October/November 2018 Ala Breve

ala breve October/November 2018 The Official Publication of the Alabama Music Educators Association Conference Issue AMEA Professional Development Conference January 17-19, 2019 Birmingham-Jefferson Convention Complex Sheraton Birmingham Hotel www.myamea.org







ala breve the official publication of the Alabama Music Educators Association October/November 2018 Features... 8 AMEA Governing Board Directory 9 Alabama Bicentennial Performance Opportunity 11 General Music Reviews by Deanna Bell 15 Call for Research Posters 16 Industry/Institutional Members 19 Band Music Reviews by Randall Coleman 20 FAME 21 Sound Advice by Richard Mark Heidel 24 Featured Conference Speakers/Intercollegiate Band Clinician 27 All-State Jazz Band Clinicians 28 Conference Performing Groups 37 All-State Jazz Band Information by Kim Bain 38 Motivation Strategies for Musicians...by Brittney Patterson 40 Jazz Band Music Reviews by Matt Leder 41 Conference Clinicians 53 Conference Schedule 58 NAfME’s Professional Development eKit 60 Developing Student Leaders by Kevin Ford 62 Schedule of Events 64 Choral Music Reviews by William Powell Departments... Advertisers Index Smoky Mountain Music Festival................6 American College of Musicians ...............11 UA Bands ................................................63 6 .....................President Arts Music Shop, Inc ..................back cover UA Bands Summer Camps.......................31 10 ..................Elem/Gen AU Bands HS Honor Bands .....................25 UAB Bands...............................................33 12 .............................AVA AU Bands MS Honor Bands ....................26 UAB Music...............................................49 14 ...........................ABA AU Music Department .............................43 UAH Music ..............................................32 15 ..........Past Presidents AU Music Department Audition Dates ....44 UNA Department of Music ........................4 16...........................AOA Gadsden Music Company.........................18 University of Montevallo .........................47 37...........................Jazz Huntingdon College Music.......................61 University of South Alabama Bands ........62 John M. Long School of Music (Troy).....34 University of South Alabama Music ..........3 Jacksonville State University ...................13 Yamaha.....................................................17 Samford University ....................................2 ala breve 5

Greg Gumina, AMEA President August with a full agenda of 21 business items to accomplish. I am proud to report for many other state publications. Leaders that the Board worked diligently and from around the country constantly and completed all items on the agenda. Most consistently praise the work that Mr. Taylor importantly, the Board completed planning does for us. Thank you so much Garry! our January 2019 Conference. I won’t belabor the point by giving a substantive Southern Division Meeting analysis of the conference here, but I will say this: Get there, and get your colleagues Hello AMEA! The Southern Division of NAfME held its there as well! We have all heard the phrase Fall Board Meeting in Nashville, Tennessee to the effect that “There’s nothing there Back to Work on September 9-10. Representing you at for me.” Just peruse the schedule and you the meeting besides myself were President- will see that not only is there something for I hope that this issue of the Ala Breve Elect David Raney and Executive everyone, but there is a lot there for finds you experiencing well-planned, Director/Editor Garry Taylor. Some of everybody. There are more clinic sessions, effective, sequential, and standards-based the topics discussed were state by-laws and interest sessions, meetings, and of course lessons in which your students are learning policies, navigating the NAfME website, more concerts. We will also have a general a life-long love and appreciation of music. State Chair Positions, collegiate voting, session, keynote address, and awards. You Whatever Division you belong to and budgeting, resources, technology, Societies do not want to miss this, so get your pre- whoever makes up your classroom, my and Councils, Tri-M, and the registration complete and join your 1,200 wish is that you feel empowered and organizational split with the Give a Note Alabama Professional Music Educator excited to have a positive effect on our foundation. Colleagues for a fantastic conference! next generation of music lovers, music consumers, musicians, and citizens. And National Conference Conference Registration while we are at it, let’s all acknowledge what a fantastic job our Editor does with our The NAfME National Conference will As I mentioned in my last article and publication. I can tell you from many take place November 11-14 in Dallas, through no fault of anyone in the AMEA, conversations I have had over the past two Texas. You may feel free to consider this we experienced major issues with and a half years with leaders from other an advertisement, and I’m proud to do so. registration at our 2018 Conference. I am states that the Ala Breve provides a model Our national leaders have conducted super excited to announce that those extensive research and I’m happy to report problems have been dealt with and solved. An educational festival that they have listened to the respondents We all owe a huge debt of gratitude to Dr. for elementary, middle, and associated generated data. The new Carl Hancock for engineering a new and high school students in model for the National Conference looks registration program and process, which is band, choir, and orchestra to be a very effective one and includes currently up and running perfectly. The several tracks of learning for the best way to alleviate any delays in the 2019 dates: Professional Music Educator. There will be registration process is still to pre-register April 12 three two-day forums including Emerging and get right to the conference activities. April 26 Leaders, Collegiate, and Music Program You won’t want to miss a minute. Thank May 3 Leaders. There are also several topic areas you, Dr. Hancock! or “Opuses,” which can be followed 2020 dates: including Learning, Innovation, Bicentennial Performances April 3 Involvement, Inspiration, and Technology. April 7 You can receive 20 hours of professional Bicentennial Performance Applications for April 24 development for attending an Opus the 2019 Spring Legislative Session are due and/or 10 hours of professional November 1. These performances will www.SMMFestival.com development for attending one of the occur in the Rotunda of the State Capitol three two-day Forums. Learn more about building and were very well received last or call:1-855-766-3008 the newly revised National Conference year. There are some very specific rules offerings at nationalconference.nafme.org and logistical concerns for these and I’ll see you there. performances, so please read the performance application very carefully. August Meeting and 2019 Conference You can find all the information you need on the myamea.org website. I hope to see The AMEA Governing Board met in 6 October/November 2018

you and your group in Montgomery this coming spring! Appointments I mentioned in my previous article that I was going to make some appointments to the Presidential Cabinet, and I am pleased to report to you that some of these appointees and their associated committees are already doing great work. You will begin to see the fruits of their labors in this and coming issues of the Ala Breve, at our Conference, and through other special reports. The Presidential Cabinet will also meet during our conference in Birmingham to discuss, strategize, and plan for the future. Here are some highlights of recent appointments: Carlton Wright-Diversity in Music Education, Stephanie Ezell-Health and Wellness, Keith Anderson-Technology, Dr. Rob Lyda-Advocacy, David Raney-Mission and Vision, Deanna Bell-Sexual Harassment and Safety in the Workplace, Margaret Herron-AP Music Theory, David Allinder-Harmonizing Instruments, Susan Smith-AMEA Emerging Leaders, Craig Cagle-Grant Writing, and Franklin Bell- Copyright Compliance. Others are still being formed. Thanks to everybody involved and I look forward to seeing the results of your research. You will also notice that I have added Elementary/General, Jazz, and Orchestral Music Reviews to our publication to generate more useful information for all our members. Thanks also to our newest Music Reviewers! Visible and Vigilant In closing, may I ask each of you to be difference Music Education makes for our officials at all levels, communicate your both Visible and Vigilant? Be visible in students, our communities, and our thoughts, ask them to visit you and your your towns, cities and counties. Be visible culture. Also, be vigilant. Keep a watchful students, and stay vigilant about their to your local residents and school eye on legislative happenings at the local, decisions and policy making. Our art form, populations. Be visible in our state. Be state, and national levels. Many decisions our students, and our noble profession visible to your elected officials at all levels are made for us and about us, often deserve both our visibility and vigilance. of government. Invite people to come see without us even knowing there was a your performing groups and classrooms. decision being made. Be vigilant and stay Looking forward to seeing all of you at the Let our fellow citizens and elected officials informed about music education policy in Conference! see what you are doing, what you are your local school, school system, city, accomplishing, and even what you might county, state, and nation. Contact elected Greg be struggling with. Let them see what a ala breve 7

AMEA Governing Board 2018-2019 President-Elect Treasurer/Registrar David Raney Pat Stegall President Sparkman High School AMEA Registration Greg Gumina 2616 Jeff Road PO Box 3385 Shades Valley High School Harvest, AL 35749 Muscle Shoals, AL 35661 6100 Old Leeds Road 256-837-0331 [email protected] Irondale, AL 35210 [email protected] (205) 956-4638 President, ABA gg[email protected] Recording Secretary Doug Farris Carla Gallahan Brewer High School Immediate Past President 113 Long Hall 59 Eva Road Susan Smith Troy University Somerville, AL 35670 104 Smith Hall Troy, AL 36082 (256) 621-0540 Troy, AL 36082 (334) 670-3502 [email protected] (334) 670-3322 [email protected] [email protected] President, Elem/Gen President, AVA Phil Wilson President, AOA Megan Jones Ogletree Elementary School Guy Harrison Decatur High School 737 Ogletree Road 218 Goodwin Music Building 1011 Prospect Drive Auburn, AL 36830 Auburn University, AL 36849 Decatur, AL 35601 [email protected] (334) 844-8192 (256) 552- 3011 [email protected] [email protected] President, Higher Education Mildred Lanier President, AMEA Collegiate AMEA Collegiate Advisor Jefferson State Community College Jordan Hare Edward (Ted) Hoffman (205) 983-5309 [email protected] University of Montevallo [email protected] Station 6670 Industry Representative Davis Music Building 308 Alabama Department of Education Becky Lightfoot Montevallo, AL 35115 Arts Education Specialist Arts Music Shop (205) 665-6668 Andy Meadows 3030 East Blvd. [email protected] 50 North Ripley Street Montgomery, AL 36116 Montgomery, Alabama 36104 334/271-2787 Assistant Executive Director (334) 353-1191 [email protected] Rusty Logan [email protected] 2020 Janabrooke Lane Executive Director Auburn, AL 36830 Editor, Ala Breve (334) 663-1702 Garry Taylor [email protected] 1600 Manor Dr. NE Cullman, AL 35055 (256) 636-2754 [email protected] Garry Taylor, Editor & Advertising Manager ADVERTISING & COPY DEADLINES 1600 Manor Dr. NE Fall - August/September (Back to School) issue: July 15 Cullman, AL 35055 Winter - October/November (Conference) issue: September 15 (256) 636-2754 Spring - May/June (All-State) issue: January 15 [email protected] Summer - May/June (Digital Only) issue: April 15 Unless otherwise indicated, permission is granted to NAfME members to reprint articles for educational purposes. Opinions expressed in this publication are not necessarily those of AMEA or the Editor. All announcements & submissions are subject to editorial judgement/revision.The Alabama Music Educators Association is a state unit of NAfME: The National Association for Music Education, a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME/AMEA membership is open to all persons engaged in music teaching or other music education work. Ala Breve is published four times a year (August, October, February & May) by the Alabama Music Educators Association and printed by Hardwick and Son Printing in Dothan, Alabama. Subscription for members is $4.00 per year as part of annual NAfME/AMEA dues. Subscriptions for non-members is $15.00 per year. Bulk rate postage paid at Dothan, Alabama. 8 October/November 2018

Alabama Bicentennial Performance Opportunity Perform in the Rotunda of the Alabama State Capitol Building during the 2019 Legislative Session A collaborative project of the Alabama State Department of Education, the Alabama Music Educators Association, and the Alabama Institute for Education in the Arts, in support of the Alabama Bicentennial Celebration Information  This performance opportunity is for public schools only.  Performances will be in the Alabama State Capitol Rotunda. Space is limited. Ensembles should be no larger than 20-25 students.  Recommended performance groups include small brass, woodwind, string, vocal, or guitar groups, such as trios, quartets, quintets, or small choirs.  Each ensemble should plan for a 20 minute performance, with at least one selection related to the state of Alabama.  Electricity or amplification may not be used. Chairs or music stands will not be provided. Groups may bring their own stands and chairs if necessary. A piano will not be provided.  Performances will take place on Thursdays of February and March during the 2019 Legislative Session. Groups will arrive by 11:00 AM at the Gordon Persons Building, warm-up, then proceed one block to the Capitol and perform at 12:00 PM.  Performing schools will be reimbursed for a substitute teacher, bus driver, and mileage.  The deadline to apply is November 1, 2018. Notification of acceptance/rejection will go out November 15, 2018. Performance Dates February 7 February 14 February 21 February 28 March 7 March 14 March 21 March 28 Visit www.myamea.org and complete the online application Deadline: November 1, 2018 ala breve 9

Phil Wilson -  President, Elementary/General Division It Takes a Community In the book, What Teachers Should Know and Be Able to Do, opportunities await you. This year we are honored to have Beth Ann published by the National Board for Professional Teaching Standards, Hepburn as our featured clinician. She will be presenting four sessions the five core propositions which govern the process of certification for us ranging from developing part-singing to using body percussion are explored and explained. The core propositions are: with songs and rhymes. We will also have several member guided sessions including bucket drumming with Viktoria Truesdail and 1. Teachers are committed to students and their learning. learning new ways to put on a show by Kristi Howze. Kodaly specialist Jeremy Howard will clinic on musical make-believe while 2. Teachers know the subjects they teach and how to teach Rob Lyda will help us celebrate Alabama’s Bicentennial. Jennifer those subjects to students. Canfield will show us how to create music for the elementary classroom, Art Williams will present on the Fred Rogers approach to 3. Teachers are responsible for managing and monitoring teaching elementary music, and Stephanie Porter will demonstrate student learning. reading in music and recording on a budget. Our friends from Quaver and Chord Buddy will be there and other clinics and vendors 4. Teachers think systematically about their practice and you will not want to miss. Please be sure to reserve Friday night for learn from experience. an evening of fellowship and music sharing fun. We look forward to seeing you in Birmingham on January 17th -19th. Be sure to check the 5. Teachers are members of learning communities. AMEA website (www.myamea.org) for details about preregistration and hotel information. These propositions serve as the anchor of what National Boards consider accomplished teaching. Though many of you may not be We hope to see you all at the Fall Music Workshop on October 13th, board certified, you still may exhibit many, if not all, of these and at the 2019 AMEA Professional Development Conference in propositions. I could use my space here examining how you measure Birmingham in January. Please contact us at ([email protected]) up against each of these propositions, but instead I’ll focus on for questions or concerns. proposition five, teachers are members of learning communities. Phil R. Wilson, President, In a study about professional development, Darling-Hammond and AMEA Elementary/General Division McLaughlin (1995), found that teachers need opportunities to “share what they know, discuss what they want to learn, and connect new Darling-Hammond, L., & McLaughlin, M. W. (1995). Policies that concepts and strategies to their own unique contexts” (p. 1). These are support professional development in an era of reform.  Phi delta perfect descriptors of what professional learning communities should kappan, 76(8), 597-604. be. This year, your elementary board wants to ensure your voice, your experiences and your musical wants are represented in every Upcoming Dates: workshop and session we plan. It is our goal that your professional learning through AMEA continues to be positive and meaningful. 13th Annual Elementary Music Festival, Friday, October 12th, Samford University’s Wright Center Our professional learning communities begin in just a few days at the 13th Annual Elementary Music Festival at Samford University’s Wright Joint Fall Workshop sponsored by Elementary/General Division of Center on Friday, October 12th. Approximately 400 elementary AMEA, AOSA, and SHAKE, Saturday, October 13, 9 a.m. to 1 a.m. students representing over 40 schools across the state have registered. The clinicians for this event will be Dr. Damian Womack and Dr. Sara NAfME In-Service Conference, Nov 10-14, 2018, Dallas, Texas Womack. This music festival is a great opportunity for our students to learn and grow. Although registration for this year’s festival has 2019 AMEA Professional Development Conference, BJCC, passed, please consider including your students for next year’s festival. Birmingham, AL, January 17-19. The following day, Saturday, October 13th from 9 a.m. to 1 p.m. we will have our joint Fall Workshop sponsored by the AMEA American Orff-Schulwerk Association, National Professional Elementary/General Division, AOSA and SHAKE. This year our Development Conference, November 7-10, 2018, Cincinnati, Ohio clinician will be Orff specialist Sara Womack. The workshop will be held at Vestavia Hills Elementary Central 1289 Montgomery SHAKE Spring Workshop, April 6, 2019, with Dr. Michele Paynter Highway, Vestavia Hills, AL 35216. Paise. The 2019 AMEA Professional Development Conference will October/November 2018 convene at the BJCC in Birmingham. Many rich professional learning 10

