hall, Snow Building Welcoming Remarks and Introductions: IMEA President, Kathy Stefani Keynote Speaker: Dr. Tim Lautzenheiser, "The Joy of Inspired Teaching" Performing Group #1: ISU Children's Choir, Sarah Davids, Conductor Performing Group #2: Madison High School Symphony Orchestra, Douglas Hansen, Conductor 11:00 BAND CHORAL STRINGS COLLEGIATE Noon-1 p.m. TECHNOLOGY BAND/ORCHESTRA GENERAL "Hands, Hearts, Minds: "The Choral Director as Voice "Strengthening Balanced Violin "Rehearsal Process in the High "Meaningful Assessment "Double Reeds: "The Crucial Role the Teacher Engaging all of it in Band!" Dr. Teacher: Practical Applications" Technique: Preparing Students School Ensemble" Strategies using Student Tips, Tricks, Reminders" Plays in Music Learning" Deborah Confredo Kathleen Lane for Musical Freedom through David Hinck Technology" Elizabeth Crawford Dr. Tim Lautzenheiser Healthy Fundamentals" Sean Kane Dr. Dallin Hansen Room 159, Snow Bldg Room 189, Snow Bldg Room 153, Snow Bldg Madison High Choral Room Room 270, Snow Bldg Room 274, Snow Bldg Room 181, Snow Bldg Noon LUNCH ON YOUR OWN 12:30 VISIT THE EXHIBITS! Snow Drama Theater, Snow Building 1:00 BAND CHORAL STRINGS ELEMENTARY TECHNOLOGY INSTRUMENTAL BAND/SECONDARY "Flute Rudiments? Percussion "What Shall I Sing for "Back to String Bass-ics" "Elementary Classroom: Tips for "Cultivating Creativity: Student "Woodwind Repair for the Busy "Creative Drill Writing Breath Support? Effective State Solo?" Aaron Miller Percussion Techniques" Centered Music Education using Band Director" Preparation Techniques" Assessment in Ensembles" Dr. Diana Livingston-Friedley Dr. Lori Conlan-Khan and Spencer Technology" Michael Trowbridge Dr. Thomas E. Kloss Dr. Deborah Confredo Martin Jonathan Armstrong Room 159, Snow Bldg Room 189, Snow Bldg Room 153, Snow Bldg Room 185, Snow Bldg Room 270, Snow Bldg Room 274, Snow Bldg Room 181, Snow Bldg 2:00 VISIT THE EXHIBITS! Snow Drama Theater, Snow Building 2:30 BAND CHORAL ENSEMBLE/STRINGS ELEMENTARY/GENERAL TECHNOLOGY INSTRUMENTAL HIGHER ED "Musicianship in Beginning "Warm-ups and the Importance "Introduction to Expressive Open Forum "I Finally Have Technology! "Brass Instrument Repair for the Open Forum Band: How to Motivate and of Vocal Health" Performance for Bands and Moderator: Shirley Van Now What?" Busy Band Director" Moderator: Spencer Martin, Measure Success!" Isaac Robbins Orchestras" Paepeghem Jayna Johnson Michael Trowbridge University of Idaho, Associate Dr. Deborah Confredo Dr. Patrick Brooks Director

Room 159, Snow Bldg Room 189, Snow Bldg Room 153, Snow Bldg Room 185, Snow Bldg Room 270, Snow Bldg Room 274, Snow Bldg Room 181, Snow Bldg 3:20 VISIT THE EXHIBITS! Snow Drama Theater, Snow Building 4:00 CONCERT HOUR, Barrus Concert Hall, Snow Building Performing Group #1: Centennial Jazz Band, Brittany Brings, Conductor Performing Group #2: Middleton Madrigals, Daniel Child, Conductor 7:30 HOST NIGHT CONCERT, Brigham Young University-Idaho Performing Groups, BYU-Idaho Center Sound Alliance, Vocal Union, Collegiate Singers, Faculty Piano Duo, Symphony Band, Organ solo, Prismatic Winds, Rixstix Percussion, Symphony Orchestra, Sound Alliance/Vocal Union, Combined Choirs/Organ/Brass Friday, February 1, 2019 7:00 IMEA Board Meeting Breakfast, Room 269, Snow Bldg 8:00 EXHIBITS OPEN! Snow Drama Theater, Snow Building 8:10 BAND PERFORMING ENSEMBLE STRINGS ELEM/INSTRUMENTAL TECHNOLOGY/ELEMENTARY TRI-M/ADVOCACY SMALL SCHOOL/BAND "Saxophone Tone - "Say Something!" Enhancing "Teaching Sound and the Science "Straight A's for Developing "3 Tech Success Stories from My "Tri-M - What is it?" "Starting and maintaining a Taming the Beast" student expressiveness through of the Bowed String" Musicianship: Assessment, Music Classroom" Aaron Marshall small school marching band" Dr. Patrick Jones interpersonal performance goals Dr. Jason Moody Accountability and Achievement" Tami Vandegrift DJ McCarty Rebecca Roesler Dr. Deborah Confredo

Room 159, Snow Bldg Room 189, Snow Bldg Room 153, Snow Bldg Room 185, Snow Bldg Room 270, Snow Bldg Room 274, Snow Bldg Room 181, Snow Bldg 9:30 Concert Hour, Barrus Concert Hall, Snow Building Performing Group #1: Idaho State University Wind Ensemble, Patrick Brooks, Conductor Performing Group #2: University of Idaho Vandaleers, Paul Thompson, Conductor 10:30 VISIT THE EXHIBITS! Snow Drama Theater, Snow Building 11:00 INSTRUMENTAL ENSEMBLE/CHORAL STRINGS GENERAL/ELEMENTARY TECHNOLOGY/ENSEMBLE INSTRUMENTAL/BRASS INSTRUMENTAL/ENSEMBLE "Using Improvisation for "Expressive Movement in the Open Forum "Teaching Guitar Through Popular "Google Classroom in the "Embouchure Insight for Early "Successful Ensembles: Any Ensemble" Classroom" Dr. Eleanor Cox Moderator: Kevin Howard, Music Education" Performance Ensemble" Brass Players" Preparing Groups for Solo & Jonathan Armstrong and Dr. Scott Anderson Orchestra Twin Falls Schools Joe Campbell David Burton Dr. Jason Johnston Ensemble Festival" The Prismatic Winds

Room 159, Snow Bldg Room 189, Snow Bldg Room 153, Snow Bldg Room 185, Snow Bldg Room 270, Snow Bldg Room 274, Snow Bldg Room 181, Snow Bldg 12:00 Lunch on your own 12:00 PIZZA WITH THE PRESIDENTS for Collegiate Members, Room 181 1:00 BAND CHORAL STRINGS GENERAL/ELEMENTARY GENERAL COLLEGIATE JAZZ/INSTRUMENTAL "Unpacking the Clarinet Open Forum "Fiddlesticks: Learning from the "Songwriting: a vehicle for "What Standards? Making the "Getting Your First Music "Advantages of Small Group Mouthpiece/Reed Relationship" Moderator: Dr. Scott Anderson, Past" meeting the Idaho Music Idaho Core Arts Standards Work Teaching Job" Ensemble" Dr. Shandra Helm Idaho State University Dr. Dallin Hansen Standards" Joe Campbell for You" Robert Wicks Dr. Lori Gray Dr. Casey Christopher

Room 159, Snow Bldg Room 189, Snow Bldg Room 153, Snow Bldg Room 185, Snow Bldg Room 270, Snow Bldg Room 274, Snow Bldg Room 181, Snow Bldg 2:00 VISIT THE EXHIBITS! Snow Drama Theater, Snow Building 2:00 BAND CHORAL STRINGS ELEMENTARY DIVERSITY/EQUITY GENERAL ADVOCACY Open Forum "A Practical Approach to "Inspire, retain, and empower "Fabulously Fun Folk Dances for All Ages" "Designing Thoughtful Inclusive "Score Study for the Busy Music "Current Issues in Music Ed" Moderator: Christy Taylor, Twin Facilitating Community" intermediate string students" Shirley Van Paepeghem & Dr. Lori Conlon Practices" Dr. Marlowe Daly- Teacher" Eric Wenstrom Falls High School Dr. Paul Thompson Dr. Charles Laux Khan Galeano and Dr. Sarah Graham Colin Brien

