August/September 2017 Ala Breve

August/September 2017 ala breve The Official Publication of the Alabama Music Educators Association Back to School Issue www.myamea.org



School of Music Bachelor of Music DEGREES OFFERED Master of Arts Performance, Jazz Studies, Bachelor of Arts Music Education Composition, Theory Music Therapy General Music, Music Doctor of Musical Arts Administration Bachelor of Science Composition, Performance, Wind Master of Music Conducting, Choral Conducting Music Education/Instrumental Music Education/Choral Performance, Wind Conducting, PhD Music Education Choral Conducting, Church Music, Composition, Theory, Arranging, Education Specialist Music History PERFORMING ENSEMBLES e Huxford Symphony Orchestra University Singers Contemporary Ensemble Jazz Ensemble Alabama Wind Ensemble University Chorus Jazz Band and Jazz Combo Symphonic Band Women’s Chorus Chamber Music Concert Band Men’s Chorus Early Music Ensembles e Million Dollar Band University of Alabama Opera eatre For audition information and our upcoming calendar of events please visit our website. music.ua.edu

4 August/September 2017

ala breve the official publication of the Alabama Music Educators Association August/September 2017 Features... 8 AMEA Governing Board Directory 13 2017 Kodály Certification Program 20 Collegiate Honors 21 All-National Honor Ensembles 22 FAME Scholarship Essay by Keturah Kuchinski 27 Band Music Reviews by Randall Coleman 28 Campus Connections 30 Six Classroom Strategies by Rachel Maxwell and Jessica Corry 32 Auburn Jr. High Choir Performs World Premiere 36 Choral Reviews by Diane Orlofsky 39 Industry/Institutional Members 40 State and District Schedule of Events 42 Sight Singing: What is it Good For...by Jeramy A. Nichols Departments... Advertisers Index Tempest ....................................................19 American College of Musicians ...............29 Tri-M ........................................................46 6 .....................President Arts Music Shop, Inc ..................back cover UA Bands .................................................38 10...........................AOA Faulkner University ..................................34 UA School of Music ...................................3 10 ..........Past Presidents Gadsden Music Company.........................16 UAB Bands...............................................25 13 ..........................HED Huntingdon College Bands.......................37 UAB Music...............................................11 14 ...........................ABA Jacksonville State University Choral..........7 UAH Music ..............................................45 17 ..................Elem/Gen Jacksonville State University Music ..........9 UNA Department of Music ......................23 18 .............................AVA John M. Long School of Music (Troy).....15 University of Montevallo ...........................4 20...................Collegiate Landmark Tours .........................................2 University of South Alabama Bands ........12 35...........................Jazz Panama City Music Festival.....................33 University of South Alabama Music ........24 Samford University ..................................47 Yamaha.....................................................26 ala breve 5

Susan Smith, AMEA President Rejuvenated and Ready! Hello and welcome back to the 2017- 2018 school year! I hope for the AMEA Conference. Exhibitors are now able to that you each had some time to unwind and regenerate this choose their booth from an interactive map and pay online. summer. We all look forward to this time with anticipation and This will better serve the needs of our industry partners as sometimes hesitancy for what the new school year will bring. I well as streamline the process for the AMEA office. Special realized this summer I went to my 27th year of band camps, thanks to Garry Taylor for his leadership in this area of the as I had the honor of watching and supporting my daughter at organization. the start of her teaching career. I am struck by the similarities The board is currently in discussion to house the AMEA Hall and differences of what today’s teachers encounter on a daily of Fame and other awards at Troy University in the John M. basis. There is nothing like the moment of making a Long School of Music. difference in a child’s life or watching a lightbulb turn on for Alabama Course of Study the first time. These are the experiences that keep all coming In April, the State Board of Education approved the Alabama back to school each year. Course of Study for Arts Education without any reservations. We appreciate all the AMEA members who worked on this. Many of our members had the opportunity to participate in The next step is to unpack the standards to make them more professional development by taking classes or going to one of practical for teachers. AMEA Past President Sara Womack the number of camps that are offered around the country this presented to the board the progress of the Course of Study summer. I am inspired by those who take the time to refine Committee she has chaired. The committee was asked to their craft taking Orff and Kodály certification classes or produce a vehicle for music teachers to make the attending conducting clinics and summer conferences. implementation more practical. AMEA is committed to Teachers were naturally inquisitive and driven and the summer supporting music teachers by advocating for the development is our time to grow as musicians and educators - although it of these tools. usually seems too short! Advocacy In June, members of your AMEA Board traveled to Organizational Health Washington DC for the annual NAfME National Assembly The AMEA Board has been working diligently to broaden the and Hill Day. AMEA Executive Director Garry Taylor and reach and strengthen the foundation and longevity of our Assistant Executive Director Dr. Rusty Logan attended organization. At our meeting in June, this group met to meetings on topics germain to running a state MEA. They review the activity of the previous year and set our course for joined myself, Past President Sara Womack, and Collegiate the coming year. The first order of business was to welcome our new members who have moved on to the board from AMEA Executive Director Garry Taylor, SDNAfME President Sara several of the divisions. We have budgeted this year for a Womack, AMEA Collegiate Secretary Brenton Nash, AMEA President financial review by a third party for the information and Susan Smith, and AMEA Assistant Executive Director Rusty Logan protection of the organization. We are pleased to report the advocate for music education at the Capitol during the 2017 NAfME total increase in membership totals - especially in Tri-M. If Leadership Assembly and Hill Day. you are interested in starting a Tri-M Chapter, please don’t hesitate to reach out to a board member for advice or August/September 2017 suggestions. This is a great way to advocate for your program through your students. AMEA Membership Active May 2015 May 2016 May 2017 Retired 1074 1091 1104 Collegiate 113 116 109 Tri M 268 291 268 Total 783 1120 1360 2238 2618 2841 We continue to refine our media outreach and member functionality of our website. Http://www.myamea.org is intended to be the unified face of our organization and we appreciate the leadership of Immediate Past President Dr. Carl Hancock in this venture. Keep a lookout for additions to the website as well as a Conference Attendance Justification Kit. Dr. Hancock is creating this valuable resource for distribution to our membership to help justify conference attendance. Another area we have made changes is our exhibitor sign-up 6