General Music Reviews Deanna Bell Rhythm Pies by Lenna R. Harris, Macie charts” for students. This is one of my Publishing Company students’ favorite books! And I hope it will be yours too! Which rhythm mnemonic do you use? I am looking forward to seeing everyone at Kodaly? Gordon? Numbers? Word Chant? this year’s AMEA conference! Have a great If you like word chant, this is the book for semester! you! But…it might make you hungry! By age five, children are able to tap in time Deanna Bell is the music teacher at Vestavia to a regular pulse and clap the rhythm of Hills Elementary East. words. By age six, children can perform quarter, eighth, and half-note rhythms on instruments. Rhythm Pies is an excellent book to use in the K-4 music setting because it offers a range of opportunities for students to experience rhythm reading in different ways. The book has 48 colorful pages and a CD Rom for projection. It also includes reproduction rights and suggestions for games and assessments. The progressions are easy to follow and my students love it! The book begins using pictures of food to represent various note values: “Pie, Pie, Cherry, Pie.” As the book progresses the pies and cherries turn into quarter and eighth notes. By the end of the book students are playing quarter, eighth, half, and sixteenth notes. I use this book every year with my second and third graders for a rhythm review. My students play tubanos along with the word chants. You can easily finish the book in one 40-minute music class. It also provides “create your own ala breve 11

Megan Jones - President, Alabama Vocal Association AVA UPDATES AND UPCOMING EVENTS Thank you to everyone who came to this year’s Fall Workshop, and schools with 6th-8th-grade feeder programs reading at the same level thank you to Dr. Damion Womack and Huntingdon College for of difficulty. hosting us. I hope that you all were able to leave with some new strategies and ideas to use with your choirs and that you were able to Lastly, we updated our sight-reading procedures to allow for tonality enjoy some time visiting with your colleagues. to be established once during the 5-minute study period and again before each singing of the example.  We know that many directors BYLAW CHANGE have their students audiate during the study time and would prefer At Fall Workshop, the membership voted to change the eligibility re- them to audiate in the correct key.  The new standing rules state that quirements for the Pat Blackwell Music Education Award to make “Tonality may be established by playing the tonic or chord once at them align with the Outstanding Choral Student requirements. Arti- any point during the study period.” cle XV, Section 15.2 of the AVA Bylaws now states: The new sight-reading guidelines may be found in the revised Gen- In addition to the general eligibility requirements for AVA events eral Membership Handbook on the AVA website. listed in Article IV, each nominee for the Pat Blackwell Music Educa- tion Award must: ALL-STATE AUDITIONS All-State auditions are fast approaching. Please be sure to read the A. Have been a performing member of an All-State choir All-State Audition Standing Rules before your audition date. Make (SATB, TTBB, SSAA) the preceding year. certain that each of your students has the All-State Adjudication Form F2.2 complete with parent signature and song titles listed in B. Have been selected for the current year’s All-State choir. audition order. The lists of song titles in audition order may be found on the AVA website. Also, every student will sing an excerpt C. Be a senior with an overall C average or above from Ed Robertson’s arrangement of “Alabama” as part of the audi- tion. This piece is not included in All-State music packets, so make D. Be in good standing with his/her school and choral sure your students each have an original copy of this piece and have department learned it. This year, we are also having all directors submit two of their All-State auditionees singing “Alabama” through Acceptd.com.  E. Intend to major in choral music education in college. This will allow each school to interact with the service and to dis- cover any concerns we may have in regards to using them in the fu- NEW SIGHT-READING GUIDELINES ture.  After All-State auditions, please email me any questions or AVA Vice-President Ginny Coleman proposed in 2016 that we concerns while they are fresh on your mind so that we can discuss reevaluate our sight-reading requirements to allow for varying levels them at AMEA. of choirs.  She appointed me to work with a committee to research other states’ guidelines and to involve the membership in creating ASSC AUDITIONS new guidelines for us.  The AVA board felt this was necessary be- For this year’s auditions, each student will submit four vocal videos cause other disciplines are tested on various levels based on student and two dance videos through Acceptd.  For the vocal videos, stu- experience.  The sight-reading committee chose to adopt the guide- dents will sing along with the Matthew Curtis accompaniment lines for levels Ginny had created, and with the help of the sight- tracks.  For the dance portion, the choreography video will be online reading committee, we created a chart that shows what will be on YouTube one week prior to the submission deadline.  Each stu- expected of each level.  In addition, we chose to allow beginning dent must submit a front-view and a back-view video so that the groups to read one voice-split less than their stage voicings.  For ex- judges can make sure the students have the dance memorized.  Stu- ample, a beginning SAB choir may choose to read a 2-pt example or dents will need to sing their parts while dancing. a beginning TTB group may read a TB example.  We just ask that each director write a rationale for the need on the judge’s sheet so AMEA CONFERENCE that the judge will understand the necessity.  For example, a 20-per- The 2019 AMEA Conference will be held January 17-19 at the Birm- son beginning SAB group with only a few baritones might choose to ingham-Jefferson Convention Complex in Birmingham. Our guest read 2-pt. and would write on the form that they are reading 2-pt. clinician will be Dr. Lori Hetzel from the University of Kentucky. due to the size of the choir, small number of baritones, and their She will be presenting sessions entitled “Unleashing the Power and level of experience. Beauty of the Female Voice in a Choral Ensemble” and “Empower- ing the Treble Chorus with Quality Repertoire.” J.W. Pepper will As to what is expected of each level, we created our chart using the also be sponsoring a reading session of repertoire chosen by Dr. old AVA guidelines, so for most of our choirs, the level of difficulty Hetzel. In addition, we will have some wonderful concerts and ses- will seem about the same.  However, we believe these new guidelines sions by choral directors and choirs in our state. I hope to see you will allow more beginning high school choirs and 1-2 grade junior all there! high and high schools to participate.  We also felt there was a need for an advanced level.  Until now, we have had 9th-grade schools, 9th- 12th-grade schools with no feeder programs, and 9th-12th-grade 12 October/November 2018

+H]PK3>HS[LYZ AUDITION DATES +LWHY[TLU[VM4\\ZPJ FFrrididaayy,, FFeebbrruuaaryry8,22,0210918 1(*2:65=033,:;(;,<50=,9:0;@ SSaattuurrddaayy,, FFeebbruraurayr9y, 32,0129018 FFrrididaayy,, FFeebbrruuaaryry159,,22001198 SSaattuurrddaayy,,FFeebbruraurayr1y61, 020, 129018 Monday, February 18, 2019 WWW.JSU.EDU/MUSIC 13 David L. Walters Department of Music 201 Mason Hall Music 700 Pelham Road North Jacksonville, AL 36265 Phone: 256.782.5559 /JacksonvilleStateUniversity /JSUnews #JacksonvilleState /JSUpix ala breve

Doug Farris - President, Alabama Bandmasters Association Take Care of Business Register for AMEA As the school year has begun with 12+ hour Advanced Volume I. These students must guidelines, it is your students that potentially days, working with beginners on their new present a copy of the book at the suffer. instruments and preparing for all the next registration table at the district level. String events of the year, don’t forget to register bass and percussion will continue with the If you have not already updated your for the AMEA Conference in Birmingham, current cycle of etudes. The scales for the directory on abafest and myamea, please do January 17-19 2019. The conference is a middle school must be performed at the so immediately. We are still finding mistakes great way to re-energize at the beginning of range listed on the website. There is also a in member’s information. This helps the the second semester. With the number of four minute time limit on the middle school organization keep you informed and to applicants, Garry and I discussed different scales. As a professional organization, we make sure your registrations are processed scheduling possibilities, and that includes an must strive to adhere to the rules and correctly. The ABA has asked that when amazing program by The Alabama Winds. regulations that are in place for the benefit you are registering for events, you complete Let me encourage you to make plans now to and fairness of our students’ success. the process yourself by mailing the payment attend their concert, set for 10 pm Thursday and registration to the appropriate person at night. You do not want to miss it! In The music performance classifications have ABA. We constantly receive checks and addition to this treat, we’ve planned many changed for this year. Your district registrations sent to the wrong places, clinics covering a wide range of topics that chairmen should have discussed these causing delays in processing. Thanks for we hope will inspire you to ‘learn and return’ changes in detail at your district meetings or your attention to this detail. by taking some new ideas and energy back to through email. The current bylaws are online your own programs. at www.myamea.org. Please read the bylaws All-State 2019 will be in Huntsville. Please first before calling and asking a question use the hotel links on the website to book The board received thirty-five applications whose answer can be easily found. Your rooms. It is easier for you and benefits the to perform. Choosing from all the applicants ABA board works very hard for you while organization! was a great problem to have and shows our maintaining their own band programs, and bands are continuing to improve and are we ask that you please be patient with them Finally, the AMEA conference is more than wanting to share their outstanding students at the busy times of the year. Read their great concerts, inspirational and educational with the music educators of Alabama. The emails, get registrations done on time, and clinics, and meetings. It is a time to listen to groups that have been selected are truly participate and help during your district veteran directors on how they have outstanding, and include Liberty Park 7&8 events. Band directors demand so much of conquered the problems the younger MS Band, Oak Mountain HS Symphonic our students on a daily basis, but we often directors face. And for veteran directors, it’s Band, Music Shoals HS Wind Ensemble, do not live up to what is expected of us as a great time to hear new ideas, innovative Thompson HS Wind Ensemble, UAB Wind members of ABA. I am speaking to myself techniques, and to be inspired about a fresh Symphony, Alabama Winds, Bob Jones HS as well when I say this: let us strive to do our look at a career to which they have devoted Percussion Ensemble, Auburn University jobs for our students and for their success at their professional lives. Find a way to join us Jazz Band, Fairhope MS Symphonic Band, ABA events. When judging all-state at the AMEA conference and let’s continue and the Intercollegiate Band. auditions, they are all your students and need to make our organization stronger for the professionalism and fairness. When you benefit of our students. Please remember that the middle school don’t meet deadlines, judge at district All- etudes are selections from the Rubank State auditions, or follow the bylaws and Visit AMEA’s website, www.myamea.org - preregister for the conference - reserve a room at the Sheraton - apply to bring a lobby group to the conference - register a student for the FAME program 14 October/November 2018

CALL FOR RESEARCH POSTER PARTICIPATION The Alabama Music Educators Association, Higher Education Proposal Submission - Interested researchers should submit a Division invites research poster submissions from all levels of detailed abstract of the research project (up to 1000 words) as music scholars and practitioners. Submissions may include a Word or PDF document through our online submission completed and in-progress research studies involving any aspect website: http://amea-research.org. of music (education, therapy, history, psychology, performance, music in higher education, alternative music, etc.). Research Deadline - Submissions must be received by 11:59 p.m. CST on based on issues facing music educators, musicians, and music Monday, November 5, 2018 for full consideration. students in the Southeastern United States are especially welcome, though this is not a requirement. Process for Review & Notification - All submissions will be peer reviewed and authors will be notified of acceptance by All submissions should meet the Code of Ethics found in the email during the week beginning Monday, December 3, 2018. If Journal of Research in Music Education. accepted, authors must register and attend the AMEA conference to present the poster. In the case of multiple-author Research presented at other conferences will be considered. works, at least one author must register and attend the AMEA However, previously published work will not be accepted. Conference to present the poster. SUBMIT YOUR PROSOSAL: http://amea-research.org Poster Dimensions - Posters should be professional in appearance and have poster dimensions of dimensions no larger Conference Days and Location - The 2019 AMEA than 36 inches by 48 inches. Presenters are expected to bring conference will be January 17-19, 2019 in Birmingham, Alabama 15-20 copies of their research abstract to the session. at the Birmingham–Jefferson Convention Complex (BJCC). See https://www.myamea.org/ for more information. More Information - Contact Dr. Jane Kuehne at Auburn University by phone at (334) 844-6852 or by email at Poster Session Day and Time - The poster session will be [email protected]. held Friday, January 18, 2019, 1:00 p.m. – 3:00 p.m. in the Birmingham Ballroom (exhibit hall) lobby. AMEA Presidents - Past to Present 1946 Yale H. Ellis 1972 Frances P. Moss 1996 Johnnie Vinson 1948 Walter A. Mason 1974 George Hammett 1998 Michael Meeks 1950 Vernon Skoog 1975 Frances P. Moss 2000 John McAphee, Jr. 1952 John J. Hoover 1976 S. J. Allen 2002 Tony Pike 1954 Lamar Triplett 1978 W. Frank McArthur 2004 Becky Rodgers 1956 Carleton K. Butler 1980 Paul Hall 2006 John Baker 1958 Mort Glosser 1982 Lacey Powell, Jr. 2008 Pat Stegall 1960 Wilbur Hinton 1984 Johnny Jacobs 2010 Steve McLendon 1962 Lacey Powell, Jr. 1986 Merilyn Jones 2012 Sara Womack 1964 G. Truman Welch 1988 Ronald D. Hooten 2014 Carl Hancock 1966 Jerry Countryman 1990 Ken Williams 2016 Susan Smith 1968 Floyd C. McClure 1992 Dianne Johnson 2018 Greg Gumina 1970 Jerry Bobo 1994 James K. Simpson ala breve 15

Guy Harrison - President, Alabama Orchestra Association Thank you for taking Auditions for our All-State Festival will take playing in Alabama. They will be holding their the time to read this place during the first two weekends in annual Honor Strings Festival at the message from your October, with results posted to our website by University of Alabama from October 26-28, Alabama Orchestra November 18. Students that have a successful 2018. For more information about the festival Association. If the audition and are selected for All-State will and the other work being done by the start to your fall has need to accept their spot by December 1. Alabama chapter of ASTA, please visit their been anything like Financial Aid forms are also due at that time. new-look website at: http://astabama.org mine you are already in need of some time to rest and rejuvenate The AMEA conference in January 2019 is the Finally, your AOA wants to hear from you. We from the hectic start of the new school year. perfect pick-me-up as we transition into our would love to feature you, your program, your spring semester. Your AOA has been upcoming events, and anything else you feel While the start to the school year is always a fortunate to select several great clinicians, should be shared on our social media busy time, it doesn’t slow down for those of headlined by Bob Phillips, who will offer platforms. We need to better highlight all the us involved in the orchestral world here in something for everyone – both for our orchestral activity occurring in our state and Alabama. For us, October is audition month division as well as the general membership as we can assist to make that happen. Please take with students from all over the state preparing a whole. More information about these advantage of this opportunity. and auditioning for a spot at the 2019 sessions can be found elsewhere in this edition Alabama All-State Orchestra Festival being of Ala Breve. If you have not yet done so, this I look forward to hearing from you and seeing held February 7-10, 2019 at the University of would be a great time to renew your you all soon. Alabama. With a great lineup of conductors membership and register for the conference. and some fantastic repertoire, students will Regards, have an experience like no other right here in I would also like to bring to your attention the their own state. work Chip Gulbro and the new ASTA- Guy Harrison Alabama board is doing to advance string AMEA Industry/Institutional Membership 2018-19 AMEA would like to express appreciation to the following partners who have joined AMEA in our efforts to promote music education in Alabama. Please support these industry/institutional members who support you as music educators! Arts Music Shop, 3030 East Blvd., Montgomery, AL 36116 Bailey Brothers Music Company, 4673 Highway 280 Suite 7, Birmingham, AL 35242 John M. Long School of Music, School of Music, Troy, AL 36082 JW Pepper, 9053 Riverside Pkwy, Lithia Springs, GA 30122 Kaleidoscope Adventures, 7081 Grand National Drive Ste. 110, Orlando, FL 32819 Landmark Tour and Travel, 704 37th Street South, Birmingham, AL 35222 Marchmaster Inc., P.O. Box 73379, Newnan, GA 30271 QuaverMusic.com, 1706 Grand Ave., Nashville, TN 37212 Thomas Tours, Inc., 2405 12th Ave. South, Nashville, TN 37204 University of South Alabama, LPAC 1072, 5751 USA Drive South, Mobile, AL 36688 16 October/November 2018