Room 159, Snow Bldg Room 189, Snow Bldg Room 153, Snow Bldg Room 185, Snow Bldg Room 270, Snow Bldg Room 274, Snow Bldg Room 181, Snow Bldg 3:00 VISIT THE EXHIBITS! Snow Drama Theater, Snow Building 3:30 CONCERT HOUR, Barrus Concert Hall Performing Group #1: Chantaire & Bel Canto Choirs, Karen Palmer, Conductor Performing Group #2: Symphonic Band, Teton High School, Kristy Romano, Conductor 5:30 BANQUET, AWARDS CEREMONY, & CONCERT, Manwaring Center Introductions, Awards Speaker: John Combs, Northwest NAfME President, “YOU Make the Difference” Performing Group: Idaho State University String Sextet, Hyeri Choi, Director 7:30 2018 GALA All-State Jazz Concert, Kirkham Auditorium All-State Honor Jazz Choir, Matt Falker, MiraCosta College, Oceanside, California, Conductor All-State Honor Jazz Band, Vern Sielert, University of Idaho, Moscow, Idaho, Conductor Saturday, February 2, 2019 8:00 BAND Choral STRINGS HIGHER EDUCATION BAND/ORCHESTRA ELEMENTARY/GENERAL "Unlocking the Mysteries of the "Teaching Multicultural Choral "Assessment Practices for the Roundtable: Current Issues with "Extreme Makeover: "Keyboard Instruction Using the Tuba" Music from "Authentic" vs 21st-Century String Classroom" Music Curricula in Higher Clarinet Edition" Music as a Second Language Matt Moore "Informed" Perspectives" Dr. Charles Laux Education Dr. Adam Ballif Model" Mark Petty Dr. Lori Gray Joe Campbell Room 159, Snow Bldg Room 189, Snow Bldg Room 153, Snow Bldg Room 274, Snow Bldg Room 181, Snow Bldg Room 355, Clarke Bldg 9:30 CLOSING GENERAL SESSION & CONCERT HOUR, Barrus Concert Hall, Snow Building Keynote Address: "A World of Musical Opportunity", Dr. Geoffrey Thomas, Supt. Madison School District #321 IMEA Business Meeting: Approval of new Bylaws and Standing Rules; Report on IMEA Hill Day Performing Group #1: Percussion Group, Thunder Ridge High School, Richard Landaur, Director Performing Group #2: Timberline Combined Orchestra and Choir, Sean Kane & Phyllis Saunders Conductors 12:30 2018 GALA ALL-STATE CHORAL CONCERT, Madison High School Auditorium All-State Honor Mixed Choir, Edith Copley, Northern Arizona University, Conductor All-State Honor Treble Choir, Dinah Lindberg Helgeson, Conductor 2:30 2018 GALA ALL-STATE INSTRUMENTAL CONCERT, Madison High School Auditorium All-State Honor Orchestra, Richard Meyer, Conductor All-State Honor Band, Dr. Jack Delaney, Southern Methodist University, Conductor ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ Conference attendees may sign up online at PDLearn.nnu.edu to receive one NNU graduate credit for attending our 36th IMEA Inservice Conference. Course Requirements: 1) Attend and participate in 15 hours of conference clinic sessions, rehearsals, and concerts. 2) Choose only ONE of the following learning assignment options to submit to the instructor: • Prepare and submit a lesson plan created for your

EDMU55112 students using one of the techniques or methods Music Education: Music Connects Us learned at the Conference; OR • Write and submit a reflection document to 1 Credit - $60 summarize topics learned at the conference; OR Instructor of Record: Judy Marlett • Prepare and submit one instructional audio file or January 31 - February 2, 2019 video presentation tape or file of your class to the Location: Various instructor to showcase an idea, strategy or technique Register online at pdlearn.nnu.edu learned from the Conference trainings. Final Registration: February 28, 2019 3) Submit the assignment of your choice to Please follow the link, add course to your online shopping cart, log in, and proceed to check-out. Visit cpd.nnu.edu or call 208-467-8439 to learn more Dr. Judy Marlett - [email protected]

THANKS TO PEPPER MUSIC – SPONSOR OF OUR WEDNESDAY NIGHT READING SESSIONS!

Idaho Music Notes 10 Winter/Conference 2019 ALL-STATE HONOR GROUPS INFORMATION H All-State General Chair - IMEA President-Elect Tom Kloss H 2019 All-State Mixed Choir H All-State Manager- Ron Curtis Alleluia, Jake Runestad, jakerunestad.com H All-State Mixed Choir Chair - Joie Cariaga Dixit Maria, Hans Leo Hassler, ed. Rafael Ornes, Choral Public Domain Library [email protected] Die Mainacht, Johannes Brahms/ed. McCullough, Galaxy 1.3408 H Hlohonolofatsa, arr. Daniel Jackson, Walton WW-1588 AS Mixed Choir Assistant - Liz Batey “Ballade to the Moon” from Three Nocturnes, Daniel Elder, GIA G-8071 H All-State String Orchestra Chair - Brendan Burns Way Over in Beulah Lan’, arr. Stacey V. Gibbs, Gentry/Hal Leonard [email protected] Edith Copely, Northern Arizona University, Conductor H AS Orchestra Assistant - Robert Wicks H H 2019 All-State Orchestra State Band Chair - Casey Emerson Swamp Thang, Richard Meyer, Highland/Etling Publishing [email protected] Of Glorious Plumage, Richard Meyer, Alfred Music Publishing H AS Band Assistant - John Randall Overture from Don Quixote Suite, Georg Phillip Telemann, Lucks Music H All-State Treble Choir Chair - Lindsay Lowe Finale –The Dargason from St. Paul’s Suite, Gustav Holst, Kalmus lindsay@westadaorg Richard Meyer, Arranger/Composer, Conductor H AS Treble Choir Assistant - Anna Branigan H 2019 All-State Treble Choir H All-State Jazz Choir Chair - Corinna Steinbach Sound the Trumpet, Purcell, SA,Novello Edition/HL [email protected] Ave Maria, Guy Forbes, SSAA, Alliance Music Publishing H AS Jazz Choir Assistant - Corbin Rasmussen Sa tag mit Hjerte, Michael Bojesen, Edition Wilhelm Hansen H If I Were a Dog, Paul John Rudoi - SSA - Graphite publishing All-State Jazz Band Chair - Quentin DeWitt Don’t be Afraid, Allyson Reigh/arr. McMillan,SSA, MusicSpoke.com [email protected] This Little Light of Mine, Robert T. Gibson - SSA - Walton1682 H AS Jazz Band Assistant - Mike Harrison Dinah Helgeson, Clinician/Adjudicator, Conductor H 2019 All-State Band H 2019 All-State Jazz Band Bullets and Bayonets, John Philip Sousa/Ed. Fennell, Ludwig Repertoire TBA Magneticfireflies, Augusta Read Thomas, Hal Leonard Vern Sielert, University of Idaho, Conductor Four Scottish Dances, Malcolm Arnold/arr. Paynter, Carl Fischer Slava!, Leonard Bernstein/Clare Grundman, Boosey & Hawkes H 2019 All-State Jazz Choir Jack Delaney, Southern Methodist University, Conductor Repertoire TBA Matt Falker, MiraCosta College, Oceanside, CA, Conductor

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Idaho Music Notes 11 Winter/Conference 2019 2018-2019 IMEA Institutional Members Please support our Institutional Members— Their membership shows their support for us! Become an IMEA Institutional Member — Email [email protected] Blue Rider Music & Instrument Repair J.W. Pepper Music Chris Britt, Manager Robin Boles, Technician Brad Mastrangelo, Regional Sales Manager 595 W. Ustick, Meridian, ID 83646 7611 S. 180th Street, Kent, WA 98032 Phone & Fax: 208-888-6238 Phone: 425-291-9400; 800-345-6296 Fax: 425-291-9411 [email protected] Boise State University Music Department Linda Kline, Chair Meadowlark Melodies 1910 University Drive, Boise, ID 83725-1560 Bill Dugger & Mark Sherry, Proprietors Phone: 208-426-1772; Fax: 208-426-1771 Buy Music Online @ www.meadowlarkmelodies.com Email: [email protected] [email protected] 208-743-8748 Web: music.boisestate.edu Northwest Nazarene University Brigham Young University-Idaho Music Department Department of Music Dr. Philip Miller, Chairman, Nampa, Idaho 83686 Bryce Mecham, Department Chair Phone: 208-467-8413 Email: [email protected] Rexburg, ID 83460-1210 Web: www.nnu.edu/music Phone: 208-496-4950; Fax: 208-496-4953 Email: [email protected]; [email protected] QuaverMusic.com Web: www.byui.edu/music Alayna Anderson, Marketing Manager 1706 Grand Ave Nashville TN 37212 Brigham Young University-Provo Phone/Fax: 615-922-2020 School of Music Email: [email protected] Web: www.QuaverMusic.com Kathy Colton, C-550 HFAC, Provo, UT 84602 Email: [email protected] Sun Valley Summer Symphony Website: music.byu.edu Kim Gasenica, Educational Programs Director Phone: 801-422-2375 FAX: 801-422-0533 P.O. Box 3956, Hailey, Idaho 83333 Phone/Fax: (208) Email: [email protected] Chesbro Music Company Website: www.svsummersymphony.org or www.svsseducationprograms.org Karen Stewart, Manager, 327 Broadway, Idaho Falls, Idaho 83402 Phone: 208-932-1230 Fax: 208-522-8712 Treasure Valley Community College Michael Bates, Manager, 257 N Second E, Rexburg, Idaho 83440 Performing Arts Department Phone: 208-359-1900 Fax: 208-359-1901 Stephanie Laubacher, Administrative Assistant Email: [email protected] 650 College Blvd., Ontario, OR 97914 Email: [email protected] Web: chesbromusicretail.com Phone: 541-881-5950/Fax 541-881-5518 Email: [email protected] Web: www.tvcc.cc/performingarts The College of Idaho Music Department Dr. Paul Moulton, Chair Lionel Hampton School Of Music 2112 Cleveland Blvd, Caldwell, ID 83605 Phone: 208-459-5275 Fax: 208-459-5885 at the University Of Idaho Email: [email protected] or [email protected] Spencer Martin, Associate Director Web: www.collegeofidaho.edu/academics/music 875 Perimeter Drive MS 4015, Moscow, ID 83844-4015 Phone: 208-885-6231/Fax: 208-885-7254 Email: [email protected] Idaho State University Music Department Web: www.uidaho.edu/class/music Thom Hasenpflug, Chair of Music Department of Music Stop 8099, Pocatello, ID 83209-8099 Phone/Fax: 208-282-3636 University of Portland Email: [email protected] Web: www.isu.edu/music David DeLyser, Associate Professor of Music 5000 N. Willamette Blvd., Portland, Oregon 97203 Phone: 503-943-7382 Email: [email protected] John William Jackson Fund Website: www.up.edu/music (in The Idaho Community Foundation) P.O. Box 4711, Boise, Idaho 83711-4711 Website: www.johnwilliamjacksonfund.org Phone: 208-890-8503 Become an IMEA Institutional Member “A music education advocate for Idaho school children” Email [email protected] www.jwpepper.com www.facebook.com/jwpepperWA