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The task of selecting music for your ensemble is a daunting one Band Music Reviews indeed. As we remind ourselves that what we choose as the literature for our programs become the curriculum that we use as Robert W. Smith has onceRaagnadinalpl Croovleidmeadnus with incredible music a vehicle to teach multiple concepts to our students. I believe that for those specific teaching moments. Robert’s setting of the this tenet should be the primary guiding light as we select music…. traditional English ballad Scarborough Fair, is, quite simply, what can we TEACH our students if we program this piece? Of breathtaking. In this arrangement, published as a Grade 3, the course, we want to teach or reinforce those musical qualities that conductor should be careful to balance the melody and counter allow our students to experience success as student musicians. We melody appropriately throughout the piece. The shaping of the want our students to play with characteristic tone, to be aware of conversation between these two lines is crucial to the clarity and intonation issues and be able to correct them, to play with intent of the arrangement. Scarborough Fair also provides young rhythmic integrity, to work with their colleagues to produce a students the opportunity to explore and work from a theoretical characteristic ensemble sonority. Moving beyond the “nitty gritty” standpoint in minor tonalities. From the opening statement in soli …does a piece of music allow our students to grow in other ways? flute to the subdued ending, this setting is a wonderful taste of If so, I think the piece is a worthwhile part of our curriculum. lyrical playing in a minor mode for your students. This is yet The compositions that I have included for your review below all another of Robert W. Smith’s incredible contributions to our offer the students the opportunity to become better musicians and repertoire. We are indeed fortunate to have him as one of our have unlimited potential to reach our students on multiple levels. “Alabama colleagues” and proud to share him with music educators around the globe. David Biedenbender is currently on the faculty at Michigan State University, and earned his DMA in Composition from the If you are searching for a challenging piece that is incredibly fun University of Michigan. David has written several pieces for wind for your students to play, then look at Shine On! by Nathan band that have received much success. Among those are Melodius Daughtrey. Written to celebrate the 100th anniversary of the band Thunk, Stomp and Luminescence. One of his most recent works is program at East Aurora High School, Shine On! is published at the Unquiet Hours, which was commissioned by the Midwest Band and Grade 4.5 level and provides you an opportunity to showcase your Orchestra Clinic and premiered at the 2017 Midwest Clinic by the talented musicians. Aurora, Illinois is officially known as the “City Riverwatch Middle School Band. Although listed as a Grade 4, of Lights” because it was one of the first cities in the United States this piece provides numerous technical challenges and could easily to implement an all-electric street lighting system in 1881. The be considered a Grade 5. Unquiet Hours provides a strong challenge city also shares its name with Aurora, the Goddess of the Dawn. for your percussion section and requires a total of 7 players at She was the bringer of light and was often described as bringing minimum to cover the parts. Modern percussion writing including hope and rejuvenation to all living beings as they woke up each a prominent part for crystal glasses adds to the various tone colors morning. Her two horses that pulled her chariot across the sky produced by the piece. Biedenbender writes that the piece is are named in the Odyssey as Firebright and Daybright. Much of “about the unquiet hours-the times when sadness, doubt, anxiety, these characters provides inspiration for the piece. Technically loneliness and frustration overwhelm and become a deluge of demanding for percussion, woodwinds and brass, the piece unceasing noise.” So many of our students are dealing with these requires an outstanding control of internalized pulse and technical personal social issues and our students will be able to relate easily clarity. The full ensemble will be required to have a firm grasp of to the composition. The piece, at its conclusion, is about finding jazz style and the members of your percussion section will enjoy peace “inside the noise”, which will speak volumes to many of our providing the “groove” for this piece. Engaging and catchy students. The wind parts are written for a typical wind band and melodies are spread throughout the ensemble, including a includes optional parts for Eb Contralto Clarinet, Bb Contrabass xylophone solo, and a driving “tour de force” ending make this Clarinet and Double Bass. There is a printed Bass Trombone part, selection a delight for the performer and audience alike. I know but it is also listed as optional and the part may be taken up an your students will thoroughly enjoy Shine On!. octave to accommodate younger players. The composer also includes alternate pitches for the timpanist for young players and Randall Coleman where pedal changes are difficult. This is a highly-recommended Associate Director of Bands piece for those upper Grade 4 and Grade 5 ensembles. You and The University of Alabama your students will enjoy preparing and performing Unquiet Hours. Conductor and Music Director The Alabama Winds If your younger ensemble needs to strengthen their ability to play lyrical, flowing and expressive lines, our good friend and colleague ala breve 19

FAME F A M Euture labama usic ducators Open to High School Juniors and Seniors Thursday, January 17, 2019 9:00 A.M. - 4:00 P.M. Birmingham-Jefferson Convention Complex Application and $20 registration fee are due postmarked no later than January 10, 2019 Student_____________________________________________________________ Grade ____________________ Nominating Teacher ____________________________________________ NAfME # _________________________ School Name ____________________________________________________________________________________ School Address __________________________________________________________________________________ Teacher Phone ________________________________ Teacher Email ______________________________________ This student participates in (circle all that apply): Band Chorus Orchestra Other ____________________ Publicity Waiver Enclose $20 Registration Fee I give AMEA permission to take photos of FAME attendees and use the Make checks payable to AMEA photos for publicity purposes. By this authorization, I understand and agree that no participant shall receive remuneration and that all rights, title and interest to the photos and use of them belongs to AMEA. _________________________________________ ________________________________________________ Signature of Student Signature of Parent if Student is under 18 The FAME program includes many important topics for students considering a career as a music educator. AMEA provides a $1000 scholarship opportunity to a FAME participant who plans to major in music education at an Alabama college or university. Visit www.alabamamea.org for details. Lunch will be provided by AMEA Mail this application, along with the $20 registration fee, to: Susan Smith AMEA Past President 303 Old Cabin Road Troy Alabama 36081 Postmark Deadline: January 10, 2019 20 October/November 2018

by Richard Mark Heidel Sound Advice Originally printed in the Winter 2010 issue of the I know that my personal performance With this in mind, it can be effective to first Iowa Bandmaster. Reprinted here with permission of experiences as a trumpet player in the Texas demonstrate improper balance by having your the author. Tech University Symphonic Band under the band invert the pyramid of sound creating a direction of James Sudduth and the University bright sound, or by having individual players The foundation of any fine ensemble, of Illinois Wind Symphony under James F. “stick out” in certain sections to illustrate the whether it is an orchestra, jazz ensemble, Keene significantly shaped my opinions about effects of poor blend. Following this marching band, chamber ensemble or wind the ideal wind band sound. Like the demonstration, you can provide the band band, is the quality of its sound. Therefore, it conductors with whom I studied, I subscribe some type of signal which indicates to them is incumbent upon conductors to possess a to the principle that the desired fundamental to increase the bass voices while decreasing solid concept or aural image of the type of sound of a wind band is that which is a well- the treble voices, gradually creating more of a sound they desire their ensemble to produce, blended, dark, resonant sound that is built on pyramid of balance that will affect the sound and to structure rehearsals and create teaching the low sounding instruments within the in a most revealing and positive manner. strategies which will enable their students to band. Who has influenced your concept of Dr. McBeth proposed that pyramids may be achieve and reinforce a particular quality of band sound, and how has that influence created on various levels from the full sound. Concepts of sound quality are shaped affected the way you approach your ensemble to instrument families to individual by many factors including the ensembles to ensemble’s sound? sections. The three diagrams below from which we listen, the instrument(s) we play and Effective Performance of Band Music perhaps most influential is our ensemble I assume that a large number of wind band illustrate this approach: performance experience. conductors have come to know this approach Diagram 1: Full Ensemble Balance to balance and ensemble sound production as There are numerous concepts of sound the “pyramid system.” This popular phrase Diagram 2: Woodwind Family Balance production, and I prefer avoiding resulted from the teachings and highly conversations that debate “right” versus influential writings of Dr. Francis McBeth, Diagram 3: Brass Family Balance “wrong” concepts of ensemble sound especially his manual entitled Effective production. Rather, I choose to respect a Performance of Band Music: Solutions to Notice that within Diagrams 2 and 3, there are conductor’s decision to approach his or her specific problems in the performance of 20th “double pyramids” which indicate the proper ensemble’s sound in a certain manner, Century Band Music, I fully endorse the balance within each family and for each provided it is an appropriate quality for a pyramid of sound concept for wind bands particular composition and that the best that has been championed by Francis McBeth interest of the music is served. I fondly for several decades now, and that concept remember my days as a high school and essentially sets forth the idea that low voices in college student when I started listening to the band should contribute more sound to the music in a more serious way, and thus began full ensemble sound than the high voices. gaining greater appreciation for and insight into the many aspects of musical To achieve a pyramid of balance, band performance. As a trumpet player, my early members should think, listen, and balance listening habits tended to focus on down at the section, instrument family, and instrumental ensembles including orchestras, full ensemble levels. Ensemble members that brass quintets and wind bands. I was and play higher sounding instruments should fit continue to be an avid listener of classical their sound inside the sound of lower music, and I recall eventually being able to instruments. Special attention must always be differentiate the Chicago Symphony given to inner voice parts or they will often Orchestra under the baton of Sir Georg Solti fail to adequately contribute to the total band from the Philadelphia Orchestra under sound. It is important to constantly monitor Eugene Ormandy simply by listening to the for good balance within the band, but also to unique quality of sound that each ensemble listen for proper blend, which results when produced. The CSO, of course, had that students match volume, make a uniform marvelous brass sound, while Philadelphia quality of sound, and produce good possessed a rich, lush string sound. Both were intonation within sections and families of truly world-class ensembles, but their sounds instruments. Good ensemble balance and were quite distinct. The point is that blend are two essential components of conductors of any ensemble, through achieving a satisfying band sound. deliberate thought and careful decision- making, should arrive at their personal Conductors should teach their students what concept of sound, and teach toward that proper ensemble balance and blend sounds concept. like and why good balance and blend enables bands to achieve a desired ensemble sound. ala breve 21

instrument section that commonly has breathing exercises, which I vary for each chorale or a slow, lyrical composition. multiple parts. See Effective Performance of rehearsal. I will then have them perform some Ensemble members should be given Band Music by Francis McBeth for a more non-notational long tone exercises such as opportunities to apply developmental detailed explanation of the pyramid of those that are commonly referred to as concepts such as tone production, balance, balance concept. “Remington patterns,” which begin on some blend, phrasing, dynamics, etc. within a predetermined unison pitch (often Concert F) musical context. To create some variety in this Once the preferred fundamental sound and are performed in descending and/or part of the rehearsal, I will often have the concept has been established, a plan should ascending minor seconds in increasing woodwinds play or sing their parts while the be devised to enable the ensemble to develop intervals. The Remington pattern can also be brass buzzes their parts of the chorale on their that sound. The early phase of a rehearsal is applied effectively to chordal work. Additional mouthpieces in order to open up their sound the most logical time to work on sound non-notational exercises include major, minor and to work on their listening skills. If I find development. It is important that an adequate and chromatic scales, scales in various the band’s attention lacking, I will often have amount of time be given to the intervals such as thirds, fourths, fifths, etc. and them (a) sing the chorale to become more “developmental” portion of the rehearsal, and scales performed in a round by instrument aware of intonation, (b) transpose the chorale additional time for this type of ensemble work group (Always start with the low voices! See up or down a given interval to increase their should be afforded to younger ensembles. At Diagram 1 for group assignments) to name a focus, (c) “bop” (perform all notes in short the high school level, I typically dedicated 20- few. These types of exercises will enable your rhythmic values) the chorale to illustrate 25% of each rehearsal to fundamental work, students to focus their complete attention on precision problems or the importance of which included refinement of sound, scales, their individual sound production as well as some inner part movement, and/or (d) slur articulation, intonation, technique, etc. With that of the entire ensemble. Incorporate the entire chorale to improve airflow and the Iowa Symphony Band, I use singing to encourage the students to be active phrasing. approximately 10 minutes out of a 90-minute listeners and more completely engaged rehearsal to establish the band’s sound and throughout this process. You may want to There are many outstanding collections of tune the ensemble. have them sing a note within a scale (“Sing the chorales available for concert bands at every next note in the scale”), or a chord tone (“Sing performance level. I have enjoyed using To begin, excellent playing fundamentals must your note within the chord.” “Now, sing the Sound Training: Twenty-Six Chorales of J. S. be in place. These include a properly working tonic.”). There are many techniques that can Bach, arranged by Wayne Gorder, published instrument, exemplary posture, effective be implemented that will create variety for you by Ludwig Music, for my chorale work with breathing, adequate airflow and the and your students as well as enable them to the Iowa Symphony Band. Of course, the production of a characteristic tone by each develop important performance concepts. Sixteen Chorales by Johann Sebastian Bach, individual member of the ensemble. In Refer to the end of this article for an arranged by Mayhew Lake is an excellent, experiences with my own ensembles and as a illustration of the Remington pattern, which time-tested collection of chorales. These are guest conductor of honor bands, I find that I was extracted from an article by John P. but two of many fine chorale books that are must frequently stress and reinforce the Paynter, A Daily Warm-Up Routine, which now available for bands of any ability level. importance of excellent performance appeared in the September/October 1984 fundamentals. I believe most would agree that issue of Band. Instead of utilizing a chorale at the end of the the success of an athlete, athletic team, developmental portion of the rehearsal, you musician or musical ensemble is largely It is important to keenly monitor and assess may want to have the band perform a slow, dependent on the development and the sound the ensemble is producing at all lyrical work or selected passages from that application of strong performance times. Tendencies are that, as the students work. Compositions such as Salvation Is fundamentals. If I notice students sitting perform at stronger dynamic levels or in Created by Tchesnokov, Nimrod from improperly during rehearsal or if the higher tessituras, the quality of the sound will Enigma Variations by Elgar, Come, Sweet ensemble is not utilizing breath support to brighten. In establishing the base ensemble Death by Bach/Reed, Amazing Grace by their fullest, I will quickly identify the problem sound, it is essential to eliminate these Himes or Ticheli, Shenandoah or Loch and will make necessary adjustments. In fact, performance tendencies, and achieve Lomond by Ticheli, Llwyn Onn by Hogg, Ave in recent years I have begun incorporating a consistency in all ranges at all dynamic levels. Maria by Biebl, Air for Band by Erickson, etc. few minutes of focused breathing exercises at work beautifully during this part of the the beginning of rehearsals. Such exercises If you incorporate technical work such as rehearsal. It is through the performance of serve to “warm up” the students’ use of air scales, arpeggios, rhythm studies, etc. within slow, sustained music that students have the and clear their minds so they can focus their your full ensemble rehearsals, the second best opportunity to refine their sound attention on the rehearsal. I will reinforce the phase of the developmental section of the production as well as their overall importance of breathing during the course of rehearsal is an ideal time for that material. musicianship. a rehearsal if I feel the ensemble is not fully Remember to constantly monitor the band’s utilizing breath support. The Breathing Gym use of air and sound production as they begin Once the first phase of the rehearsal has been by Sam Palafian and Patrick Sheridan provides to perform more technically challenging completed, the ensemble is ready to begin some outstanding exercises to improve breath material. This is exactly the time when young work on their current concert repertoire. control and airflow, and these exercises can musicians may begin to back off on their However, the developmental work must easily be applied to individual as well as large breath support and thus start to produce poor, continue. As the band performs various ensemble settings. unsupported tones. passages within compositions, they should ultimately apply the concepts introduced and During the first part of the rehearsal, after The culmination of this portion of the reinforced at the beginning of the rehearsal. greeting the students, I will typically have rehearsal, which is often referred to as the Be sure you assess their sound production them stand as I lead them through a few “warm up,” should be the performance of a throughout the entire rehearsal, along with 22 October/November 2018

their articulation, intonation, phrasing, creativity and confidence to understand when References: dynamic contrast, etc., and make corrective or a change is needed in the band’s sound and reinforcing comments as needed. We should what adjustments to make to create the Chodoroff, Arthur. Performance: Ensemble never accept a sound that is a poorer quality appropriate sound. Sound. In School Band and Orchestra, than the most focused, beautiful tone which December 2010. Lowell, MA: Symphony they are capable of producing. And finally, it is often easy to overlook the Publications, 14-16. contributions of the percussion section as we Remember, our students can usually very focus on the sound production and balance Gorder, Wayne. Sound Training: Twenty-Six quickly replicate a performance concept if within the band’s wind sections. However, the Chorales of J. S. Bach. Cleveland, OH: they simply have an adequate model. So, quality of sound a percussion instrument or Ludwig Music Publishing Co., 1995. thanks to an increasing availability of section contributes to a work can affect the recordings of outstanding bands at all overall ensemble sound as much as that of a Lisk, Edward. The Creative Director: age/ability levels, it is possible to obtain wind instrument or section. Again, from Alternative Rehearsal Techniques. Ft. representative concert band performances experiences with my own ensembles and as a Lauderdale, FL: Meredith Music Publications, that will clearly illustrate your preferred guest conductor, I find that percussionists 1987. concept of ensemble sound for your middle tend to favor articulate, dry sounds produced school, high school or collegiate students. You by hard mallets or sharp, crisp performance McBeth, Francis. Effective Performance of might already use this method when techniques. Similar to my personal sound Band Music: Solutions to specific problems in demonstrating the desired tone qualities of preferences of the wind instruments, I the performance of 20th Century Band individual instruments, but it is also a powerful generally prefer percussion sounds that are Music. San Antonio, TX: Southern Music Co., way to model the quality of the full ensemble dark and resonant rather than those that are 1972. sound. bright and brittle. Of course, changes must be made in accordance with the musical context, Paynter, John. A Daily Warm-Up Routine. In Additionally, it is helpful to frequently record but I prefer making adjustments from a Band, Volume 1, Number 1. Traverse City, your band not only for your own assessment position of the initial sounds being dark and MI: Band, Inc., 1984, 6-9. purposes but also to enable your students to resonant, rather than from the other direction. listen to and evaluate their sound as an Take care to attend to the sounds the Williamson, John. Rehearsing the Band. ensemble. Involve your students in the percussion section is delivering. Young players Cloudcroft, NM: Neidig Services, 1998. assessment process and have them identify the especially seem to be content if they strike the strengths and areas of weakness they hear proper instrument at the proper time, but they (From A Daily Warm-Up Routine by John P. within their own band. What do they like often neglect to consider the quality of the Paynter. September/October 1984 issue of about the sound they make? What do they not sound they produce. And remember, the BAND.) like about their sound? What can they quality of a percussion sound can be changed improve? How can they improve it? greatly simply by changing the performance Richard Mark Heidel is director of bands in the technique. It is not always necessary to start School of Music at The University of Iowa where he At this time, it is important to note that a “one by changing a stick or mallet. Describe the conducts the Symphony Band, teaches graduate courses sound fits all” approach to ensemble sound sound you want and see how close your in conducting and band literature, guides the graduate should be avoided. The fundamental band students can get to that sound by making their band conducting program, and oversees all aspects of sound is one that is developed according to own performance decisions! the University of Iowa band program. Ensembles the principles previously outlined; however, under Dr. Heidel’s direction have performed at conductors, through score study and The sounds that our bands produce should be national, regional and state conferences including those interpretation, must derive at a quality of of primary importance to all of us, and we of the College Band Directors National Association, sound that is appropriate for each individual must take steps to aptly describe the desired National Association for Music Education, Iowa composition they are conducting with their quality of ensemble sound as well as nurture Bandmasters Association, Wisconsin Music ensembles. Some compositions or sections that sound in a careful, consistent manner. My Educators Association, Illinois Music Educators within a work may require a dark, rich quality advice is that you establish a sound routine Association and National Band Association- of sound from the ensemble while others may (Pun intended!) through which you work each Wisconsin Chapter. He need a bright, edgy sound. It is possible that a day to develop the sound of your band but has also led concert tours piece will require a sound that results from take care to create variety within that routine to Ireland and England balancing the band according to figure 2, so that your students do not become bored or as well as throughout the similar to an hourglass, or perhaps the complacent with this very important part of Midwest. Reprinted with appropriate balance for a work would more the rehearsal. Be patient. Like music itself, the permission from the appropriately resemble a diamond structure development of an ensemble’s sound is an on- Winter 2010 issue of the shown in figure 3. Wind band compositions going endeavor, and although we conductors Iowa Bandmaster. that have been written within the past few may eventually be satisfied with the quality of decades have grown increasingly sophisticated sound our band is achieving, there will always on many musical levels, thus compelling be room for refinement. conductors to give adequate attention to the quality of sound that may be required of each unique work. The standard pyramid of balance, figure 1, may be appropriate in the majority of musical situations, but not all of them. Conductors must have the knowledge, ala breve 23

2019 Conference Featured Speakers Dr. Tim Lautzenheiser, Keynote Speaker Tim Lautzenheiser began his teaching career at Northern Michigan University. He then moved to the University of Missouri, and from there to New Mexico State University. During that time, Tim developed highly acclaimed groups in both instrumental and vocal music. Following his tenure in the college band directing world, he spent three years with McCormick’s Enterprises working as Executive Director of Bands of America. In 1981, Tim created Attitude Concepts for Today, Inc., an organization designed to manage the many requests for teacher inservice workshops, student leadership seminars, and convention speaking engagements focusing on the area of effective leadership training. After thirty-plus years of clinic presentations, some three million students have experienced one of his popular sessions. Tim presently serves as Vice President of Education for Conn-Selmer, Inc. He is a nationally recognized voice touting the importance of arts education for every child. His books, produced by G.I.A. Publications, Inc., continue to be bestsellers in the educational community. He is also co-author of popular band method, Essential Elements, as well as the Senior Educational Consultant for Hal Leonard, Inc. Tim is also the Senior Educational Advisor for Music for All, and NAMM (The National Association of Music Merchants). He holds degrees from Ball State University and the University of Alabama; in 1995 he was awarded an Honorary Doctorate from the VanderCook College of Music. He continues to teach as an adjunct faculty member at: Ball State University, Indiana-Purdue/Ft. Wayne University, and Butler University. In addition, he is a member of the Midwest Clinic Board of Directors and the Western International Band Clinic/American Band College Board of Directors. He is presently the Chair of the National Association for Music Education Music Honor Society (Tri-M). Dian Eddleman, NAfME Southern Division President Dian Eddleman, Immediate Past-President of the Tennessee Music Education Association is presently Director of Choral Activities at the University School of Jackson, Jackson, Tennessee. She previously served as President of West Tennessee Vocal Music Education Association and as a longtime board member of TMEA and WTVMEA. An experienced K-12 music teacher, active clinician and adjudicator Mrs. Eddleman holds numerous awards for teaching and leadership from district, regional and state organizations. Her honors include selection to Who’s Who Among America’s Teachers, National Honor Roll Outstanding America Teachers, Governor’s School for the Arts Outstanding Teacher, and Who’s Who Among Professional Women. She was nominated for “Teacher of the Year with the Jackson Madison County Schools and is a member of NAfME, TMEA, WTVMEA and ACDA. She holds a Bachelor of Arts degree from Harding University with post-graduate work at the University of Memphis and the Juilliard School. 2019 Alabama Intercollegiate Band Clinician A native of Greeley, Colorado, Lowell E. Graham is the Director of Orchestral Activities and Professor of Conducting at the University of Texas at El Paso. He is the recipient of the “Abraham Chavez” Professorship in Music. He enjoys a distinguished career conducting ensembles in many musical media, including the Green Bay Symphony Orchestra, the Virginia Symphony, the Spokane Symphony, the Valdosta Symphony Orchestra, the El Paso Symphony Orchestra, the American Promenade Orchestra, the Greeley Philharmonic, Chamber Music Palm Beach Chamber Orchestra, the Westsachsisches Symphonieorchester, the Mormon Tabernacle Choir, Banda Sinfonica do Estado de Sao Paulo, Orquestra de Sopros Brasileira, Banda Sinfonica de la Provincia de Cordoba – Argentina, Banda Municipal de Musica de Bilbao – Espana, Banda Municipal de Barcelona – Espana, the National Symphonic Winds, the National Chamber Players, the Avatar Brass Ensemble and the Denver Brass. In 2006 he was named the “Director Honorifico Anual” for the Orquesta Sinfonica Nacional de Paraguay. He has held numerous conducting positions to include that of the Commander and Conductor of the United States Air Force's premier musical organization in Washington, DC. As a USAF Colonel, he became the senior ranking musician in the Department of Defense. He is a graduate of the University of Northern Colorado where he received a Bachelor of Arts degree in music education in 1970 and a Master of Arts degree in performance the following year. In 1977 he became the first person to be awarded the Doctor of Musical Arts degree in orchestral conducting from The Catholic University of America in Washington, D.C. In 1995 he was honored with membership in the prestigious American Bandmasters Association, the professional association of master conductors and musicians and was named President in 2018. Membership is considered the highest honor achievable by American bandsmen; it recognized outstanding achievement in the field of concert bands. In 2014, he was named as the President and CEO of the John Philip Sousa Foundation. 24 October/November 2018





2019 All-State Jazz Band Clinicians 27 Gold Band - Ronald Carter is Distinguished Professor, UNC-Fayetteville State University, Fayetteville, NC. He is former director of the world-renowned Northern Illinois University (NIU) Jazz Ensemble and former Director of Jazz Studies and is continuing to educate students in jazz education and performance on university, high school and performing arts schools and campuses across the country, South America and Canada.  He has performed, conducted and presented clinics at regional, national, and international conferences, and directed all-state jazz bands in Illinois, Indiana, Rhode Island, Missouri, Texas, Wisconsin, Colorado, Iowa, Maine, Kentucky, Vermont, Arizona, Kansas, Arkansas, Tennessee, South Carolina, North Carolina, Georgia, Washington, Oregon and Massachusetts. Carter conducted the Florida State University Tri - State All-Star Jazz Band in 2017. An abbreviated list of his honors and awards includes Downbeat Magazine’s Jazz Educators Hall of Fame, The Woody Herman Music Award (Birch Creek Music Center), The 1991 Milken National Distinguished Educator Award, Southern Illinois University Excellence in Teaching Award, and the St. Louis American Newspaper’s Excellence in Teaching Award and Northern Illinois University Board of Trustees Professorship. Recently accepted appointment as Felton J. Capel Distinguished Professor of Performing and Fine Arts UNC – Fayetteville State University, Fayetteville, NC. Carter’s projects includes former International Consultant for the Essentially Ellington Jazz Competition sponsored by Jazz at Lincoln Center in New York; former Lead Artist for the Jazz At Lincoln Center Band Director’s Academy; Co-Author for Alfred Publications “Swingin’ On The Bars”, and co-author of GIA Music Publications “Teaching Music Through Performance in Jazz – Book I & II as well as a contributing author to the Beginning Jazz Ensemble Textbook.Carter is currently an artist for Conn-Selmer Inc. and D’Addario Woodwinds –(Rico Reeds) Silver Band - Jerry Tolson is professor of jazz studies and music education at the University of Louisville, where he is chair of the music education division, directs instrumental and vocal jazz ensembles and teaches jazz pedagogy, jazz style, jazz history, and African American Music classes. He is a clinician for Alfred Music, a consultant for Pearson Educational Publishing, and serves as an adjudicator, guest conductor, and jazz camp instructor internationally. A graduate of Drake University and the University of North Texas, Tolson has made presentations at state, regional, and national Music Education conferences, the International Association for Jazz Education Conference, Jazz Education Network, and the Midwest Clinic. as well as universities in the U.S. and abroad. Tolson’s articles have appeared in Music Educator’s Journal, Jazz Educator’s Journal, The Journal of Jazz Studies, and The Instrumentalist, and he is a contributor to the following publications: Teaching Music Through Performance in Jazz, (ed. Carter and Miles), Jazz Pedagogy: The Jazz Educator’s Handbook and Resource Guide (Dunscomb and Hill), and The Jazzer’s Cookbook: Creative Recipes for Players and Teachers. Tolson has been named to “Who’s Who Among America’s Teachers”, and has received the Kentucky Music Educators “College Teacher of the Year” award and the University of Louisville Distinguished Faculty Service and Multicultural Teaching Awards. Tolson has served as a board member of the University of Louisville Athletic Association, the University Club of Louisville, and IAJE. His other professional memberships include the American Federation of Musicians, Jazz Education Network, ASCAP, NARAS, College Music Society, National Band Association, Louisville Jazz Society, and National Association for Music Education. Bronze Band - Dr. Wes Parker has served as the Director of Jazz Studies at North Carolina State University since 2006. He directs the jazz ensembles, coaches jazz combos, teaches jazz history and jazz improvisation, instructs students in the low brass studio, and served as the Assistant Director of the NC State Marching Band from 2006-2010. Dr. Parker holds a Bachelor of Science in Music Education from Tennessee Tech University, a Master of Music in Performance from the University of Southern Mississippi and a Doctor of Musical Arts in Trombone Performance and Pedagogy from the same university. Parker’s trombone playing has been heard in jazz ensembles and orchestras throughout the United States. As an active freelance musician, Parker has performed with such artists as Branford Marsalis, Ellis Marsalis, Michael Feinstein, Josh Groban, Aretha Franklin, Regis Philbin, Placido Domingo, the Jimmy Dorsey Orchestra, the Temptations, and the Pointer Sisters. Under Parker’s direction, the NC State Jazz Ensemble has shared the stage with such great jazz musicians as Wayne Bergeron, Jeff Coffin, Bobby Shew, Chris Vadala, and Harry Watters. An active clinician, Dr. Parker has worked with middle school, high school, and collegiate jazz ensembles, as well as numerous marching bands throughout the Southeast. Prior to his appointment at NC State, he served as the interim professor of trombone at The University of Southern Mississippi, and spent time teaching public school in Mississippi and Oklahoma. Middle School Band - Mr. Earnest Echols is the associate director of bands at Minor High School. He has taught in Alabama, Georgia and Florida since 2002. Mr. Echols attended the University of Alabama and where he earned his BSE and MM. He has taught in several countries including Kenya, Zambia, Italy, Spain, Canada, and England. Mr. Echols is an active performer on piano and trumpet. His most recent recording project, “...For Love, Life and Music” is available on iTunes” and features him on both instruments. Mr. Echols teaches students the knowledge that he has gained over a lifespan performing in the Marching, Concert, and Jazz idioms. Mr. Echols is a former member of Florida Bandmasters Association, Florida Vocal Association, and the Florida Orchestral Association, and a current member of NAfME, ABA, and AEA. ala breve