Idaho Music Notes 12 Winter/Conference 2019 Tender Toes I’ve written every grade level of music. Introducing My easiest work (Grade Level 1) is called “Rise of the Lion Pride.” It’s in Ben Blessing Composer Tender Toes D minor and 3/4 time. I wrote the “B”

Publications theme to help students work on balance Publications and blend to bring the harmonies out My name is Ben Blessing, and I am a composer in Nampa, ID. I correctly. Last year, I wrote a Grade Level grew up in Meridian, learning to play the trombone in Ed Beisly’s 3 work entitled “Descent of the Eagle middle school program and continuing on through high school at Claw Into the Lion’s Den.” Meridian High. It was written for the Middleton When I was in middle school, my parents bought me a music Middle School 8th grade band. They notation program, which is where I first started messing around wanted fast and slow sections, jazz, and with composition. I continued to write, writing opportunities for solos. This was a fun project that the students many works for concert band throughout high really had a blast performing, and it taught them how to swing, school, even performing a work with the concert perform at multiple tempos, and how to play in a much different band before I graduated. style than most of the literature they had been exposed to. After graduating, I joined the Marine Corps, I was also commissioned by a staff member of the American and continued honing my skills. Upon my return to Band College, Ted Burton, for a new clarinet work. The end result Idaho from active duty life, I joined the 25th Army ended up being a dixieland-themed clarinet feature called “Just A Band and earned a Bachelor’s Degree in Music Theory/Composition Closer Walk With Thee,” scored for virtuoso solo clarinet and high from Northwest Nazarene University, and am currently working on school concert band (Grade Level 4). We are currently looking for a my Master’s Degree from the American Band College. band for a premiere of this work. I am now a band director at Compass Public Charter school in Much of what I have written has come from the joy of my old romping grounds of Meridian, where I’m teaching a new performing great works. If you are interested in seeing more of what generation of enthusiastic band students. I’m truly lucky to have a I’ve done, you can visit my website at http://benblessing.wordpress. wonderful career making music. com or https://www.facebook.com/benblessingcomposer/. Thank I wanted to write music that would really help educate my you for keeping the music alive! students, while meeting the high standards of quality literature. Ben’s Tender Toes Publications will be exhibiting at the Much of what I write has been informed by my own experiences Conference in Rexburg. teaching young students what they need. Over the last couple years,

IDAHO ORFF presents Kelly Takunda Orphan Workshop 300 dpi February 23, 2019

Idaho Music Notes 13 Winter/Conference 2019 sionate about music as I am. Additionally, the network of peers and Collegiate IMEA colleagues you can create at conferences like All-State and All-North- Mallory Hunt, President west can be an incredible support system. It’s also always relieving to hear that many music education students have the same questions Preparing for Practicum: that I have. We’re in this together as the future of the profession, and the partnerships we can form in NAfME will last a lifetime. What can we do to get ready I’m still nervous for my student teaching experience, but through for student teaching? observing teachers, volunteering with kids, and working on my weak- Student teaching has always been a distant thing looming in the nesses, I’ve turned much of that anxiety into excitement. As student future – exciting but intimidating, and far enough away that I could teachers, we need to put in the work outside of our classes to equip worry about it later. Now that my practicum is quickly approaching, ourselves for life in the real world. We are only as confident as we I’m growing more and more anxious. I’ve been doing everything prepare ourselves to be. I can to gain confidence in the classroom before my semester of student teaching. Early in my time at the University of Idaho, I sought out the new Collegiate Feature: band director at my alma mater. Freshly hired, he was a fairly new Connor Pack, educator with just a few years of teaching under his belt. I met with him over my fall break, while classes were still in session, at the high Brigham Young school to observe his class. Periodically in rehearsal or between class- es, he would impart some wisdom upon me about studying music University - Idaho and beginning a career in teaching. He told me that more than any 1. Name: Connor Pack classes he took, observing real teachers was the greatest learning ex- perience he had. On subsequent academic breaks I revisited some of 2. Current University: Brigham Young University – Idaho my favorite teachers in the Oak Harbor School District to figure out 3. Year of Study: Senior what they do that is so effective and engaging. Seeing real life teach- 4. Major: Music Education, Instrumental ers in action with a new perspective has been inspiring, informative, and reassuring. 5. Graduated from what High School: Bear Creek High School, Lakewood, Colorado The best way to confirm your passion for teaching is to get involved. Spending time volunteering in and outside of classrooms 6. High School Director: Mrs. Tammy Ahmed made it easy for me to see that teaching is what I want to do every 7. How did you volunteer for IMEA: I am the Vice President of day for the rest of my life. I’ve gotten hands on experience leading the CNAfME chapter here at BYU-Idaho, and have been assisting rehearsals, teaching skills, and sharing my joy of learning in tradi- with planning, promoting, and recruiting for the IMEA conference. tional and non-traditional classrooms. I’ve returned to organizations 8. How else have I volunteered as a student: I was formerly that shaped my childhood to get experience as a teacher and a leader. a member of the Kappa Kappa Psi chapter at the University of Take advantage of opportunities to give back to the extracurricular Northern Colorado, where I helped set-up and run the Colorado activities that were important to you as a student; not only does it All-State Band. I have assisted with BYU-Idaho’s annual music give you a chance to get more comfortable in front of kids, but you department highway cleanup project. I also currently assist with get a chance to change students’ lives like someone did for you. planning, promoting, and setting up for We learn and we grow when we step out of our comfort zone. I guest clinicians that present for our CNAfME personally struggle with confidence when I’m faced with leading my chapter. peers. To combat this, I put myself in uncomfortable situations. I 9. What is my dream job? To be a high hold offices in campus organizations to work on my public speaking school band director and drum corps staff and communication skills, even on a small scale. I’m a section leader member. One of those is already a reality! in the Sound of Idaho, our university’s marching band, which allows me to practice rehearsal techniques and pacing in an environment 10. If you could be doing anything you that is safe but still encourages me to do my best. While sometimes wanted right now, what would it be? If I these seemingly little tasks terrify me, I know I’m improving as a could be doing anything right now, I would be in my own classroom leader and as a person because of them. I’m gaining faith in my teaching my own band program. I want nothing more than to be abilities and second guessing myself less and less because I’m pushing graduated and out in the field full-time! myself in my weakest areas. Seeking out opportunities to practice is the best way to gain confidence in your abilities. Pizza with the Presidents There isn’t a better resource to prepare us as future music ed- IMEA Catered lunch ucators than our own mentors in NAfME. This organization is for Collegiate Members invaluable for us as collegiate members. The support you can find in NAfME on the local or national scale is unparalleled, and we don’t Friday, January 31, take advantage of it nearly enough. I take every chance I get to attend noon-1 PM, Room 181, conferences and events with IMEA and NAfME because I always feel BYU-I SNOW BLDG. inspired to be better when I’m surrounded by people that are as pas-

Idaho Music Notes 14 Winter/Conference 2019 MODERN BAND WORKSHOPS January 12 / March 9 Joe Campbell teaches music in the small rural town of Nezperce Idaho, where he is the K-12 music instructor for the Nezperce School District. Courses he teaches include elementary general music classes, modern band, and music appreciation. He holds bachelor degrees in both Music Theory and Music History from the University of Idaho, and a Master of Music in Music in Music Edu- cation from the University of Minnesota – Duluth where he studied the integration of popular musical styles and approaches into music Modern Band music programs teach the popular musical styles of the past 60 years, from rock and pop to Latin and education. Hip Hop, among other genres, with a heavy focus on improvisation, composition, and getting kids to play on day one. Modern Band complements existing programs such as jazz band, choral programs, marching band, and orchestral Joe is also a teacher trainer for the national music education music. nonprofit Little Kids Rock and is passionate about this organization’s What’s in it for you? • A reserved seat in our Introduction to Modern Band Workshop (Full Day) • Unlimited access to our Modern Band curricular materials and online resources mission of expanding music education to a broader student pop- • Participation in a community of more than 3,000 Modern Band practitioners from across the country • Professional Development Points / Hours ulation. He is also excited about how Modern Band can revitalize • Access to future professional development workshops • Discounted registration fee to our Modern Band Summit conference music programs in rural communities and is dedicated to sharing Little Kids Rock is a national music education nonprofit organization that is the recognized leader in Modern Band these possibilities with his colleagues around the state of Idaho. professional development. This program is currently in 43 states and 380 school districts all across the nation and the curriculum has been officially adopted by some of the nation’s largest school districts. Little Kids Rock is the recognized leader in Modern Band pro- Fee: $100 Register here: fessional development. This new strand of music education teaches littlekidsrock.org/for-teachers/idaho-workshops Questions? kids to perform, improvise and compose using musical styles that email: [email protected] they know and love including rock, pop, hip hop, R&B, and other modern genres. Modern Band classes feature guitar, bass, keyboard, drums, vocals, and digital music creation. They complement exist- ing ensembles such as band, choir, and orchestra allowing music programs to reach more students.

Idaho Music Notes 15 Winter/Conference 2019 UNIVERSITY/COLLEGE NEWS UNIVERSITY OF IDAHO Lionel Hampton School of Music Lionel Hampton School of Music named a GRAMMY Museum Affiliate One of only 15 Music Schools in the United States, the Uni- versity of Idaho is proud to announce that the School of Music is now a GRAMMY Museum Affiliate! The GRAMMY Museum’s University Affiliates program provides like-minded educational institutions with access to the rich musical history and archives of the GRAMMY Museum for educational purpos- es, curriculum resources, research programs, internship opportunities, professional development seminars, collaborative marketing and promo- tions, and project-based learning. We are excited to host Bob Santelli, Founding Executive Director, at the 2019 Lionel Hampton Jazz Festival this February. LHSM 2019 IMEA Presentations and Performances • “Elementary Classroom: Tips for Percussion Techniques” Lori Conlon Khan, Clinical Assistant Professor of Music Edu- cation; Spencer Martin, Clinical Associate Professor/Director of Athletic Bands — Thursday Jan. 31, 1:00 pm • “Saxophone Tone—Taming the Beast” Patrick Jones, Lecturer of Saxophone —Friday, Feb. 1, 8:10 am • “Teaching Sound and the Science of the Bowed String” Jason Moody, Lecturer of Violin/Viola and Orchestra — Friday, Feb. 1:00, 8:10 am • Vandaleer Concert Choir, Paul Thompson, Director — Friday, Feb. 1, 9:30 am • “Getting Your First Job” Lori Conlon Khan, Clinical Asst. Professor of Music Education — Friday, Feb. 1, 1:00 pm GROUNDED IN TRADITION. MUSIC CONNECTS US • “A Practical Approach to Facilitating Community” BREAKING NEW GROUND. Paul Thompson, Director of Choral Activities — Friday, Feb. 1st, 2:00 pm • “Fabulously Fun Favorite Folk Dances” FEBRUARY Lori Conlon Khan, Clinical Asst. Professor of Music Education 22-23, — Friday, Feb. 1, 2:00 pm 2019 • IMEA All State Jazz Band TICKETS: Vern Sielert, Professor of Trumpet/Director of Jazz Studies uidaho.edu/ticketoffice or 1-88-88-UIDAHO — Friday Feb 1, 7:30, Kirkham Auditorium, BYU-I The University of Idaho 2019 Lionel Hampton Jazz Festival—February 22-23 We are so excited to invite you back to Moscow for two packed and fun-filled days! Our 52nd festival is on February 22-23, 2019 and will once again feature educational workshops, musical competition, and great evening concerts. Space is limited and very few spots remain. If you haven’t done so, please register soon: 208-885-5900. Committed to Supporting Music Educators & Students The Lionel Hampton School of Music is committed to supporting K-12 music education and providing reinforcement for your music pro- gram in any way possible. If there are specific ways we can assist you and your students, please do not hesitate to contact us.

Idaho Music Notes 16 Winter/Conference 2019 2019 UNIVERSITY & COLLEGE SCHOLARSHIP AUDITION DATES Boise State University Music Dept. Idaho State University • Admission/Scholarship Audition Days for 19-20: Audition Date — Saturday, February 23 ◦ Saturday, February 09 ◦Saturday, February 23 More Information: www.isu.edu/sopa (last Audition Day for scholarship consideration) Phone: 208-282-3636 ◦ Saturday, April 6, 2019 Email: [email protected] • Live auditions & video auditions for Fall 2019 can still be scheduled through June 1, 2019. Northwest Nazarene University Apply online @ music.boisestate.edu/admissions Audition Dates — By Appointment; Web: www.music.boisestate.edu FB: facebook.com/ On-Campus audition dates — TBA BoiseStateMusic www.nnu.edu/music Phone: call (208) 467-8413 Email: [email protected] Boise State University Blue Thunder Marching Band Oregon State University Audition Weekend — April 5 & 6, 2019 2019-2020 Scholarship Auditions: TBA Apply online @ thunder.boisestate.edu Beaver Music Preview Day —October, OSU Campus Phone: 208-426-1846 liberalarts.oregonstate.edu/music Web: thunder.boisestate.edu FB: BSUBlueThunder Treasure Valley Community College Call for Audition Criteria nformation. Brigham Young University - Idaho Phone: 541-881-5950 Email: [email protected] On Campus Auditions: January 24-25, 2019 Web: www.tvcc.cc Satellite Auditions (Salt Lake City): January 26 Deadline for all Materials is February 1, 2019 University of Idaho Phone: 208-496-4950 Email: [email protected] Audition Days for Admission and Scholarships — Web: www.byui.edu/music Boise—Timberline High School: Jan. 12; Auburn, WA— Auburn High School: Jan. 26 ; Idaho Falls—Hillcrest High Brigham Young University - Provo School: Jan. 29; Moscow—School of Music: Feb. 9 AUDITION DAY: January 26, 2019 Priority Audition Deadline: February 23 Application/Prescreen Deadline-December 1, 2018 More Information: Phone: 208-885-6231 Website: music.byu.edu Email: [email protected] Facebook: facebook.com/lhsom Email: [email protected] Web: music.uidaho.edu/music Phone: 801-422-2660 University of Portland Central Washington University Saturday, February 16; Monday, February 18 Music Acceptance and Scholarship Auditions Saturday, February 23; Auditions can also be submitted via high quality audio Jan 11, 12 and Jan 26, 2019 on the Ellensburg campus. or video recording. All recordings must be received by The deadline for Music Scholarships is Feb 1 Monday, February 25th, 2019. For more information: 509-963-1216 [email protected] For More Information: up.edu/music www.cwu.edu/music FB:CWU Music-department [email protected] Phone: 503-943-7228 The College of Idaho Washington State University Audition Dates — November 17, 2018 January 19, Pullman; January 26, Issaquah; January 19, February 23, April 6, 2019 February 10, Pullman Online: February 11, Pullman – Music Major For a Day www.collegeofidaho.edu/academics/departments/music Video Auditions Accepted. For more information — Or call 208-459-5275 Email [email protected] or visit music.wsu.edu Find us on Facebook, Instagram, and Snapchat College of Southern Idaho Saturday, February 23, 2019 Willamette University Application deadline — Thursday, February 21 Audition Dates — TBA for an appointment willamette.edu/admission 503-370-6303 Email: [email protected] Phone: 208-732-6769 willamette.edu/go/musicauditions Web: http://finearts.csi.edu/music/musicScholarship.pdf [email protected]

Idaho Music Notes 17 Winter/Conference 2019 I appreciate Maslanka’s observation concerning literature choices. He Beyond The Notes – Making continues: “While I do understand the need to teach specific aspects of music, I strongly advise against the use of so-called ‘educational’ music. The core to the Emotional Expression a Priority development of a band is the committed interest of its players, and that interest is captured by real music. And what is real music? It is music that you personally love, in Wind Band preparation that excites and interests you. That is the key issue: do you love it? If you do, your By Larry Gookin, Central Washington University students will respond. If you do not love the music you are bringing to your students, One of the biggest challenges I faced as a public school and university band there is no way that they will love it, and no way that they will perform with real director was to discover the expressive content of the works performed, and then enthusiasm or conviction” (Some Thoughts on Choosing) somehow share that musical understanding with the students. There are many Maslanka makes an excellent point. How often do conductors select literature excellent band technique books and plenty of literature designed to improve wind without considering the expressive quality of the music? If the focus is totally on band rehearsals, but very little material is devoted to “emotional expression.” We the technical aspects of range, rhythmic complexity, key signatures, educational are taught in conducting class to learn the score through detailed analysis of the value, etc., without thoughtful consideration of the emotional content, we end up structure, motives, phrases, rhythm, harmony, melody, etc. This process usually teaching notes, not music. At some point in score study, I’ve found it helpful to involves many hours looking at individual parts, rhythmic complexities, meter put the score aside, close my eyes, and listen to a recording of the proposed music changes, dynamics, and so much more. I emphasize the word “looking.” We are with ears dedicated to finding the emotional content and the composer’s message. using our eyes, not our ears, to digest the music, and that is the problem. Music We have been trained to listen to the technical issues of performance, so it is very is an oral art form. Over the years, I realized that the process of score preparation difficult to turn off that analytical, overly critical ear, and absorb the “real” music. must involve not only academic study, but a search for the emotional content of As Maslanka suggests, if we love the music, we will be able to share the feeling of the works presented. In this article I’d like to share some thoughts concerning love with the ensemble. I believe if the music doesn’t speak to us on an emotional “emotional expression” in music and present some ideas on how to make level, we will not be successful in creating an expressive performance with our “emotional expression” a regular part of conducting and daily rehearsal. ensemble. It all starts with the conductor understanding the message. Only then What about “emotional expression”? Do common emotional states exist can we teach the music. between composer, conductor, performer, and audience? I believe so, but I also We all deal with the challenge of “podium personality” and wonder how understand that it’s difficult, if not impossible, to completely describe, label or musically intimate we should be on the podium. If indeed we are charged with quantify such communication. It’s even more difficult to teach. presenting emotionally expressive performances, we must share our emotional Psychologist Patrik N. Juslin has done substantial research on emotional understanding of the music. Some conductors can verbally share their thoughts expression in music, and he supports the practice of identifying basic emotions and feelings openly. Others are more reserved. Yet, as conductors, we all have in musical performance. In addition to basic emotions, he contends that there are the opportunity to show our feelings through our conducting gestures, facial multi layers and complex emotional states active during musical performance. expressions, and eyes. The challenge here is to get our head out of the score Although his ideas are controversial, Juslin is respected among other scholars and get the score in our head, and then encourage the students to watch. The who are engaged in similar research. The following list of “Basic Emotions” and score in our head (heart) should reflect the emotional intent of the composer- “Complex Emotions,” compiled by Juslin from his various survey studies, is a -the message. Then our conducting will reflect that deep sense of musical good place to begin discussing the concept of emotional expression in rehearsal understanding and truth. with your students. It is impossible to describe in words what an aesthetic Another powerful influence on my teaching regarding musical expression experience is, but we certainly can talk around it and attempt to discuss what and conducting has been the conducting and research of Dr. David Whitwell, my emotional feelings we experience during those special moments. This process college band director at the University of Montana from 1966-67. David Whitwell may be somewhat heuristic, but it’s certainly doable and hopefully relevant. is one of the preeminent contributors to the history of wind literature, aesthetics in music, the art of musical conducting, and the philosophy of music education. • Basic Emotional States: happiness, sadness, anger, fear, love While discussing an early conducting experience concerning score study, • Complex Emotional States: happiness-joy, calm-relaxation, nostalgia-longing, Whitwell states: “I had encountered the most fundamental definition of music: interest-expectancy, pleasure-enjoyment, sadness-melancholy, arousal-energy, Music is for the ear, not the eye. Considering the basic facts of our bicameral brain, love-tenderness, pride-confidence, and other mixed emotions such as joy-sadness. I doubt that any amount of left brain study, the grammar of music, music theory (Juslin) or analyzing chords, etc. will by itself reveal the ‘music’. The grammar and data are in a different side of the brain from the experiential and emotional aspects of Choosing literature of artistic merit is another huge challenge. We all have the music—the only things which make us want to listen to music.” (Life changing specific compositions and composers that we believe offer the highest calibre of moments II.) musical integrity. David Maslanka’s music has had a profound impact on my This is just one example of Whitwell’s deep understanding of the purpose of understanding of emotional expression in music. I believe that my attraction to music. All of his writings plea for the truth that music is feeling, and as music his music is primarily based on the emotional content of his compositions and the educators, we should embrace this fact as our primary goal. power of his music to transform us. The following quotations are extracted from There are a number of published texts that present ideas and materials helpful comments he shared with student composers and young band members. Here, I for developing emotional expression in wind band preparation. One text I found believe David speaks to the power of music: extremely helpful in developing rehearsal strategies during my early years of “We live in relativity, and yet music touches a timeless resonance in us, and teaching was Teaching Musicianship in The High School Band by Joseph Labuta. we are drawn into perceptions that go absolutely beyond this life and this time. I I recall using many of Labuta’s ideas for selecting quality literature, rehearsal think the central fascination with the feeling nature of sound and with the truth planning, presenting music, preparing program notes, teaching form, evaluating of feeling is what drew us all to music in the first place, and what continues to musicianship, teaching phrasing, etc. I’ve used Labuta’s teaching concepts draw and fascinate us all our lives. I can’t defend the truth of artistic perception in throughout my career and still think it is one of the best books addressing this any empirical way. After all the arguments about the relative or absolute nature subject, even though it was published in 1972. Two other texts that I encourage of things, about the nature of feeling, the validity of personal feeling, the nature you to explore for developing expression in music are Note Grouping – A Method of human nature, there is that thing in each of us – quite beyond the quirks of of Achieving expression and Style in Musical Performance, by James Thurmond, personality – that perceives rightness. And when that ‘click of rightness,’ happens, we and David Blum’s Casals and the art of Interpretation. Both texts focus on the are satisfied at a soul level.” (Some things that are true) concept of musical expression and present valid ideas and methods of teaching “It is the composer’s job to bring performers directly to the experience of qualities phrasing. in the music. It is the performer’s job to be well enough trained that the intuition is Here are some possible methods of approaching your next rehearsal using free to open and embrace the soul nature of the music, and to bring forward his or some of the material presented in this article: her own soul response.” (Some things that are true)