AMEA 2019 Performing Groups Meet the Alabama School of Fine Arts Music Department…..talented instrumentalists grades seven through twelve enrolled in a unique curriculum of academics, music instruction and performance. During the past fifty years these dynamic ensembles have given hundreds of performances for thousands in audiences throughout the United States. The ensembles have appeared at the Alabama State Legislature, Alabama State Council on the Arts, the United States Capital in Washington, D.C., New York City, Florida, Birmingham Civil Rights Institute, Imagination Celebration, to name a few. Each ensemble has successfully competed in national and state-wide festivals and competitions where they’ve consistently achieved superior ratings and special recognition. The ensembles are in constant demand for their polished and professional approach to performance and have been recognized for their varied concert repertoire of Renaissance through Twentieth Century standards, jazz standards, light classics and spirituals. Members of these ensembles have been awarded grants for summer study at Interlochen, Eastern Music Festival, Brevard, Sewanee, Rocky Ridge Music Center, and the Kennedy Center/National Symphony Orchestra Summer Music Institute. Alumni have distinguished themselves with scholarships to such prestigious institutions as the Juilliard School, Cincinnati College-Conservatory, Boston University, Oberlin, Yale, Harvard and Berklee. The Alabama Winds, an all-adult community band based in Tuscaloosa, Alabama, was organized in the summer of 2013 and is comprised primarily of practicing music educators residing throughout the state of Alabama. Members travel from as far as Huntsville, Auburn and Enterprise to our rehearsals, based at Thompson High School in Alabaster, Alabama. Alabama Winds rehearses for three hours each month and performs two major concerts each year, one in December and one in May. The mission of the Alabama Winds is to foster and promote the appreciation of high- quality wind band music through performances of artistic merit for our audience, the residents of the state of Alabama and the members of the ensemble. Community outreach is very important to Alabama Winds, and the ensemble provides scholarships for middle and high school students to attend summer music camps, and provides a $500.00 scholarship to a high school senior planning to pursue a career in music education. The ensemble also provides a performance opportunity at its December concert for beginning band students to play alongside the members of Alabama Winds during the concert. The Alabama Winds has performed invitational performances at the 2015 Alabama Music Educators’ Association Inservice Conference, the 2016 Alabama Honor Band Festival, and at the 2017 Midwest International Band and Orchestra Conference in Chicago, Illinois. The official youth orchestra of the Alabama Symphony Orchestra, the Alabama Symphony Youth Orchestra is an ensemble dedicated to nurturing talent, building community, and empowering young lives in the state of Alabama. The group consists of 70 of the brightest young musicians from throughout the state of Alabama. The Auburn University Jazz Ensemble is one of the new exciting sounds of Auburn University. The 19 member group is selected from the entire student body, and includes students from many different majors. The group features the best in big band Jazz, with contemporary compositions from artists such as Gordon Goodwin, Lyle Mayes, Maria Schneider, Bob Mintzer and Tom Kubis, as well as music from the libraries of Count Basie, Duke Ellington, Wood Herman, Stan Kenton and Buddy Rich and original compositions. The band performs on campus and throughout the region. The Auburn University Jazz Ensemble is directed by Dr. Michael Pendowski. 28 October/November 2018

AMEA 2019 Performing Groups Bella Voce is a sixty member non-auditioned women’s ensemble. Under the direction of Dr. Khristina Motley, the group has consistently received superior ratings at the Alabama State Performance Assessment. The purpose of Bella Voce is to achieve the highest possible standard of musical excellence, a heightened understanding of the composers and lyricists, while instilling a lifelong appreciation of choral music. Members of the ensemble will perform, by invitation, a concert at Carnegie Hall in the spring of 2019. Last year, the choral department had twenty-three members participate in All-State Choir, three members in All-State Show Choir, the District II OCS winner, and two participants in the FAME Scholarship Program. Additionally, Hillcrest choral students participated in the Disney Candlelight Processional for the past three years. Finally, members of the women’s ensemble collaborate with HHS multi- disability students, a group called our Adaptive Ensemble, which performs annually at The University of Alabama. The Bob Jones High School Percussion Ensemble has a rich tradition of excellence and is considered one of the premier high school percussion ensembles in the state of Alabama. Whether it is on the football field, indoor arena, or concert stage, the percussion ensemble always excels at the highest of levels. The Bob Jones High School Percussion Ensemble prides itself on developing well rounded percussionists and strives to expose its members to a variety of different percussive settings and demands. Past members of this great organization have gone on to excel in both outdoor and indoor percussion activities as well as pursued percussion opportunities at the collegiate level. On the football field, The Bob Jones High School Battery and Front ensemble are well known for pushing the envelope and have been honored at many local and regional competitions, receiving numerous high percussion awards. In the indoor arena, the ensemble has been a constant innovative force in not only the region but also on the national stage. The Bob Jones Winter Drumline have medaled at the South Eastern Color Guard Championships numerous times as well as are two-time open class finalists at the Winter Guard International World Championships. Not only has the ensemble repeatedly raised the bar in both the outdoor and indoor activities, they have also represented their band program well at local and regional concert festivals, contributing to the band’s numerous superior awards. The concert percussion ensemble is also a main stage in the program’s repertoire. Members are exposed to a variety of different styles and explore both classic and modern percussion music. The students do a tremendous job balancing all aspects of the program to include a Fall Football marching show, a Fall Competition marching show, a Spring competitive indoor drumline program, 2 concert band programs, 2 jazz bands, and a concert percussion ensemble; all the while constantly seeking out new opportunities and striving to achieve at the highest of levels in every ensemble. The Enterprise High School Women’s Ensemble is a combined extracurricular ensemble made up of the women enrolled in daily choir classes. They received the Best in Festival Award at the Cultural Arts Center Choral Festival in 2017, and First Place in the Women’s Division at the Cultural Arts Center Choral Festival in 2016. They are under the direction of Cameron Johnson Weiler, and accompanied by Lis Donaldson. Fairhope Middle School is located in Fairhope, Alabama and is a part of the Bald- win County School System. The Fairhope Middle School band has a long and rich tradition of musical excellence and is an integral part of the school. The band pro- gram is composed of approximately 150 students in the 7th and 8th grade, with a 7th grade Concert Band, a 7th and 8th grade Symphonic Band, Jazz Band, and 7th and 8th grade Percussion Ensembles. The Concert and Symphonic Bands consis- tently receive superior ratings at the yearly Alabama Bandmasters State Music Per- formance Assessment. The band program also consistently has students selected for the Alabama All-State Band, the Alabama All-State Jazz Band, and has one of the highest numbers of students in the District VII Honor Band and Baldwin County Honor Band. The band is under the direction of Ms. Jennifer Salley who is a native of Fairhope, Alabama and is a graduate of Fairhope High School. ala breve 29

AMEA 2019 Performing Groups LIBERTY PARK MIDDLE SCHOOL is located in Vestavia Hills, Alabama and is part of the Vestavia Hills City School System. Built in 2008, the school has a total population of five hundred and thirty students in grades six through eight. Currently, one hundred and twenty-six of those students are enrolled in the band program at Liberty Park. The Liberty Park Band is an integral part of the Fine Arts Department at Liberty Park Middle School. The instrumental program consists of Beginning Band, Concert Band, Jazz Band, and Percussion Ensemble. The LIBERTY PARK MIDDLE SCHOOL CONCERT BAND is made up of seventy- two seventh and eighth graders at Liberty Park Middle School. The ensemble is split into a winds class and percussion class. Each class meets daily for fifty-three minutes. We combine the classes as needed before school to prepare for upcoming performances. The Liberty Park Middle School Band has consistently received a Superior rating at the Alabama Bandmaster’s Association District IV Music Performance Assessment since its inception in 2008. Several of the students are active participants in district level events, honor bands, etc. Approximately ten percent of the ensemble is enrolled in private lessons outside of their regular band class. Since the school opened its doors, the band has traveled annually on a multi-day Spring trip to take part in an out-of-state music festival, competition, or workshop. The Liberty Park Middle School Choral Department consists of 160 singers in 6th through 8th grades. 7th and 8th Grade Boys Choir is made up of 51 non- auditioned singers. These boys rehearse everyday in two separate 53 minute long classes. They only rehearse together one or two times before a performance. The Miles College Choir is a choral ensemble consisting of auditioned students who have a devotion and appreciation for music. The students who are a part of the Choir strive to present a high quality choral experience by performing all genres of music with excellence. To continually nurture the smaller ensemble which evolves from the Choir, The Golden Voices is a smaller group comprised of elite singers selected from the Choir and chosen by the Director to present an equally excellent performance in the ensemble arrangement. Both choral ensembles perform on and off campus throughout the year and present repertoire of diverse musical styles and various historical periods. The Miles College Choir and The Golden Voices serve as the College Choir and as the Presidents Choir and is the official choral representative of the institution. Membership is by audition only and scholarships are available. Under the leadership of our President, Dr. George T. French, we exude the message of Culture, Class and Civility through song. The Miles College Choir has journeyed to many places displaying outstanding performances and garnering great accolades as they travel throughout the country. The Choir is presently under the direction of Mrs. Valerie R. Harris and she is assisted by Mr. Patrick J. Whitehead. Muscle Shoals High School is located in Muscle Shoals, Alabama. The Muscle Shoals October/November 2018 area is considered to be “The Hit Recording Capitol of the World” thanks to Fame and Muscle Shoals Sound Studios famous hit recordings from the 70’s and 80’s. Today these two studios still exist and the area is considered a hot bed for young and rising musical talent. The Muscle Shoals High School Wind Ensemble has existed for only one year due to the growth of the concert program at Muscle Shoals High school. The high school symphonic band has received superior ratings at MPA for 24 consecutive years. This trend began under past director Pat Stegall. The Wind Ensemble is now under the direction of Mr. David Waters along with assistant directors Jessica Hood and Daniel Seay. These three directors team teach all grades 6-12 on two different campuses. 30

AMEA 2019 Performing Groups The Oak Mountain Symphonic Band is the second of three wind bands at Oak Mountain High School. It consists of seventy-one ninth through twelfth grade students at Oak Mountain High School. Membership in the band is determined by individual audition. Under the direction of Dr. Travis Bender, the ensemble performs a wide variety of genres in the high school wind band repertoire. Notably, this ensemble frequently performs newly published compositions for wind band. Under the baton of Dr. Bender, this ensemble has only received adjudicated ratings of superior at all contests and festivals. Since the school’s inception, the Oak Mountain Symphonic Band has twice been invited to perform at the National Band and Orchestra Festival at Carnegie Hall in New York City. In the spring of 2016, the Symphonic Band was invited to perform at the Music for All National Band Festival in Indianapolis. A performance at AMEA would be a first for this ensemble, and allow attendees to hear new band literature graded 3.5 to 5 at our state’s music conference. The Spain Park High School Symphonic Winds have most recently performed as part of the 2018 Music For All Southeastern Regional Concert Band Festival in Atlanta, GA, the 2016 University of Alabama- Birmingham Concert Band Invitational in Birmingham, AL and the 2015 University of Alabama Honor Band Festival in Tuscaloosa, AL. They have consistently earned Superior Ratings at the Alabama Bandmasters Association Music Performance Assessment. The Thompson High School Wind Ensemble was formed in 2001, the result of tremendous growth in the Thompson High School Band program that allowed for the creation of another performing ensemble. The Wind Ensemble is 65 members strong with the majority being juniors and seniors. Since the inception of the Wind Ensemble they have earned straight superior ratings at all Alabama Bandmasters Association District and State Evaluations. The Thompson Wind Ensemble is also a five time recipient of the National Band Association’s Citation of Excellence Award as well as a recipient of the NBA Programs of Excellence “Blue Ribbon” Award for 2013/2014 In addition, they have also earned straight superior ratings from other regional competitions throughout the southeast, most recently Festivals of Music in South Carolina, Smoky Mountain Music Festival in Tennessee, the Alamo Music Festival in San Antonio, Texas, and the Dixie Classic National Adjudicators Invitational in St. Louis, MO. Most notably, the Wind Ensemble was selected as a guest performer for the Southeastern United States Concert Band Clinic held on the campus of Troy University, Troy, AL in February 2007, the Alabama Music Educators Association in-Service Conference in 1997, 2009 and 2014, the Music for All National Concert Band Festival in 2011 and 2015, the 2012 CBDNA / NBA Southern Division Conference at Kennesaw State University in Kennesaw, GA , the 2014 JanFest at the University of Georgia in Athens, GA , UAB Honor Band Festival in 2015 and the Alabama Honor Band Festival in February of 2010 and 2018 Membership into the Wind Ensemble is through an audition / selection process. While the members are serious and dedicated to the performance of outstanding symphonic wind literature, few students actually study privately. The Wind Ensemble consistently has members selected for the Alabama Bandmasters Associations All State Music Festival and for the many university sponsored honor band festivals throughout Alabama. Other performing ensembles at Thompson High School include the 200 member “Marching Southern Sounds”, the 65 member Symphonic Band, the 60 member Concert Band, various chamber ensembles and the 19 member Thompson Jazz Band. ala breve 31

AMEA 2019 Performing Groups The University of Alabama at Birmingham Wind Symphony is the premier performing ensemble for wind, brass and percussion students at the university. Members are selected through audition each semester and comprise the best musicians on campus. Over twenty unique majors are represented in the group from music education to biomedical engineering. The primary objective of this ensemble is to perform literature of the highest musical value with emphasis on works originally written for band and wind ensemble. High expectations for individual musicianship and advanced technical attainment provide members with a musically enriching and artistic performance experience. The mission of the UA Women’s Chorus is to provide students, both majors and non- majors, with a choral experience that will be rewarding and life enriching. The Women’s Chorus is committed to the performance of choral music repertoire at its highest level. It is designed to provide the background, training, and experience, when coupled with prerequisite coursework in other areas needed for those wishing to enter the choral, voice, or music education fields. The ensemble experience may become a forum for the synthesis of component parts of a complete music education. The choral art is a medium for communication between people, and it is the development of this expressive communication that is at the heart of the philosophy that guides this ensemble. An elite group of UNA singers, this ensemble appears at on- and off-campus at events such as the Renaissance Faire in Florence, on tour with the UNA Collegiate Singers, in collaboration with other groups such as the UAH Concert Choir, Huntsville Youth Orchestra, HCCA Chamber Chorale, and as part of the Alabama ACDA Collegiate Choirs Festival. In the spring of 2009, they had the privilege of representing the University of North Alabama on the Department of Music & Theatre’s first international tour in its history, taking them to Italy. Since then, the group toured to Costa Rica in the spring of 2011 and Ireland in spring 2013 as part of UNA’s Study Abroad program; they completed a second tour to Italy in the spring of 2015, and will return to Costa Rica in the spring of 2019 with the UNA Chamber Orchestra. They have been featured performers at the AMEA conference in 2006, 2013, and 2016, and are thrilled and honoured to return again. The Vestavia Hills High School Honor Choir, under the direction of Dr. Megan October/November 2018 Rudolph, is one of eight ensembles at Vestavia Hills High School. This group of 10- 12th graders work hard all year to make sure that they have a strong understanding of music theory, musicianship, and sight-reading skills. The Honor Choir consistently receives superior ratings at State, Regional, and National adjudicated events. They have served as host choirs for many collegiate honor choirs including Mississippi State, University of Alabama, and the University of Alabama Birmingham. Additionally they have participated in the Choir Nationals in New York City (2015 and 2017). The students in the choir come from a wide variety of backgrounds in the school, and make it a point to continually try to represent themselves, their families, and Vestavia Hills High School with the utmost character, kindness, and morality. 32

the university of alabama bands bands.ua.edu 2019 crimson leadership & music camps crimson leadership institute June 10-11, 2019 crimson music camps Majorette Camp - June 12-15, 2019 Marching Percussion Camp - June 12-15, 2019 Concert Band Camp - June 12-15, 2019 Registration opens online: March 1, 2019 bands.ua.edu/programs/crimsoncamp 2007 MOODY MUSIC BUILDING | BOX 870368 | TUSCALOOSA, AL 35487 | 205-348-6068 | FAX 205-348-0401