Idaho Music Notes 18 Winter/Conference 2019 Strategies to consider for your next rehearsal • Discuss the concepts of Basic and Complex Emotions • Discuss phrasing and shape of line (Note Grouping - Thurmond) NW NAfME (present material showing arsis-thesis patterns/relate to spoken word) • Discuss the expressive nature of the composition you are rehearsing President (sad/happy - purpose of composition – historical significance) • Present material that focuses on the composer John Combs (composer’s style/expressive voice) • Play recordings of the music you are preparing and ask the students to describe what emotions they feel as listeners We’re Ready for • Play a section of the music you are preparing and ask the students to describe what emotions they feel as performers you in Portland! • Experiment with expressive conducting (conduct musical gestures, not beat patterns – conduct without a score) But first, I’ll see you at your • Experiment and present various methods of connecting to emotional states: Idaho Conference in Rexburg! Tell your own story/relate to your own life experience Experiment with imagery Then.... See you in Portland! Sing melodic lines with the full ensemble Compare phrasing to poetry www.nafmenw.org. • Ask the students for ideas – empower student leadership Registration is open! I believe that few music educators would dispute that music is a “language of the emotions.” Our challenge Featured as music educators is to create an atmosphere in which Headliners our students are emotionally expressive and engaged in Larry Livingston the creative process. To do this, we need to believe that Keynote Speaker the primary purpose of music is “emotional expression.” I understand that there are many extrinsic values of Charles T. Menghini music: developing student leadership, creating positive Band social interaction, developing esprit de corps, focusing on the technical preparation – rhythms, articulation, Richard Meyer scales, intonation, balance, blend, tone, etc. These are all Orchestra necessary and important, but we must not forget that “The Jill Trinka paramount purpose of music is to communicate emotions.” Elementary (Whitwell, Music As A Language) If you plan to be at the NAFME Janet Barrett Elementary Northwest Division Conference in Portland this February, I encourage you Therees Hibbard Choral to attend the session “Beyond the Notes,” which will feature the Sam Barlow HS Wind Ensemble and their conductor Paul Nickolas. We will explore the possibility 2019 NAfME Northwest Division Conference of making “emotional expression” a February 14-17, 2019 priority in Wind Band rehearsals and Oregon Convention Center in Portland, Oregon performances. Special guests include Works Cited: • Blum, David. Casals and The Art of Interpretation. Berkeley and Los Angeles, CA: University of California Press, Ltd. 1977. Kathleen D. Sanz, • Juslin, Patrik N. “What Does Music Express? Basic Emotions and Beyond.” NAfME President and Frontiers in Psychology. September 2013/Volume 4. Web. Board Chair • Labuta, Joseph. Teaching Musicianship in the High School Band. West Nyack, New York: Parker Publishing Co. 1972. • Maslanka, David. Some Thoughts on Choosing Music for Young Wind Ensembles. 2015. Web. Davidmaslanka.com. • ------. Some things that are true – Reflections on being an artist at the end of the 20th Century. 1998. Web. Davidmaslanka.com. Mike Blakeslee, • Thurmond, James Morgan. Note Grouping – A Method of Achieving Expression NAfME Executive Director and and Style in Musical Performance. Camp Hill, PA: JMT Publications. 1985. Chief Executive Officer • Whitwell, David. Aesthetics of Music Volume 9. Austin, Texas. Whitwell Publishing. 2016. • ------. Life Changing Moments, II. Austin, Texas. Whitwell Publishing. 2018. • ------. Music As A Language: A New Philosophy of Music Education. Austin, Texas. Whitwell Publishing. 1993. • ------. The Art of Musical Conducting. Austin, Texas. Whitwell Publishing. 1998. Lynn M. Tuttle, Edited by Karen Gookin / Copyright 2018 Larry Gookin NAfME Director of Public Policy, Research, and Professional Development Idaho Music Notes 19 Winter/Conference 2019 Please study these proposed changes to our legal document and be prepared to vote at the General Business Meeting on Saturday at the Conference!

CONSTITUTION BYLAWS AND BY-LAWS STANDING RULES Idaho Music Educators Association, Inc. Proposed Revision, October 2018

NOTE: In order to bring IMEA into agreement with legal terminology The amount of dues belonging to the IMEA shall be determined by the IMEA required by the state and federal government, certain changes must Executive Board of Directors. be made to what has been our Constitution and By-Laws. Section 4. Institutional membership dues. Dues for institutional members shall be as determined by the IMEA Executive Board of Directors. Proposed Changes: Section 5. Retired membership dues. Dues for retired members shall be those • Change Constitution to Bylaws prescribed for retired membership in the NAfME and the IMEA. The amount of • Change By-Laws to Standing Rules dues belonging to the IMEA shall be determined by the IMEA Executive Board • Change Idaho Music Educators Association to of Directors. Idaho Music Educators Association, Inc. ARTICLE IV — STATE OFFICERS AND • Update Mission statement EXECUTIVE BOARD OF DIRECTORS • Change Executive Board to Board of Directors Section 1. State Officers. The officers of the IMEA shall be a President, a Vice- • Change biennial to annual President (who shall be the Immediate Past-President), a President-Elect and a • Change Association (when used by itself) to IMEA Secretary-Treasurer. • Provide for the addition of the option of secure online balloting at Section 2. Executive Board of Directors. The Executive Board of Directors the official IMEA website. shall consist of the elected state officers, the presidents of the existing districts, and the representative of the IMEA on the IHSAA Executive Board, who, if he/she is not already an official member of the IMEA Executive Board of Directors at the time of his/her election, thereby automatically becomes a CONSTITUTION BYLAWS member ex-officio of said board. All members of the Executive Board of ARTICLE I — NAME, MISSION, AFFILIATION, Directors must have the qualifications required for active membership in IMEA RELATIONSHIP and NAfME. Section 1. Name. The name of this organization shall be the Idaho Music Section 3. Terms of Office. Terms of office for the IMEA officers shall be for Educators Association, Inc. (IMEA). two years beginning July 1 following their election. Section 2. Mission. The mission of the Idaho Music Educators Association, District presidents shall serve as members of the IMEA Executive Board of Inc. is to advance and advocate for standards-based promote and advance Directors for the biennial period of their incumbency as district presidents. Music Education in all Idaho schools, to foster personal and professional ARTICLE V — STATE ELECTIONS growth of music educators, and to encourage and enhance standardize and Section 1. Nominations. The Executive Board of Directors shall act as the enhance musical opportunities for all students throughout the state. nominating committee and shall present nominations for state officers at the Section 3. Affiliation. This Association IMEA shall function as a federated biennial annual conference meeting on the even-numbered years. Nominations state unit of NAfME: The National Association for Music Education, and may be made from the floor at the general business meeting. function as a state unit of the NAfME Northwest Division. Section 2. Balloting. State officers shall be elected by active membership in Section 4. Relationships. This Association The IMEA shall have a the IMEA by either mail ballot or secure online balloting at the official IMEA functioning relationship with other affiliated state music Associations, with the website. Voting shall be completed by May 15 of the election year. IMEA Idaho High School Activities Association (IHSAA), and with other Associations members may request a mail ballot from the secretary-treasurer. whose interest include the welfare and promotion of music education. Section 3. Validation of Election. A committee shall be appointed by the ARTICLE II — MEMBERSHIP president, subject to the approval of the Executive Board of Directors, for the Section 1. Active Membership. Upon payment of the prescribed dues, this purpose of verifying and validating the online and mail-in balloting. membership conveys all rights and privileges of active membership in NAfME, Section 4. Plurality. A simple plurality shall constitute election. the Northwest Division, and IMEA to any person actively engaged in music ARTICLE VI — STATE MEETINGS teaching or other music activities. It includes the right to attend meetings, vote, Section 1. General Business Meetings. A general business meeting hold office, and receive subscriptions to regular NAfME & IMEA magazine shall be held in conjunction with the biennial annual conference and at such publications. times as shall be designated by the Executive Board of Directors. Section 2. Associate Membership. Any person not qualified under section 1 Section 2. Quorum. A quorum for the transaction of business at a general of this article, but who is interested in the cause of music education, may business meeting shall consist of twenty-five per cent (25%) of the total active become an associate member, upon payment of the regular annual dues, with membership. all privileges of active membership except the right to vote and to hold office. Section 3. Executive Board of Directors Meetings. The Executive Board of Section 3. Collegiate Membership. Collegiate chapter membership shall be Directors shall meet annually in the fall. This meeting shall precede the fall open to students of music at the college level who are not employed as meeting of the Idaho High School Activities Association's Executive Board. teachers. Collegiate members shall be admitted to state, division, and national Additional meetings shall be held during the IMEA biennial annual conference, meetings upon compliance with registration requirements and shall receive all the Northwest Division conference, and at such other times as and if conditions privileges of active membership except the right to vote and to hold office. may demand. Section 4. Institutional Membership. Any firm, institution, school or club Section 4. Executive Board of Directors Quorum. A quorum for the desiring to contribute to the support of this Association the IMEA may become transaction of business at a meeting of the Executive Board of Directors shall an institutional member upon payment of the prescribed dues, with all the consist of six (6) members. The vote of a majority of a quorum shall constitute rights and privileges of active membership except the right to vote and to hold effective action by the Executive Board of Directors. office. ARTICLE VII — DISTRICT GOVERNMENT Section 5. Retired Membership. Any former NAfME member who has retired Section 1. Annual Meeting. A regular annual district music educators meeting from the field of music education may become a retired member of IMEA upon will be held as scheduled by the District Executive Board of Directors. payment of the prescribed dues with all privileges of active membership. Section 2. Additional Meetings. Additional meetings may be called at the ARTICLE III — DUES discretion of the district president. Section 1. Active membership dues. Dues for active membership shall be Section 3. District Officers and Executive Board of Directors. District those prescribed for active membership in the NAfME and those dues officers shall be a President, a Vice-President, and a Secretary-Treasurer, and prescribed for active membership in the IMEA. The amount of dues belonging shall constitute the minimum district executive Board of Directors. The district to the IMEA shall be determined by the active members of the Association the executive Board of Directors may include three additional elected members-at- IMEA upon recommendation by the IMEA Executive Board of Directors. large. However, the IMEA Executive Board of Directors shall be empowered to Section 4. Time of Election and Terms of Office. The President, the Vice- increase or decrease the dues belonging to the IMEA in an amount not President and the Secretary-Treasurer shall be elected for a two-year term at exceeding $1.00 annually without a vote of the active members. the regular annual meeting in the odd-numbered years in the odd-numbered Section 2. Associate membership dues. Dues for associate IMEA members districts, and in the even-numbered years in the even-numbered districts. shall be as determined by the IMEA Executive Board of Directors. Section 5. Members-at-Large. An executive Board of Directors Section 3. Collegiate membership dues. Dues for collegiate members shall member-at-large shall serve three years. One member shall be elected each be the prescribed collegiate membership dues in the NAfME and the IMEA. year at the regular annual meeting.

Idaho Music Notes 20 Winter/Conference 2019 Section 6. Electors. Voting on all matters within the district shall be open to Bylaws and by-laws Standing Rules. All activities of the Association IMEA, such members in good standing of the IMEA-NAfME residing in the district, except as state groups, clinics, workshops, competition-festivals, conferences, etc., that on matters concerning interscholastic music activities under the shall be under the supervision of the Executive Board of Directors. Unexpired jurisdiction of the IHSAA, the electors must be music teachers or music terms of state officers on the Executive Board of Directors shall be filled by the supervisors in schools belonging to the IHSAA. president with the approval of the majority of the remaining members of said Section 7. Honorary Board Member. An administrator within the district may Board. be chosen by the executive Board of Directors to serve a two-year term as an Section 6. Executive Director. An IMEA Executive Director may be hired by honorary member of the executive Board of Directors and shall serve in an the Executive Board of Directors to handle the business and financial affairs of advisory capacity. the Association IMEA. The Executive Director shall manage the funds of the Section 8. Quorum. A quorum in the district unit shall consist of one-third Association IMEA; shall present an account of all moneys received and (1/3) of the members of the district. The vote of the majority of a quorum shall disbursed at each annual fall meeting of the Executive Board of Directors; shall constitute effective action by the district unit. deposit the funds of the Association in a depository approved by the Executive Section 9. Qualifications. The district officers shall be active members of the Board of Directors; and shall make regular reports of Association IMEA business IMEA and the NAfME. to the Secretary/Treasurer. All disbursements made by the Executive Director ARTICLE VIII — PERSONAL LIABILITY shall be approved by the president. The Executive Director shall collect all Section 1. No individual member of the Executive Board of Directors, no moneys due to IMEA and record all disbursements of IMEA activities and individual member of the Association IMEA, or officer, shall be personally projects. liable for any authorized act or action of the Association IMEA. ARTICLE II — ALL-STATE PERFORMING GROUPS ARTICLE IX — DISPOSITION OF ASSETS IN CASE OF COMMITTEE DISBANDMENT Section 1. Members. The All-State Performing Groups Committee, appointed Section 1. In the event of the disbandment or dissolution of the IMEA and the by the president and approved by the Executive Board of Directors, shall be liquidation of its physical and financial assets, all funds remaining after the composed of the chairpersons of the All-State Band(s), Orchestra(s), Choir(s), payment of the legitimate bills, and all accrued legal costs and financial and the All-State Manager. obligation, including salaries of any employees and expense allowances of Section 2. Term of Office. The term of office for members of the All-State officers, shall be transferred to the NAfME, unless other disposition of such Performing Groups committee shall be two years. They shall be appointed and funds or assets shall be directed by legal action or the membership upon notified preceding the annual fall meeting of the Executive Board of Directors. recommendation of the Executive Board of Directors. It is expressly stipulated Section 3. Duties. This committee shall be responsible for the general that in the event of liquidation, funds of the IMEA remaining in the treasury organization and performances of the All-State performing groups (All-State after all financial obligation have been taken care of, shall be utilized only for Band(s), Orchestra(s), and Choir(s), in connection with the annual IMEA purposes of furtherance of education in the United States, or some similar conference. related objective which shall be in keeping with the purposes of the Section 4. Meetings. The All-State Performing Groups Committee shall meet in organization and of its parent organization, NAfME. conjunction with the annual fall meeting of the Executive Board of Directors, and ARTICLE X — AMENDMENT at such other times as is necessary to fulfill their duties. Section 5. Relationship to the Executive Board of Directors. Members of the Section 1. The constitution Bylaws may be amended by an approving vote of All-State Performing Groups Committee shall be honorary members of the IMEA two-thirds of the active voting membership of the Association IMEA in the case Executive Board of Directors. They shall not be allowed to make motions or vote of a mail vote; or, by an approving vote of two-thirds of the active membership but shall act in an advisory capacity. An official member of the Executive Board of the Association IMEA voting in an official meeting of the Association IMEA, of Directors may be appointed to the All-State Performing Groups committee. or by an approving vote of the majority voting by secure online balloting at the official IMEA website, provided that a total vote of at least forty-five per cent ARTICLE III — IMEA REPRESENTATIVE TO THE IHSAA (45%) of the active membership of the Association IMEA is cast; provided that BOARD notice of such proposed amendment shall have been made known to the Section 1. The representative of the IMEA on the IHSAA Board of Control shall membership not less than thirty (30) days prior to the time of voting. be elected by the IMEA Executive Board of Directors. The term of office shall be Section 2. Amendments to this constitution the Bylaws may be initiated by the for three years. In case said representative is not already an official member of Executive Board of Directors, or by a petition signed by ten (10) active the IMEA Executive Board of Directors at the time of his/her election he/she members of the IMEA. Proposed amendments shall be in the hands of the thereby automatically becomes a member ex-officio of said board. secretary at least sixty (60) days prior to the time of voting. Amendments may ARTICLE IV — HIGHER EDUCATION REPRESENTATIVE not be initiated which are in conflict with the constitution of NAfME. Section 1. A representative of Idaho institutions of higher learning may be invited to serve as an honorary member of the IMEA Executive Board of BY-LAWS STANDING RULES Directors but shall not be allowed to make motions or vote and shall serve in an ARTICLE I — DUTIES OF OFFICERS advisory capacity. Section 1. President. The President shall preside at all meetings of the IMEA ARTICLE V — COMMITTEES and at all meetings of the IMEA Executive Board of Directors; shall have the Section 1. The president shall appoint committees to serve during his/her power to appoint committees not otherwise provided for in the constitution administration or for such shorter periods as may be necessary. Bylaws and by-laws Standing Rules; shall have the power, in an emergency, ARTICLE VI — PARLIAMENTARY PROCEDURE to make temporary rulings, until a meeting of the board can be called or an Section 1. Robert’s Rules of Order, Revised, shall govern the conduct of all expression of opinion otherwise obtained from it; shall, in consultation with the business meetings. Executive Board of Directors, prepare the program of the annual meeting of the IMEA, and shall perform all duties pertaining to his office. ARTICLE VII — ASSISTANTS TO OFFICERS Section 1. The president of the Executive Board of Directors may appoint Section 2. Vice-President. The Vice-President (who shall be the Immediate assistants to the state officers for a designated time when necessary. Past President), shall serve as an advisor to the president, and shall have such other duties as may be assigned by the President or the Executive Board ARTICLE VIII — AMENDMENTS of Directors. Section 1. The by-laws Standing Rules may be altered or amended by an Section 3. President-Elect. The President-Elect shall assume the duties of approving vote of a majority of the active voting membership of the Association the President in case of the disability or absence of the President. Should the IMEA in the case of a mail vote; or by an approving vote of the majority voting at office of the president become vacant, the President-Elect shall automatically an official meeting of the Association IMEA, or by an approving vote of the succeed to that office for the unexpired term. The President-Elect shall have majority voting by secure online balloting at the official IMEA website, provided such other duties as may be assigned by the President or the Executive Board that a total vote of at least forty-five per cent (45%) of the active membership of of Directors. the Association IMEA is cast, provided that notice of such proposed amendment Section 4. Secretary-Treasurer. The Secretary-Treasurer shall record and shall have been made known to the membership not less than thirty (30) days keep the minutes of the Association IMEA and of the Executive Board of prior to the time of voting. Directors, shall oversee and assist in the handling of the funds of the Association IMEA by the IMEA Executive Director, and shall assist in [Approved by the IMEA Board of Directors, July 23, 2018. To be presented in February 2019 to the membership] registration at other IMEA activities. The Secretary-Treasurer shall keep and maintain the current list of members of the Association. The Secretary- Treasurer may be delegated other duties by the President or Executive Board of Directors. Section 5. Executive Board of Directors. The Executive Board of Directors shall have general powers of administration of the affairs of the Association, with authority to act and enact legislation except as contrary to the constitution Please study these proposed changes to our legal document and be prepared to vote at the General Business Meeting on Saturday at the Conference!