Alabama Bandmaster’s All-State Jazz Bands 2019 Students are invited to submit audition recordings in order to be considered for the All-State Jazz Band. The All-State Jazz Band festival is held in conjunction with the Alabama Music Educators Association In-Service Conference at the Birmingham- Jefferson Convention Com- plex on January 17-19, 2019. Selection for the Alabama All-State Jazz Bands is determined by a recorded audition that students prepare and directors send to the Alabama Bandmasters Association (ABA) Jazz Division. A qualified panel of adjudicators will be judging student recordings. Band directors will then be notified of the selected students approximately three weeks after the deadline. Directors must be members of NAfME in order for their students to audition and participate in the All-State Jazz Bands. Clinicians We are excited to have outstanding clinicians for this year’s All-State Jazz Bands. These directors bring years of high-level jazz education ex- perience and will offer our students a memorable opportunity for musical growth. (biographies are in this edition). Mr. Ron Carter, Gold Band Mr. Jerry Tolson, Silver Band Mr. Wes Parker, Bronze Band Mr. Earnest Echols, Middle School Band Audition Procedures and Information Students in 9th-12th grades audition for the high school bands. (The third-year provision is in effect for All-State jazz band auditions. This means 9th graders in their third year of study may audition for the middle school band). Students in 8th grade and below will audition for the middle school band, but they may choose to audition for the high school band with director approval. Directors must complete the Online Registration Form by going to https://goo.gl/forms/9gnDBl0En3kEeh4Z2 and mail fees to the listed address. Online registration and payment must be received by October 29, 2018. Please be careful with the spelling of student names as this data will be used throughout the audition and concert process. Once the director has registered students online, they will receive a Dropbox link to upload their students’ recordings to their school’s audition folder. No CDs will be accepted for auditions. All audition recordings should be in high quality mp3 format (not .m4a, wav, or .aiff, etc). Auditions should be recorded live with no special editing or effects. Do not speak on the recordings. Send a recording with only ONE track. You can combine your mp3 recordings into one file with software such as Audacity (download for free at audacityteam.org) or Garage Band. Each student’s recording should be in one mp3 file, labeled as follows. FirstName_LastName_instrument_School Examples: John_Doe_altosax_CupcakeHS Sally_Jones_piano_PecanPieMS Be sure you send recordings with one track that includes all of the student’s audition requirements. The order of items on the recording for wind players, vibraphone, and piano should be: Scales (played in the order listed), Etude, followed by the Play-A-Long tunes, in the order listed. The order of items on the recording for guitar and bass players should be the Etude followed by the Play-A-Long tunes, in the order listed. The order of items on the recording for drum set players should be the Patterns (in the order listed) followed by the Play-A-Long tunes, in the order listed. Band Directors should mail registration form and one registration fee check, made payable to the Alabama Bandmasters Association, in one envelope to the Jazz Chairman at the following address: Ms. Kim Bain, Chair ABA Jazz Division PO Box 1231 Pelham, Alabama 35124 The audition fee is $15.00 per student along with the school fee of $20.00 per school. These fees are due with the registration form (see below), which must be received by October 29, 2018. Students who are chosen for the All State Jazz bands will pay a $40.00 per student registration/participation fee at the event. For more information check the ABA website. Click on the 2018-2019 All-State Jazz Band Requirements. ala breve 37

Motivation Strategies for Musicians: Keep Calm and Practice On by Dr. Brittney Patterson One of the greatest challenges facing Imagine a talented student named Lydia, a several hours a day to improve her musicians of all ages and ability levels is flutist who is working on an playing, but at the end of the day all she staying motivated from day to day. Life is undergraduate music degree. She has a wants to do is watch television and sleep. full of challenges, be they finding time to very busy schedule that includes teaching How can she stay motivated to practice practice, prepare for an upcoming private lessons, playing in orchestra, and after a full, stressful day? There are several concert, or studying for final exams while completing classwork on time in several steps that she can take to improve her battling sleep deprivation, but the key to challenging courses. On top of all of practice session (not to mention her overcoming these challenges is to these duties, Lydia must practice for mood!) maintain a positive attitude. This philosophy is true for every area of life, in relationships with friends and family or in a job, and it is certainly true for musicians who are striving to have effective practice sessions. Practice is not meant to be torturous hours spent playing difficult passages repeatedly while thinking about other tasks that could be completed during that time; it should be moments in the day when musicians are allowed to experiment and create art free from the pressure of an audience or a teacher. This is admittedly easier said than done but keeping an open mind and a positive attitude can keep musicians motivated even during the most trying times in life. Staying motivated to practice when life is increasingly busy and stressful is a very difficult task, and many musicians struggle with taking their instrument out of the case and practicing in the face of these stressors. Let’s create a scenario to illustrate these difficulties and how to deal with them in a productive, realistic way. 38 October/November 2018

The first step in maintaining the musician in a stressful world is to share Music is a demanding activity that requires motivation to practice, whether you’re an your gifts with your community. Too its practitioners to be completely engaged overburdened student, a recent graduate often, we approach performances with a physically, mentally, and emotionally in free from the expectations that go along sense of dread; we don’t want to make order to perform at the highest level. with weekly lessons, or a band director any mistakes, and if we do make these Because of the demands that are placed who is swamped with band boosters, it is inevitable mistakes then we are failures on musicians on a daily basis, maintaining important to begin each practice session who don’t deserve to make music. the motivation to practice can be difficult. with an exercise that feeds your musical Imagine if a professional athlete held The most important thing that a musician self. This may sound a bit silly at first but themselves to this standard, framing can do to keep this motivation is to keep think about the number of tasks we themselves as failures whenever they a positive attitude and to know that no complete each day and think about how made a mistake in a game. If they did, matter what, you are not alone! many of these tasks we do in for our own there would not be many sporting events! health and sanity. Self-care is an important We should approach our performances in Suggested Further Reading part of maintaining good mental and the same manner—mistakes happen, but physical health, so it makes sense to what matters is sharing our talents with Toughness Training for Life by James E. incorporate it into a practice session. others. Performances should be events Loehr Instead of launching into a volley of that are highlights of our schedules, scales and arpeggios at fast tempi begin chances to see the culmination of our Beyond Talent by Angela Myles Beeching by doing some breathing exercises and hard work. Looking forward to recitals connecting with your body. Don’t play and ensemble performances as The Inner Game of Tennis by W. Timothy long tones while thinking about your to- opportunities to engage with people and Gallwey do list; instead, focus on your sound and share a part of yourself can help to technique. Perhaps, in addition to your reframe the stress that often accompanies The Art of Practicing: A Guide to Making normal etudes and solos that you need to concerts. Music from the Heart by Madeline Bruser practice each day, you can incorporate music that interests you outside of the Here is a final step that can help musicians Dr. Brittney normal lesson setting. We are more of all ages and ability levels stay Patterson is motivated to complete tasks when they motivated: read about other musicians Assistant Professor contain some kind of reward for us, so who have struggled in similar ways and to of Music at the treat yourself! know that you are not alone in your University of struggles! There are numerous books Montevallo where she The next step in staying motivated as a written by athletes, scholars, teaches Musicology musician is to be gentle with yourself in psychologists, and musicians about the and Flute. She the practice setting. On the surface this struggles that accompany practicing and earned her Doctorate may sound like psychobabble but imagine performing at a high level. These books from the University if each time you met with friends you are not written by people who have never of Alabama, her made snide remarks the entire time. You dealt with any problems and have lived Master’s degree from would run out of friends quickly! The trouble-free lives—quite the opposite! At the University of Northern Colorado, and her same is true with yourself–– if you think the risk of sounding callous, it is Bachelor’s Degree from the University of negative, unkind thoughts about your important that musicians know that they Tennessee. Her research interests are flute playing every time you practice you will are not unique in their struggles. This pedagogy, the music of Germaine Tailleferre, not look forward to the next session. issue of staying motivated and satisfied as and music at the court of Frederick the Great. Instead of focusing on negative aspects a performer has been written about in of your playing, think constructively; numerous articles and books, which instead of saying, “My double-tonguing should be encouraging to all musicians! in the Ewazen Sonata is terrible. I’m a Instead of living a life of isolation dealing terrible trumpet player and I’ll never play with the loneliness of being the only this well,” think, “I need to work on my person who has experienced the pressure double tonguing in a few measures of the and difficulties of facing day after day of Ewazen Sonata. I sound quite good on practice and self-evaluation, we are some parts, but I can make some surrounded by a supportive community improvements to this aspect of my of people who understand this lifestyle performance.” Having a balanced view of and have provided resources for coping your performance is a vitally important with it. It is imperative that musicians take part of staying motivated and interested advantage of these resources to battle in practicing. burnout and depression and live the most fulfilling lives that they can. A third step in staying motivated as a ala breve 39

Jazz Music Reviews In the Spirit of Swing – An Introduction I suppose we are all trying to find “Bb” in life. Whether we are trying out if you would like to assist or have ideas. I can be reached via email to tune up a band, an instrument, or trying to find balance in life we ([email protected]). Come join the music! must strive to find the center of things. Music is constantly evolving and we should be aware of the opportunities to develop musical The music community is comprised of colleagues, mentors, friends, growth. As music educators, we strive to enrich our students with students, and people from all backgrounds. In the spirit of swing, let’s meaningful musical experiences. During a commencement speech at learn from one another, stay humble, listen, and creatively find Julliard, Wynton Marsalis stated, “We are entrusted and charged with solutions that are beneficial to our students and the music. Keep your a common purpose and given the tools to lift the human spirit, eye out in the next issue for resources and thoughts on jazz/ challenge intellect, expand the capacity of our hearts, and ultimately lift commercial education. Back to the “woodshed” and see you on the the horizon of human aspirations.” band stand! In reality, we are all students and it is important to stay informed to Keep swingin’, current pedagogy and the resources available to us. Traditionally, Ala Breve has not included an area dedicated to jazz studies or commercial Dr. Matt Leder music. I am pleased to announce that this publication will now include an area dedicated to this genre. Within this area, pedagogy, music, new Dr. Matt Leder is an avid educator and has performed as a guest resources, etc. will be presented; keeping both students and educators artist/clinician throughout the United States for over twenty years. He informed. This first article simply serves an introductory holds a DA in Music Education/Trumpet Performance & Pedagogy announcement. from the University of Northern Colorado, a MM in Jazz Studies from the University of New Orleans, and a BM in Jazz Performance from I would also like to introduce the Alabama music community to JEN. East Carolina University. Dr. Leder has studied with Ellis Marsalis, The Jazz Education Network is dedicated to building the jazz arts Clyde Kerr Jr., Irvin Mayfield, Terence Blanchard, and many others. community by advancing education, promoting performances, and He has served as Music Director/Instructor at Gadsden State developing audiences. JEN has recently created JEN Chapters and Community College since 2014. Prior to this appointment, he was Societies. Educational institutions have the opportunity to take Chair of the Music Department at Northern New Mexico College. advantage of all the JEN benefits including subscriptions to He has also held faculty positions at Brown publications like Downbeat, JazzEd, Jazz Times, industry discounts, free University, Community College of Rhode charts, priority registration to the JENerations Jazz Festival, and the Island, St. George’s School, Talladega opportunity to host events on their campus for their students. At the College, and the University of Colorado at secondary level, students are FREE once the director starts a school Denver. Dr. Leder served eight years as an chapter. At the collegiate level, students are given a discounted active duty Navy Musician and four years in membership once the director starts a school chapter. There are the Air National Guard Music Program. several reasons to join JEN, but the resources and network of While a member of the armed forces, he had professionals, students, and jazz fans is well worth giving JEN a serious the opportunity to perform for five US look. More information on JEN can be found at: Presidents. Dr. Leder currently plays http://jazzednet.org/. I have been appointed the JEN Unit Leader Monette trumpets. More information can be for Alabama and would be happy to answer any questions or assist found on his website: www.mattleder.com anyone that needs help starting a JEN Chapter or Society. I will be reaching out to regional jazz directors to begin brainstorming on how we can improve jazz education in our region. Please feel free to reach 40 October/November 2018

AMEA 2019 Clinicians 41 Alison Allerton is Assistant Professor of Choral Music Education at University of Tennessee-Chattanooga, where she conducts the Women’s Chorale and Men’s Chorus and teaches courses in choral methods, secondary general methods, and aural skills. Prior to her collegiate career, Dr. Allerton spent twelve years as a public school choral music educator at the elementary, middle, and high school levels in the Greenwich Public Schools in Greenwich, CT. She was named a recipient of the Greenwich Public Schools Distinguished Teacher Award in 2010 and the Yale Distinguished Music Educator Award in 2007. In 2011, her 50- voice middle school boys select choir gave an invitational performance at the Connecticut Music Educators Association State Conference. Dr. Allerton holds a Bachelor of Music Education from James Madison University, a Master of Music in Music Education with an emphasis in Choral Conducting from the Eastman School of Music, and a DMA in Choral Conducting from Louisiana State University. Nancy H. Barry is Professor and Program Coordinator of Music Education in the Department of Curriculum and Teaching at Auburn University. She earned the Master's degree and Ph.D. in music education, and certificates in Electronic Music and Computers in Music from Florida State University. Barry has published in such journals as Arts and Learning, Psychology of Music, Journal of Music Teacher Education, Contributions to Music Education, UPDATE, and Bulletin of Research in Music Education, and is a frequent presenter at national and international professional conferences. Barry is an active member of professional organizations such as NAfME and the College Music Society. She served as National College Music Society Secretary from 2016 – 2018, and currently chairs the CMS Committee on Academic Careers. Franklin Bell is a practicing attorney in Birmingham, Alabama. He earned a Bachelor of Arts from the University of Alabama and a Doctor of Jurisprudence from Vanderbilt University, School of Law. He is also an active musician in the Birmingham area performing with multiple ensembles and as a soloist. His practice frequently involves representing musicians in dealing with a variety of legal issues. Mr. Bell has been a presenter on legal issues for music educators at The University of Alabama, Samford University, and The University of Alabama at Birmingham. Deanna Bell is the music teacher at Vestavia Hills Elementary East, conductor of the Birmingham Wind Ensemble, and an adjunct music professor at the University of Alabama at Birmingham. She has worked in Alabama, Tennessee, and Virginia teaching elementary music, choir, and band in all grade levels from kindergarten to college. She earned her Bachelor of Science in Music Education from The University of Alabama and her Master of Music Education from Samford University. In 2010, Deanna was awarded National Board Certification in Early and Middle Childhood Music. Deanna received Orff Levels I, II, and III Certification from Samford University and Kodály Levels I, II, and III Certification from The University of Montevallo. She serves on the Alabama Kodály Educators Board, the Executive Board for the Alabama Chapter of the American Orff-Schulwerk Association, and is a District 3 Chair for the Alabama Music Educators Association. Deanna is the 2016-2017 Elementary Teacher of the Year for Vestavia Hills City Schools, and a 2019 Quarterfinalist for the Grammy Music Educator Award. Joe Brennan received his Bachelors and Masters degrees in Music Education from Temple University studying violin and trumpet. Joe works in the Haverford Township School District located in suburban Philadelphia. He is the Co-Chair of the Music Department, and is the director of the string program at Haverford Middle and High Schools, a position he has held for the past 32 years. He has presented sessions for NAfME, ASTA, MidWest, and state conferences. Joe continues to be a guest conductor and clinician for string festivals. He has twice been chosen to attend the Juiliard School’s “Conductors Workshop for Music Educators” Jennifer Canfield is a graduate of Troy University (BME and MS in Education) and Auburn University (PhD in Choral Music Education). Her teaching experience spans over 17 years in grades K-12, both in public and private schools. Dr. Canfield has recently retired from Huntingdon College, where she served as Department Chair, and Director of Choral Activities and Music Education. Since her “retirement”, she is an adjunct professor at Auburn University, where she enjoys teaching elementary education majors how to incorporate music in their general classroom. Dr. Stefanie Cash is Director of Music Education at Berry College. Dr. Cash is responsible for teaching methods and techniques classes, conducting the Berry Women’s Choir as well as supervising student teachers. She has previous experience conducting multiple collegiate choirs and also taught classes in conducting, choral techniques, choral pedagogy and choral methods. Dr. Cash also frequently serves as a guest clinician for various district and All-State honor choirs. Prior to joining Berry College, Dr. Cash served at the collegiate level as both Director of Music Education and Director of Choral Activities. Cash taught at the middle school level in Kentucky and both the high school and collegiate level in Georgia. Choirs under her direction have performed for KMEA and GMEA in-service conferences as well as the 2008 ACDA Southern Division Convention. Dr. Cash’s research interests include world music usage in choral ensembles, partnerships between music education programs and public schools and performance practice techniques. ala breve

AMEA 2019 Clinicians Michael Chambless is in his fourth year teaching at Thompson Middle School, and in his third year as Director of Bands. He earned a Bachelor of Science in Music Education from the University of Alabama in the spring of 2014. In college he was an active performer in the UA Wind Ensemble, Symphonic Band, Jazz Band, Saxophone Quartet, and Million Dollar Band. Prior to teaching at Thompson Middle School, Mr. Chambless was the band director at Hillcrest and Duncanville Middle Schools. Bands under his direction have consistently received superior ratings at Alabama's Music Performance Assessment. Rusty Courson (b. 1963) is a native of Phenix City, Alabama. Dr. Courson earned the BME (1989), MSE – Music Education (1996), and MSE – Educational Administration (2007) from Troy University, and the Ed.S. (2010) and Ed.D. (2018) in Educational Leadership from Liberty University. Mr. Courson retired at the end of the 2015-16 school year after 27 years as a music educator in the State of Alabama, and is currently serving as an adjunct instructor at Troy University in a part-time capacity. He taught at Russell County High School, South Girard School (Phenix City), Eufaula High School, and Smiths Station High School. His marching, jazz, and concert bands consistently earned Superior Ratings throughout his career, along with numerous Best In Class awards and Grand Championships. After taking a two-year sabbatical to complete his doctorate, he has returned to the classroom as Director of Bands at W.H. Shaw High School in Columbus, Georgia. Dr. Courson has held leadership roles within AMEA, most recently as Past-President of ABA. Valerie Diaz Leroy joined QuaverMusic.com as a lead trainer in 2015. Before putting on the green Q, she served as a dedicated music educator for 13 years at Shorecrest Preparatory School in St. Petersburg, Florida. Valerie received her B.A. in Vocal Performance from Boston College, holds Orff Levels I & II, and Kodály Levels I & II Certifications. As part of her professional preparation, Valerie has been researching the historical evolution of musical instruments with particular emphasis on ethnomusicology and the trajectory of the banjo.  This has added value and dimension to her studies of folk music . Valerie currently lives a very music-inspired life in Maryville, Tennessee! Ellary Draper is Assistant Professor of Music Therapy at The University of Alabama. Dr. Draper has worked as a music therapist with a variety of ages and populations and as an elementary general music teacher. Currently she serves as the Special Education Chair for the Alabama Music Educators Association. Her research is published in the Journal of Music Therapy, Journal of Research in Music Education, General Music Today, and Update: Applications of Research in Music Education. She holds degrees in music education and music therapy from Westminster Choir College, Florida State University, and The University of Texas at Austin. Dr. Mark Foster is the band director at John Carroll Catholic High School in Birmingham and has been teaching band for 29 years. He has previously taught band Mountain Brook Junior High School, Gardendale High School, and Hueytown High School. He holds the bachelor of science, master of arts, and doctor of education degrees from the University of Alabama, as well as National Board Certification through the National Board for Professional Teaching Standards. He is a frequent guest conduc- tor at honor bands throughout the Southeast, and he maintains an active schedule of performing as a trombone player Percussionist Benjamin Fraley and clarinetist Jennifer Fraley formed the Sources Duo in 2014, and have since performed and given clinics at music schools throughout the United States. Focusing on newly written or rarely performed works, their ever- increasing repertoire is influenced by a variety of musical styles and cultures, and reflects both performers’ versatility on several instruments. The duo’s current commissions explore the sound of the E-flat clarinet and percussion with works by composers Jamie Whitmarsh, Jerod Sommerfeldt, and Danny Clay. Both Jennifer and Benjamin Fraley maintain active performance schedules in addition to serving as faculty at Troy University. Michelle Gann received her Bachelors and Masters degrees in Music Education from Mississippi State University. While there, she was a member of Phi Kappa Phi and Gamma Beta Phi honor societies. In addition, she graduated Summa Cum Laude, was inducted into the MSU Hall of Fame and was recognized as MSU’s Graduate Woman of the Year. Ms. Gann has taught high school in Alabama for twenty-six years. During that time, her bands have received numerous superior ratings at both marching and concert competitions including the Alabama State Band Festival and the Music Performance Assessment. She has adjudicated competitions and conducted honor bands at various locations across Alabama and Georgia. She is cur- rently in her 20th year as the director of bands at Gordo High School in Gordo, Alabama. Michael Guzman is Director of Bands at Tuscaloosa County High School and also serves as Co-founder and Artistic Direc- tor of the Black Warrior Winds, an adult community band serving the West Alabama. He holds degrees from the University of Miami and Florida International University, in Music Education and Wind Conducting, respectively. For much of the last decade, Guzman has been a sought out musician and teacher in Florida and Alabama. Bands under his director in both have been con- sistently rated superior and he has served as an adjudicator and conductor throughout the Southeast. 42 October/November 2018





AMEA 2019 Clinicians 45 Libby Hearn is currently pursuing a PhD in Music Education at the University of Alabama where she serves as a graduate teaching assistant working in music education, teacher education, choral conducting, and as a research assistant. She is also serves as the accompanist and show choir director at Tuscaloosa County High School. Before moving back to Alabama in 2016, Ms. Hearn was the founder and director of Knight Fusion Singers at Marian University in Indianapolis. As an assistant professor of music, she taught courses in music theory, aural skills, vocal pedagogy, and choral/vocal music education. She also conducted the University Choir. Ms. Hearn taught for seven years as a choral educator at Hueytown High School in Hueytown, Alabama. While at Hueytown, her choirs consistently received superior ratings at state assessment and earned numerous awards and honors at contests and festivals across the southeast, including a memorable performance at the 2010 AMEA State Conference. She is the proud mother of two beautiful children, Catherine and Andrew. Dr. Tim Heath is the Director of Athletic Bands and Assistant Professor of Music Education at Samford University, where he also serves as the Assistant Director of the Samford Wind Ensemble and serves as a conducting faculty member. BethAnn Hepburn teaches general music and elementary and junior high choirs in Streetsboro, Ohio and Ph. D. Candidate at Kent State University in Music Education. She has the distinction of Master Teacher from the Ohio Department of Education. She is a teacher education instructor for the American Orff-Schulwerk Association and is on faculty for orff certification courses at Trinity University in Texas, The University of Hawai’i, The University of the Arts Pennsylvania at Villanova, and New York City ETM. BethAnn is a frequent presenter for Orff chapters throughout the United States, and has trained teachers in China, Scotland, Singapore, and India. She is the past PD chair for AOSA, and current PD chair for General Music for OMEA. BethAnn is on the Board of Trustees for the American Center for Elemental Music and Movement. She is the co-author of Purposeful Pathways, Possibilities for the Elementary Music Classroom Books I-III. Lori Hetzel is the Associate Director of the School of Music, Associate Director of Choral Activities and Full Professor of Choral Music Education at the University of Kentucky where she conducts the UK Women’s Choir and the ever-popular a cappella group “Paws and Listen”. In addition to her conducting duties, Dr. Hetzel supervises student teachers and teaches undergraduate methods and choral conducting courses where she has pioneered a unique partnership program with area high schools and middle schools allowing undergraduate students to begin classroom teaching early in their curriculum and gain true ‘hands on’ experience. Hetzel is a contributing author to the new textbook Conducting Women’s Choirs: Strategies for Success. Among her many academic accomplishments, she was the recipient of the University of Kentucky “Great Teacher of the Year” award in 2000, a finalist for the Provost Awards for Outstanding Teaching in both 2009 and 2010, and the winner of the Robert K. Baar Choral Award in 2011 “given to one choral director in the state who exhibits outstanding leadership in choral music and promotes music education in the state of Kentucky.” Lori Hetzel received the Bachelor of Music Education degree from the University of Wisconsin/Green Bay, the Master of Music from the University of Missouri/Kansas City and the Doctor of Musical Arts degree from Michigan State University. Matthew Hoch is Associate Professor of Voice and Coordinator of Voice Studies at Auburn University, where he teaches applied voice, diction, and vocal literature courses. Prior to coming to Auburn in 2012, he spent six years as Assistant Professor of Voice at Shorter College, where he taught applied voice, vocal literature, and served as Coordinator of Voice Studies. Dr. Hoch is the 2016 winner of the Van L. Lawrence Fellowship, awarded jointly by the Voice Foundation and NATS. He is the author of three books, including A Dictionary for the Modern Singer (2014), Welcome to Church Music & The Hymnal 1982 (2015), and Voice Secrets: 100 Performance Strategies for the Advanced Singer (2016), coauthored with Linda Lister. He holds the BM (summa cum laude) from Ithaca College with a triple major in vocal performance, music education, and music theory; MM from the Hartt School with a double major in vocal performance and music history; DMA from the New England Conservatory in vocal performance; and the Certificate in Vocology from the National Center for Voice and Speech. In addition to his academic life, Dr. Hoch is also Choirmaster and Minister of Music at Holy Trinity Episcopal Church in Auburn, Alabama, where he lives with his wife, Theresa, and three children: Hannah, Sofie, and Zachary.  Jeremy Howard received a BME in vocal music education and an MM with an emphasis in the Kodály philosophy from Morehead State University. He holds certification in all three levels of the Kodály teaching method. Additionally, he studied at the Kodály Institute in Kecskemet, Hungary during the summer of 2011. Mr. Howard currently serves as the 3 Year-Old through 8th Grade General Music Teacher and Choir Director at Christ the King Cathedral School in Lexington, Kentucky. He is active as a conductor for Honor and Festival Choirs, a clinician for several music educator workshops and conferences, and teaches Kodály certification courses in Alabama and Kentucky. He is the president of the Kentucky Association of Kodály Educators (KAKE), and a member of Organization of American Kodály Educators (OAKE).Jeremy resides in Lexington with his wife, Laura, also a music educator, and their son,Michael Rhys. ala breve

AMEA 2019 Clinicians Kristi Howze has been teaching for the past twenty-four years. Mrs. Howze earned her Bachelor of Music degree from Samford University and her Masters in Education at Auburn University. During Mrs. Howze’s twenty-four years of teaching she has not only taught elementary music, but has also had experience teaching 3rd, 4th, and 5th grades as well as high school chorus. She is currently the Lower School Music teacher at UMS-Wright Preparatory School in Mobile, Alabama. During Mrs. Howze’s fourteen years at UMS-Wright she has directed over 75 fully staged musicals with elementary and middle school students. Jane Kuehne (Ph.D.) is Associate Professor of Music Education at Auburn University where she teaches undergraduate and graduate courses in music education, and supervises graduate research. Her primary research and study areas include teaching sight-singing, pre-service music educator biases, string/orchestra music education access and opportunity (with Dr. Guy Har- rison), and most recently critical race theory (theories) self-study and effects of bias in education. Dave Lawson is a highly trained woodwind clinician that has been teaching woodwinds for over 13 years. He earned his Bach- elor’s in Clarinet performance and Music Education from Reinhardt College (University). He has taught clinics from elementary school beginners to high school seniors auditioning at the college level. He has learned from and taught next to such esteemed directors as Mrs. Mary Land, while she was the director at Pickens Middle School, and Daniel Gray, while he was at River Ridge High school. Dave is a professional clarinet and alto sax player, recently performing with Tara Winds at their GMEA Perform- ance in January of 2014 and again at Midwest in December of 2015. Dave regularly performs with The Dalton-Whitfield Com- munity band in Dalton, GA, the Alpharetta City Band in Alpharetta, GA, and the American Patriot Winds in Woodstock, GA. Dave has studied clarinet with Andrea Strauss, Mariano Pacetti, John Warren, and both clarinet and sax with Mitchel Henson. Dave maintains a busy private studio that ranges from beginners to retired beginners from 7-67. All of Dave’s middle and high school students are required to audition for All-state. Dave’s studio is fast paced, intense and filled to the brink with fun. Dave also runs a woodwind repair shop where he fixes instruments for schools and private students. Currently, we have three ap- prentice woodwind techs and nearly 150 instruments that our shops owns that we are fixing, renting, or selling. Dave has also taught numerous repair courses throughout the southeast. In 2017, Dave taught sessions at the Alabama Music Educators Con- vention (AMEA), the Georgia MEA, the Tennessee MEA, West Georgia, and Reinhardt University.  Rob Lyda is the music teacher at Cary Woods Elementary School in Auburn, Alabama. Throughout his career he has taught music classes for students in grades K - undergraduate. He earned the BME at Troy University and the MEd and PhD in Music Education from Auburn University. In addition to his academic degrees, he completed studies in in Kodaly, World Music Drumming, TI:ME, is an Orff-Schulwerk (Levels I-III & Master Class) certified teacher. Rob regularly presents sessions on technology integration and general music education at state, regional, and national conferences. He contributes curriculum materials for NAfME publications, the Alabama Symphony’s children’s concerts, and other state and national groups. He holds memberships in Alabama Music Educators Association, the National Association for Music Education, American Orff Schulwerk Association, Phi Kappa Phi, and the National Band Association. Currently, he serves as the National Chair of the NAfME Council for General Music Education and Secretary of the Elementary Division of AMEA. Mary McGowan is in her 25th year of teaching instrumental music and her 3rd year as the Director of Bands at Adamson Middle School in Rex, GA. Her Bands have consistently earned Superior Ratings at performance evaluations and music festivals in Georgia, North Carolina, Illinois, Tennessee, Louisiana and Florida. Her students have participated in GMEA District 5 and 6 Honor Bands. Students under her direction have also been accepted as fellows with the Atlanta Symphony Orchestra’s Talent Development Program. She has served as a clinician/session presenter for Atlanta Public Schools, Clayton County Schools, Woodruff Arts Center in Atlanta, Georgia (2017) and the Alabama Music Educators Association In –Service Conference. (2018) Previous teaching experiences include New Orleans Public Schools, Atlanta Public Schools. Clayton County Public Schools and Spelman/Morehouse Colleges. She is also a Volunteer Family Mentor on the Atlanta Symphony Orchestra’s Talent Development Program committee. Ms. McGowan is a graduate of Xavier University of Louisiana with a Bachelor of Arts Degree in Music, and received a Master of Secondary Education Degree from Southeastern Louisiana University, and is pursuing an Educational Specialist Degree in Music Education at Piedmont College. She also is a private instructor in clarinet and oboe. Dr. Cara Morantz joined the faculty at UAB as Assistant Director of Bands in the fall of 2014. She is a part of the instructional team for the Marching Blazers, the Wind Symphony, the Symphony Band, and the Blazer Bands. In addition, she provides instruction in music classes including courses in music education.  46 October/November 2018