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Idaho Music Notes 23 Winter/Conference 2019 Creating More Informed Performances By Dr. Thomas Kloss, Idaho State University How much do your students know about the music they are performing? The Comprehensive Musicianship philosophy aims to use 80 programs to choose from! class time to give students the knowledge about the works themselves, composers, and history of the music you’ve selected. In “Shaping Five locations including Caldwell, Idaho! Sound Musicians” by Patricia O’Toole, Dr. O’Toole gives guidance as to how you can inform your students in the following five areas: ANALYSIS Excellent and Affordable As teachers prepare a new work, O’Toole suggests that there are several areas in which students can also participate. Have students dis- Education cover the form of a work, talk about any rhythmic and melodic ideas, Visit us on our new and improved website: www.tvcc.cc and texture/timbre from what they hear as they begin to learn a piece. General tonality and harmony is also a great discussion point without  Six music ensembles to choose from ‐ Something for everyone! getting into the Roman numeral analysis. Students can also describe  Transferable Gen‐Ed Music courses expression through dynamics, phrase shapes, and contrasts within  Low student:instructor ra�o sections. Finally, any other considerations such as: How does the com-  No hidden fees poser create tension and where does it release? What unifies this work? How does the composer sustain interest in the work? What effect does  Vibrant, engaging Student Life Ac�vi�es this music have on the listener? What attracted you to this work (which  Caring faculty and staff ‐ We’re here for your success! O’Toole describes as the “heart”)? These questions (and more) can help  Campus events, athle�cs, food services and dorms guide listening and give students something to listen for. OUTCOMES Here, teachers can prioritize what they want students to know. O’Toole breaks down outcomes into three categories: Skill, Knowledge, and Affective/Aesthetic outcomes. Skill outcomes are what we ask students to practice. Scales, arpeggios, tone quality, breathing, etc., and Equal opportunity educator and employer how they relate to the work. Knowledge outcomes are more difficult, MUSIC SELECTION but looking at Bloom’s Taxonomy, develop questions for students to One of our biggest questions is “What is good music?” We all have show they can transfer, synthesize, or evaluate a work. Some examples different backgrounds and have had different teachers with differing would be for students to identify and describe the different motives musical philosophies. This section challenges the teacher to justify throughout a work, or asking students to improvise or embellish their music selection and ask how a song fits into the following catego- the melody as a thought exercise. The Affective/Aesthetic outcomes ries: Uniqueness, Form, Design, Unpredictability, Depth, Consistency, are where students can describe compositional techniques and their Orchestration, Text, and Transcendence. O’Toole also gives guidance effect. They can make connections with a culture and the work, how on making a chart of styles or ideas that you can keep track of through- the music makes them feel (and how did the composer do that?), and out the year. For example, have you selected music that has composi- even bigger philosophical outcomes as describing their feelings about tional devices such as fugue, theme and variation, chorale, or varying performing music at festivals (being judged), vs. school concerts. musical style periods? STRATEGIES CONCLUSION This is another opportunity for you to be creative and create a fun You must embrace the belief that concerts will be profoundly better (and motivational) way to present this information. Begin with the de- if students perform with understanding and that rehearsal time spent sired outcome and develop how you can guide your students to reach studying, debating, and exploring composers’ intent, style periods, and your goal. This is the hardest aspect for young teachers. One strategy students’ personal relationships to music can be efficient and balanced that I use often is having whatever is difficult about that work be a with improving performance skills. (O’Toole, 2003, pp. 111) part of the daily warm up. Any particular key, scale, or rhythm can be If you are interested, start small. Take a few minutes from each broken down in pieces, and presented in parts, as the group is getting rehearsal to ask your students about what they think of aspects of your ready to rehearse. Varying learning styles is also important at this stage. concert works. Develop higher-level questions (which also fit the Dan- ASSESSMENT ielson Evaluation model). What do they know about these composers As we all constantly assess our students within a music rehearsal, or style periods? How does the music make them feel? Listen to two O’Toole presents that assessment is a “natural, ongoing, and mean- versions online and ask them to evaluate who performed it better and ingful part of the teaching and learning process.” Assessment can why? If you do go all out and create a Comprehensive Musicianship document how much students have learned and will help you make unit on a work that you know you will perform again, then the next instructional decisions. This is also where you can have evidence of time you bring it out, the work is already done. I believe you will learning for administrators and evaluators. Technology has made it see a vast difference in the musical education of your students and much easier for students to create portfolios of their musical growth in they will develop the tools to make excellent musical decisions on your classroom. their own. O’Toole, P. (2003). Shaping Sound Musicians. Chicago: GIA Publications.