AMEA 2019 Clinicians 47 Originally from Kinston, Ala., Travis Perry has been a music teacher for more than 36 years. From experience, he learned that keeping his students excited and interested in playing was key to their success. Perry noticed that 7 out of 10 of new guitar students, including Bradi, his own daughter, quit taking lessons within 60 days. While teaching, Travis continued working on his idea of a simple “magical” device that students could easily mount on the guitar, press down a button and work on the right hand rhythm patterns until they learned how to play guitar chords on their own. In October, 2010, Perry introduced ChordBuddy to the market. Two years later, he appeared on the hit ABC show “Shark Tank,” to reach out for more funding to grow his business. Today, guided by the motto “you make the music, ChordBuddy makes it easy,” Travis is spreading the love of music to guitar players around the world. Bob Phillips (b. 1953), pedagogue, composer, teacher trainer, and conductor, is renowned as an innovator in string education. Bob brings a wealth of knowledge and a sense of humor to his clinics, drawn from his 27 years as a public school string teacher. He is an expert in large group pedagogy and in the development of alternative styles for strings. He is one of today’s leading educational authors and composers, and his books and pieces are performed by thousands of string students each year. Bob is currently the Director of String Publications for Alfred Music and is Past-President of the American String Teachers Association. Bob and his wife, Pam are also part of the creative team for Barrage 8. Bob has authored over 19 book series that include 130 books for use in the classroom, including the ground breaking series Fiddlers Philharmonic, Fiddlers Philharmonic Encore!, Jazz Philharmonic, Jazz Philharmonic: Second Set and Latin Philharmonic, the String Explorer method, and the revolutionary Sound Innovations method, all published by Alfred Music. He has been elected “Teacher of the Year” nine times by national, state, and regional associations and has been invited to present clinics in more than forty states and eight foreign countries. Recognized as “Citizens of the Year” by the City of Saline for their work in arts education, Bob and Pam were also honored in special ceremonies by both the House and the Senate of the State of Michigan for their work with the Saline Fiddlers. In 2013, Bob was inducted into the University of Michigan School of Music’s Hall of Fame. Stephanie Porter has been an elementary music teacher for sixteen years. In that time, she has taught in several systems at three levels. Since landing in Hartselle three years ago she has composed a school song and started two elementary choirs that tour the area. She completed her masters in elementary reading specialty in May of 2018. She remains an advocate for music education in her area and routinely advises regular education teachers on how music enhances their standards. Stephanie cur- rently teaches general music and reading intervention at one elementary school in Hartselle and conducts an after-school choir at the intermediate school in order to ensure those students receive some music enrichment since it is not offered during the school day. She also recently composed a SATB choir piece for her high school choir director’s retirement. Dr. C. David Ragsdale is Professor and Chair of the Department of Music at the University of Alabama in Huntsville. In addition to his administrative responsibilities, Dr. Ragsdale teaches courses in music education and conducting. Additionally, Dr. Ragsdale conducts the University’s Wind Ensemble, the Huntsville Chamber Winds, and the Tennessee Valley Music Festival Orchestra and Wind Ensemble. In 2015, Dr. Ragsdale was named the UAH College of Arts, Humanities and Social Sciences Professor of the Year. Dr. Ragsdale has conducted All-State Bands in Alabama and North Carolina and is slated to conduct the Florida All-State Band in 2020. Other recent conducting engagements include numerous regional and district honor bands as well as the honor bands at Florida Atlantic University, Winthrop University, Wake Forest University, University of Southern Mississippi, and the University of Georgia. He is a frequent contributor to the “Teaching Music Through Performance” textbook series and his research on Stravinsky’s neoclassic era was twice selected for presentation at the College Band Directors National Association Southern Division Conference in 2016 and 2018. Prior to UAH, Dr. Ragsdale served as Associate Director of Bands and Director of the internationally acclaimed “Band of the Hour” marching band for the Miami Hurricanes at the University of Miami where he was also inducted into the Iron Arrow Society, this highest honor attainable at the University of Miami for students, faculty, or alumni. Dr. Ragsdale holds a Bachelor of Music degree from Appalachian State University (NC), a Master of Music degree from Winthrop University (SC), and the Doctor of Musical Arts degree from the University of Miami (FL). A disaster responder for the American Red Cross, he and his wife Jennifer, Middle School Dean at Randolph School, currently reside in Huntsville, Alabama along with their daughters, Ella and Anna. Dr. Megan Wicks-Rudolph began her teaching career in 1994 in Decatur, AL. She is currently the Director of Choral Activities at Vestavia Hills High School. At Vestavia Hills High School she oversees eight performing ensembles with over 300 students taught daily, an assistant choral director, part-time voice coach, and a part-time accompanist. Choirs under her direction consistently receive superior ratings at local, regional, and national adjudicated events. Dr. Rudolph is Nationally Board Certified (2003, 2013) and Orff Level I Certified. Her choral music experience includes directing children’s choir, middle school choir, high school choir, church choir, and teaching collegiate methods classes. She currently serves as the ACDA Southern Division R&R for Vocal Jazz and Past President for Alabama ACDA. Additionally, she is an active lecturer and adjudicator throughout the United States. Megan is married to her husband Brian, and they are the proud parents of Alexis (10), Austin (8), Zach (6), and Max (4). ala breve

AMEA 2019 Clinicians Ted Scalzo has taught Wind Ensemble, Jazz Band, Marching Band, Advanced Music Theory & Composition, and Multimedia for 36 years at Bay Shore High School, NY. In addition he has taught classes at SUNY Fredonia, SUNY Potsdam, C.W. Post and Hofstra University. Ted is a current member of Suffolk County Music Educators Association, NYSSMA, TMEA, TBA, TI:ME and NAFME. Ted also served on the New York State School Music Association Technology committee and has been an Apple Distinguished Educator since 2005. Since retiring from teaching Ted is working with MakeMusic as a trainer, clinician and higher ed consultant.  Donna Smith is in her seventh year of teaching as the current Band and Choir Director at Fayette Middle School in Fayette, Alabama. She has previously taught 6-12 as well as 6-8 grade band programs in Thomasville and Tuscaloosa. Donna received her Bachelor’s and Master’s degrees in Instrumental Music Education from Troy University in Troy, AL.  Outside of her professional achievements, she also connects with music through service as a Province Officer for Sigma Alpha Iota and a member of the Black Warrior Winds Community Band. Donna is the proud wife of Kenny and mother of Cooper, their son. Dr. Phillip Stockton, Assistant Professor of Music Education and Director of Choral Activities at Mississippi University for Women, received his Bachelors of Music Education from Auburn University, Masters of Music Education from Florida State University, and Ph.D in Music Education from the University of Mississippi. Before coming to MUW, Dr. Stockton was Director of Choral Activities at Mandarin High School in Jacksonville, Florida where his choirs consistently received superior ratings at performance assessment. Dr. Stockton is in his fifth year at The W and has seen the program grow during that time. He remains an active clinician and judge for choirs throughout Alabama, Mississippi, Louisiana, and Florida. He is an active member of American Choral Director’s Association (ACDA) and the National Association for Music Education (NAfME), and is currently the R&R for Student Activities for the Southern Region ACDA. His research focuses on the historical adolescent voice change as well as best practices for the choral classroom. Dr. Stockton is married to his lovely wife Amy and together have a son Lee and a daughter Molly. Dr. Jason Sulliman is the assistant professor of trombone at Troy University in Troy, Alabama. He teaches applied trombone lessons, brass methods, and coaches various trombone ensembles. He has previously taught at the University of North Alabama as well as Vincennes University in Vincennes Indiana. Jason has performed with several professional orchestras throughout the United States including the Alabama Symphony Orchestra, the Indianapolis Symphony Orchestra, the New Mexico Philharmonic Orchestra, the Pensacola Symphony Orchestra, the Northwest Florida Symphony Orchestra, the Carmel Symphony Orchestra, the Terre Haute Symphony Orchestra, the Lafayette Symphony Orchestra, the Anderson Symphony Orchestra, and the Wheeling Symphony Orchestra. In addition to orchestral paying, Jason has shown versatility in chamber music as a performer with the Dallas Brass Quintet, the River City Brass Band, and the Spark Brass Quintet. Throughout the past fifteen years Jason has been involved with the Tony and Emmy award-winning Broadway show “Blast!” and has performed as a soloist on trombone, euphonium, and tuba during several national and international tours. From 2008-2014, Jason served as the company's music manager and conductor. Viktoria Truesdail is currently in her sixth year teaching grades PreK- 6th in the Madison County School System.  She holds degrees from Cleveland State University and University of Florida.  Prior to teaching in the elementary classroom, Mrs. Truesdail has held various music positions including having her own private woodwind studio, Pre-K director, adjunct collegiate instructor and Assistant Director of Continuing Education at Georgia College. She currently instructs four extra-curricular clubs at her schools including: The Bucketing Blue Thunder, the Bucketeers, the Monrovia Music Makers and the Singing Cubs. In 2018, she received the “Super Citizen” award from Endeavor Elementary School for her dedication to always helping others and for excellence in leadership. Mrs. Truesdail also enjoys being a busy band, guard and track mom for her three children. Kyle J. Weary is recognized as a leader in teaching music literacy and contemporary commercial music. Kyle has been invited to present educational sessions at the State, Regional, and National levels. Kyle has presented in Virginia, Maryland, Delaware, New Jersey, Pennsylvania, Connecticut, and Texas. Kyle’s articles on teaching music literacy and vocal pedagogy in the choral rehearsal have appeared in Choral Director Magazine. Kyle has earned nominations for the GRAMMY music educator award in 2018 and 2016 where he advanced as a quarterfinalist both times. In 2015, Kyle was nominated for Washington County’s Teacher of the Year. As guest conductor, Kyle has conducted honor choirs in Allegany County (MD) Washington County (MD), Vermont ACDA, Cumberland County Honors Choir (PA), and with The Maryland Symphony Orchestra. Kyle currently teaches in West Shore School District as an Elementary Music Specialist and is the Director of Music at Silver Spring Presbyterian Church in Mechanicsburg. Currently, a PhD Music Education student at Auburn University, Kyle attained a Bachelor of Music Education and Master of Music in Conducting from Shenandoah Conservatory of Music where he was awarded the 2018 Distinguished Alumni Award for Young Career Achievement.. Kyle is also a graduate of the Contemporary Commercial Music Vocal Pedagogy Institute. 48 October/November 2018

AMEA 2019 Clinicians 49 Kevin Whalen is Director of Jazz Studies and Associate Professor of Music in the Schwob School of Music at Columbus State University. Whalen has served as the jazz trumpet chair of The Glenn Miller Orchestra and held a jazz trumpet chair with the Grammy-nominated University of North Texas One O'Clock Lab Band. Dr. Whalen has presented at the Jazz Education Network Annual Conference, the Annual Conference of the International Trumpet Guild, the International Conference on the Blues and at universities throughout the country, including the Eastman School of Music, Ithaca College, the University of North Texas, and Virginia Tech. Dr. Meghan Merciers is Assistant Professor of Music at the University of North Alabama (UNA) with an applied focus in larinet and saxophone. Dr. Merciers has given numerous masterclasses throughout the United States and held performer and lecturer residencies at the Conservatoire de Musique de Courbevoie near Paris, and the Conservatoire de Limonest in Lyon, France. Prior to joining UNA in August 2013, Dr. Merciers taught at Albion College and the Flint School of Performing Arts in Michigan.  Mr. Sam Merciers is a visiting assistant professor in Theory and Composition at the University of North Alabama. Dr. Whitney Farris O’Neal, a native of Jonesboro, Arkansas, is Assistant Professor of Flute at the University of North Alabama. Prior to her appointment as flute instructor at UNA, O’Neal was Instructor of Woodwinds at Stillman College from 2010-2011, and served as Instructor of Flute at Mississippi State University in the fall of 2010.   Dr. Tracy Wiggins is Assistant Director of Bands and coordinator of the percussion program at the University of North Alabama. He holds the Doctor of Musical Arts degree from the HARTT School, University of Hartford, the Master’s Degree in Percussion Performance from the University of New Mexico, and the Bachelor of Music in Music Education from Oklahoma State University, as well as post-master’s work at The Ohio State University. Art Williams is an associate professor and chair of the Department of Music at Faulkner University in Montgomery, Alabama. He holds a Bachelor of Music Education and M.S. in Education degree from Troy University as well as a Ph.D. degree in music education from Indiana University. With experience teaching at the elementary, secondary, and collegiate levels, Williams is a specialist in elementary general music education. He is also actively involved in the field of music education, where he appears as host of “Mr. Art’s Music Room,” the DVD component of Warner Brothers’ and Alfred Publications’ nationally released Music Expressions curriculum. Gretchen Windt, mezzo soprano, was an Apprentice Artist with Sarasota Opera, Sugar Creek Symphony and Song Festival, and Utah Symphony & Opera. She has performed with Cincinnati Opera, Opera Southwest, Chesapeake Chamber Opera, Opera Idaho, Bowen Park Opera, OperaModa, and DuPage Opera Theatre. She has performed with the Ohio Light Opera for five seasons in works by composers including Cole Porter, George Gershwin, Franz Lehar, and Jacques Offenbach. She graduated from the University of Utah (D. M. A. in vocal performance), the University of Cincinnati-College Conservatory of Music (M.M. in voice/opera), and North Park University (B.M.E. in music education/voice). She currently is an Assistant Professor in voice at the University of North Alabama. Dr. Anne C. Witt teaches Music Education, String Pedagogy and String Literature at the University of Alabama. She taught middle school and high school strings/orchestra in Austin for 15 years and played cello in the Austin Symphony; she was also Director of the University of Texas String Project. Dr. Witt has served as President of the Texas Orchestra Directors Association, President of the Alabama ASTA chapter, and National President of ASTA. Her degrees were earned at the University of Alabama and the University of Texas at Austin. She founded the Adult Strings program in which she teaches classes for adult beginners, cello lessons and the annual Adult Strings Weekend. Dr. Witt has presented educational sessions in many states, at all ASTA national conferences and at the Midwest Clinic. She enjoys guest conducting All State and regional festival orchestras, and is a frequent presenter at AMEA. Dr. Witt is author of A Rhythm a Week, used by school band and orchestra classes nationwide. In 2005, she organized a community initiative to fund the start-up of Strings in Schools – a string program in the Tuscaloosa City Schools. After 13 years, over 1000 students have participated, and groups have won top honors in competitions. Five full time teachers teach daily classes in all the middle schools and high schools. Three graduates of the program have become certified music teachers. She further served the community as President of the Tuscaloosa String Quartet Society. She continues to play cello professionally in a quartet called “Four Strings Attached.” She was an adjudicator for the ASTA National Orchestra Festival and for the first Alabama Orchestra MPA in 2016. ala breve

AMEA 2019 Clinicians Dr. Damion Womack currently serves as Assistant Professor of Music, Chair of the Fine Arts Department and Director of Choral Activities and Huntingdon College. His duties include conducting all choral ensembles, teaching choral methods, conducting, and supervising the music and art faculty. Choral ensembles under the direction of Dr. Womack have performed by juried invitation for regional and national conventions of The American Choral Directors Association, and The National Association for Music Education. Prior to his appointment at Huntingdon College, Dr. Womack served as Director of Arts at The Montgomery Academy, where he received the McLemore Award for Excellence in Teaching. Dr. Womack currently erves as the American Choral Director’s Association National Chairman for High School Choirs and has served on planning committees for the 2010, 2012, 2014, and 2018 ACDA Southern Region Conventions. He is in demand as a guest conductor and clinician in the Southeast and has served in this capacity in Alabama, Georgia, South Carolina, Louisiana, Mississippi, North Carolina, and Illinois. Dr. Womack holds a Doctorate of Musical Arts in Choral Conducting from the University of South Carolina in Columbia, SC and holds Music Education degrees from Alabama A&M University and Alabama State University. Michael S. Zelenak, Ph.D., is the Assistant Professor of Music Education at Alabama State University where he teaches graduate and undergraduate methods courses and supervises students as they matriculate through the music education program. He received a bachelor’s degree from the University of Michigan, and completed the masters and doctoral programs in music education at the University of South Florida. He earned National Board Certification while teaching chorus, strings, keyboard, guitar, and general music in Pinellas County, FL. He is a member of the advisory committee for NAfME’s Music Educators Journal and on the editorial board for the Florida Music Educators Association’s Research Perspectives in Music Education. 50 October/November 2018