Idaho Music Notes 24 Winter/Conference 2019 Idaho Music Notes 25 Winter/Conference 2019 before a study begins, qualitative texts (e.g., Creswell, 2003; Marshall & Rossman, 2006) refer to the need to review the literature so that one can ACTION RESEARCH provide the rationale for the problem and position one’s study within An Underutilized Tool for the ongoing literature about the topic” (Creswell, 2007, p. 102). Though Creswell was speaking about qualitative research, reading the research Curricular Development by Music Teachers of previous studies is crucial for any type of research (e.g., qualitative or By Lori Gray, Boise State University, Music Education quantitative). Reading previous studies can help you understand what has There’s an unfortunate perception that research (both conducting been done before you and how your research will fit within the literature studies and reading them) is the exclusive domain of the university and possibly fill a gap in the research. The design of your study can also professor. However, research can be quite valuable to music teachers at all be modeled on previous studies, or you may get ideas for what to do from levels. According to Phillips (2008): your reading. Many people think that once they have left college, they At one time or another all music teachers have explored an no longer have access to scholarly journals, books, or online repositories idea informally by using a quasi-research procedure (e.g., of periodicals. However, most public libraries offer online research tools an approach to teaching sight-singing). This trial-and-error and access to journals, along with access to scholarly books through process is at the heart of what is called action research. The interlibrary loans. Here are three articles I found and reviewed, by simply difference between an informal process and action research, searching on Google Scholar, related to systems for teaching rhythm however, lies in the more formal procedures used in the patterns. If you find articles in this manner and discover that you do action approach. (p. 317) not have access, copy the article title and search on your public library’s As teachers, we are conducting informal studies in our classrooms website: all the time, as we test out new approaches to teaching the curriculum to Ester, D. P., Scheib, J. W., & Inks, K. J. (2006). Takadimi: A rhythm system for all students. Phillips outlined the four-part process of action research, which ages. Music Educators Journal, 93(2), 60–65. can be directly applied to test a new approach in the music classroom: 1) Hoffman, R., Pelto, W., & White, J. W. (1996). Takadimi: A beat-oriented system Plan (identify the problem or the need for the study and plan a course of rhythm pedagogy. Journal of Music Theory Pedagogy, 10, 7-30. of action for the research/teaching process, 2) Action (follow the plan to Palkki, J. (2010). Rhythm syllable pedagogy: A historical journey to takadimi via design the activities that need to take place, reflecting and adjusting as the Kodály method. Journal of Music Theory Pedagogy, 24, 101-129. needed along the way, 3) Observation (collect data that can be used to Reading previous studies always piques my curiosity and I enjoy the analyze the results, could be narrative or quantitative in nature), and 4) process of lifelong learning involved in pursuing research. In preparing Reflection (analyze and reflect upon the data and process, considering the hypothetical study for this article, I learned something new about the results and what the expected results were, make adjustments to the these rhythm syllable systems. I have always assumed that the Takadimi teaching and activity sequence, and begin the cycle again). This research system was from the Kodály approach, because my Kodály levels training process can be viewed as a “cycle,” as this study should inform future utilized that system. However, I discovered by reading the Ester, Scheib, teaching and the process starts over again (p. 319). This research cycle and Inks (2006) article that my instructors preferred the Takadimi appears in many forms across disciplines (e.g., the scientific method). system to the traditional Kodály system. My Kodály instructors, Micheal Step one is to identify the problem/need for the study and plan a Houlahan and Philip Tacka, told the authors that, “the Takadimi rhythm course of action for the research and the teaching process. Let’s examine system solves the problems associated with the Kodály rhythm syllables. the action research process with a hypothetical music scenario. There We believe that were Kodály alive today, he would certainly encourage his are several systems used from K-12 and on through higher education for students and colleagues to use the Takadimi system” (p. 62). reading rhythms (e.g., different syllable sets, counting on numbers). Let’s After the literature review, the next step is to conduct the study by assume that this hypothetical teaching position is in elementary general following the plan (based on the literature review and your reflections on music and the music teacher is allowed to select the rhythm reading sys- what you hope to discover, also known as the research questions). One tem (it is not pre-determined by the district curriculum). The teacher will model for testing a new method in the classroom is to use the current first select a grade level for the study. The teacher will want to conduct a method (ta-ti-ti) and get a baseline assessment (A), then use the new baseline or pre-assessment, using the current rhythm reading system (let’s method (counting with numbers, the treatment) with students and assess assume that is something like the traditional Kodály rhythm syllables: their learning with the new method (B), then go back to the old method quarter note= ta, two eighth notes= ti-ti, four sixteenth notes= tika-tika). (removing the treatment) and assess again (A), and then finally return The teacher will then select two classes of similar rhythmic ability for back to the new method (B). At the end of this round of testing, the the study. All other classes will continue with the current system, but the new method is more effective than the old if the students show marked two selected classes will each work with one of the new approaches. It progress in their assessments when compared to the old method. This is would be helpful, if possible, to choose a grade level with more than two ABAB Test Design. classes so that the teacher can compare all three systems. The teacher will then plan out the length of the study and each lesson, utilizing the two It’s important to note that if you plan to publish your study at some additional rhythm reading systems: 1) counting with numbers, and 2) point, and you are working with human subjects, there is a separate pro- the Takadimi system commonly used now by Kodály teachers (created by cess that is required (prior to the start of your study). This process is typ- music theorists Hoffman, Pelto, and White, 1996). ically with the school district and/or a local university and includes the submission of an application, which details how you will ethically work Research is something that we all with the human subjects in your study. The committee that reviews the application is called an Institutional Review Board and they will ensure participate in each day we teach, that you follow proper procedures to minimize risk. Your application will include a consent form that all subjects need to sign as part of participat- whether we are consciously ing in the study. For K-12 students, parents will need to sign the form. aware of it or not. Music Education journals will want to know that you have an approved In my experience, it has been helpful to augment this process by study through an IRB before they will publish your study (if your study starting with a literature review, prior to planning the action/study. Often, involved human subjects). when I am looking for new ideas or approaches to teaching something, The third step is to observe and collect data that can be analyzed for I will turn to the research on that topic to see what others have done. results. This data could be narrative (qualitative) or presented in numbers “Although opinions differ about the extent of literature review needed (quantitative). You need a clear plan for how you will collect meaningful

Idaho Music Notes 26 Winter/Conference 2019 and reportable data (e.g., video/audio, tally marks of observed actions, in- formal or formal assessments with submitted student work). During the data collection, the study can be adjusted if needed to ensure that useful data can be collected and that an accurate measure of the results can be collected. For our rhythm system study, the teacher might use flashcards and ask individual students to clap and speak the rhythms using one of the new systems and then keep an account of accuracy for each student. The fourth step is reflection and analysis of the results, though reflec- tion should occur throughout the entire study. Reflect upon the study and all steps of the process, the results, and how the study could be replicated (should anything be changed if the study were conducted again?). The results should allow you to adjust your teaching if you discover a more effective method for teaching rhythms than the system that you were using. As teachers, whether we choose to present and publish, or simply to use research to inform our own practice, an important advantage of this cycle of testing and reflection throughout the teaching process is that it allows us to constantly refresh our approach in the classroom. In addition, making evidence-based decisions for the delivery of curriculum within our classroom presents the possibility of tailoring our pedagogy to match the needs of our students. Research is something that we all participate in each day we teach, whether we are consciously aware of it or not. We plan our teaching process for each lesson based on knowledge, training, conversations with colleagues, and past experiences. We reflect in the moment about the lesson, student engagement or challenges, and ways to improve upon the lesson. We assess student learning and reflect again upon the results, and the cycle starts over again. By reading about what others have done, we can discover new ideas and revitalize our approaches to teaching and learning in the classroom. Perhaps, you will be inspired to share your research with others in a presentation or an article, and the cycle of learning continues. Creswell, J. W. (2007). Qualitative inquiry & research design: Choosing among five approaches (2nd ed.). Thousand Oaks, CA: Sage Publications. Phillips, K. H. (2008). Exploring research in music education and music therapy. New York, NY: Oxford University Press. Dr. Lori Gray is Assistant Professor and Director of Music Education at Boise State University. She teaches undergraduate and graduate courses in Music Education and supervises student teachers. Lori recently joined the Boise State Music faculty in the Fall of 2017, after her position as Associate Professor of Music Education at the University of Montana. Prior to her experience in higher education, Lori taught in public and private PreK-12 schools in http://www.meadowlarkmelodies.com Texas, primarily as a general music specialist. � Access to over 200 other publishers � Discount Pricing for Most Publishers � Custom Arranging Your Online Music Source for the 21st Century

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Idaho Music Notes 27 Winter/Conference 2019 SUMMER MASTER OF MUSIC EDUCATION

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

CWU Department of Music 509-963-1216 • [email protected] CWU is a AA/EEO/Title IX Institution. For accommodation: [email protected]

MUSIC at UNIVERSITY OF PORTLAND BRING YOUR TALENT. YOUR PASSION. YOUR RAINCOAT.

Located in the arts-rich city of Portland, our nationally-accredited music program offers personal attention from our artist-teachers, and outstanding academics and performance opportunities.

2019 SCHOLARSHIP AUDITION DATES Monday, February 18 • Saturday, February 16 and 23

FOR MORE INFORMATION up.edu/music INTIMATE CLASSES. [email protected] 503.943.7228 INNOVATIVE PROGRAMS. OUTSTANDING ENSEMBLES.

18-26488_Music Ad_7.5x3.5_Insturment + Choral.indd 1 7/31/18 11:35 AM

Idaho Music Notes 28 Winter/Conference 2019 Curriculum Units for the 2014 Music Responding Standards

Created through the Teaching with Primary Sources program of the Library of Congress Focused on helping educators connect to the Library of Congress’s digitized archives, and helping teachers learn how to incorporate primary sources into the classroom, NAfME has created curriculum units connected to the Library’s vast resources in music, including audio, video, still images, and sheet music files. Each unit contains multiple lesson plans based on an inquiry model of teaching, and with many opportunities to incorporate primary sources from the Library of Congress’s online collections, including the National Jukebox, featuring archival recordings. The units are based on the 2014 Music Standards, featuring the Responding Artistic Process, where students are engaged in listening to, analyzing, and responding via written work, dialogue, research, composition, and performance to music. • Band: middle and high school • Orchestra: middle and high school • Chorus: middle and high school • General Music: elementary The Band, Orchestra, and Chorus units are arranged by each level in the Performing Ensembles standards – Novice, Intermediate, Proficient, Accomplished, Advanced. The General Music units are available at the 2nd, 5th, and 8th grade levels.

GENERAL MUSIC RESPONDING UNIT, GRADE 2 RESPONDING TO MUSIC THROUGH MOVEMENT

A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States (LOC) Teaching with Primary Sources

Chorus RespondingA Curriculum Unit, Project Accomplished of Level

the National Association for Music Education (NAfME) Download the newest curriculum units at bit.ly/LOCcurriculum. and the Library Teaching of Congress with Primary of the United Sources States (LOC)

nafme.org | 1-800-336-3768

Idaho Music Notes 29 Winter/Conference 2019 SCHERZO! Humor for the Music Educator

Idaho Music Notes 30 Winter/Conference 2019 LIONEL HAMPTON SCHOOL of MUSIC

DEGREE OPTIONS 2019 AUDITION Bachelor of Music Master of Arts DATES Jan. 12, 2019 Music Education Music History Boise: Performance Auburn, WA: Jan. 26, 2019 Composition Music Minor Music Business Idaho Falls: Jan. 29, 2019 Musical Theatre Moscow : Feb. 9, 2019 Bachelor of Arts or Minor Science in Music Applied Music Jazz Studies PRIORITY AUDITION Music History and Literature Minor Music Theory (Minors may be added DEADLINE: to any undergraduate February 23, 2019 Master of Music degree) Performance Composition Choral Conducting 208-885-6231 Collaborative Piano Piano Pedagogy and Performance Studies www.uidaho.edu/music Idaho Music Notes 31 Winter/Conference 2019 IDAHO MUSIC EDUCATORS ASSOCIATION NONPROFIT ORG IDAHO MUSIC NOTES US POSTAGE 824 NORTHVIEW DR PAID TWIN FALLS, ID 83301 TWIN FALLS, ID 83301 ED14882 Idaho MEA Program IMN.qxp_Layout 1 12/4/18 8:55 AM Page 1 PERMIT NO 313

Welcome Music Educators

Pick up your Yamaha bag. We are excited to see you and all the dedicated Idaho music teachers at this year's IMEA conference.

Come by the Yamaha booth to register and receive your free bag filled with special resources and cool stuff for music teachers.

See you soon!

Questions? [email protected]