Secretary Brenton Nash as we visited the offices of Alabama Birmingham for our annual Professional Development Senators and Representatives. We visited the offices of Conference January 18-20, 2018. The new venue will enhance Senator Shelby and Senator Strange as well as Representatives the experience for all at the conference. We will all have a Sewell, Brooks and Roby. We shared with their educational learning curve as we navigate the new venue. The board will legislative aides how important full funding of the ESSA law do everything we can to make this transition as smooth as was at the suggested levels that were passed in the bipartisan possible. We will announce most of our clinics and performing bill. We discussed the importance of Title I funding and the groups in the next Ala Breve. However, we do want to give you need for professional development for teachers, especially in a preview by mentioning two of our performing groups. We those areas where it is not funded by school districts. I was have invited the Alabama Symphony Orchestra to perform an very proud of all the members of our delegation for their exciting program on Thursday evening of the conference . We passionate advocacy for music education in Alabama. are thrilled to feature Voctave as they perform during Friday’s Following Hill Day activities, members attended informational general session. This Orlando based vocal group has become sessions concerning ways to enhance the experience for our hugely popular and has multiple YouTube videos with views in membership. the millions. For more information, visit www.voctave.com. 2018 Conference Preview You won’t want to miss this! Much of our meeting in June was spent discussing our move to You can make the difference! As we start this year, many of us will welcome new colleagues to our state and meet first year teachers. Please take the time to invite them to participate in your division area and become members of AMEA. You may remember being a music department of one person, and how much it meant when an experienced teacher reached out to help or guide. Be the mentor that you needed as a first-year teacher. If you have ideas for our organization, please get involved. Find a way to give back to a career that gives so much. Have a great year! Susan L. Smith David L. Walters Department of Music JACKSONVILLE STATE UNIVERSITY CHORAL ACTIVITIES AREA2017-2018 Calend of Events f Students - SAVE THE DATE ALABAMA VOCAL ASSOCIATION ALL STATE CHOIR PREP WORKSHOP – DISTRICT 4 SOLO AND ENSEMBLE - Saturday, October 14 - $5 registration fee Thursday, February 15 Please consult AVA website MADRIGAL DINNER - December 1-2 MUSIC DEPARTMENT SCHOLARSHIP Advance Purchase required AUDITIONS Discounted $3 non-eating tickets Friday and Saturday, available to high school students February 2, 3 9 & 10 HIGH SCHOOL VOICE DAY – HONOR CHOIR - Monday, April 30th Saturday, January 27 Elementary, Middle School and High School Choir Vocal coaching for high school soloists $35 (includes registration, with JSU Voice faculty lunch and t-shirt) $5 Registration fee RECORDER FESTIVAL - Registration forms and further information may be Saturday, February 17 found on the JSU Music Department website: Three levels, www.jsu.edu/music or by contacting JSU Director of Choral Activities, Dr. Patricia Corbin, [email protected], Elementary, Intermediate and Adult (256)782-5544 $28 (includes registration, lunch and t-shirt) ala breve 7

AMEA Governing Board 2017-2018 President President-Elect Treasurer/Registrar Susan Smith Greg Gumina Pat Stegall 104 Smith Hall Shades Valley High School AMEA Registration Troy, AL 36082 6100 Old Leeds Road PO Box 3385 (334) 670-3322 Irondale, AL 35210 Muscle Shoals, AL 35661 [email protected] (205) 956-4638 [email protected] [email protected] Immediate Past President President, ABA Carl Hancock Recording Secretary Doug Farris University of Alabama Carla Gallahan Brewer High School Box 870366 113 Long Hall 59 Eva Road Tuscaloosa, AL 35487 Troy University Somerville, AL 35670 (205) 348-6335 Troy, AL 36082 (256) 621-0540 [email protected] (334) 670-3502 [email protected] [email protected] President, AOA President, Elem/Gen Samuel Nordlund President, AVA Phil Wilson 405 Buchanan Hall Ginny Coleman Ogletree Elementary School Samford University Tuscaloosa County High School 737 Ogletree Road 800 Lakeshore Dr. 12500 Wildcat Drive Auburn, AL 36830 Birmingham, AL 35229 Northport, AL 35475 [email protected] [email protected] (205) 342 2670 [email protected] President, AMEA Collegiate Madison Baldwin AMEA Collegiate Advisor President, Higher Education (256) 996-5369 Edward (Ted) Hoffman Becky Halliday [email protected] University of Montevallo University of Montevallo Station 6670 Department of Music Industry Representative Davis Music Building 308 Davis 317 Becky Lightfoot Montevallo, AL 35115 Montevallo, AL 35115 Arts Music Shop (205) 665-6668 (205) 665-6666 3030 East Blvd. [email protected] [email protected] Montgomery, AL 36116 334/271-2787 Assistant Executive Director Alabama Department of Education [email protected] Rusty Logan Arts Education Specialist 2020 Janabrooke Lane Andy Meadows Executive Director Auburn, AL 36830 50 North Ripley Street Editor, Ala Breve (334) 663-1702 Montgomery, Alabama 36104 Garry Taylor [email protected] (334) 353-1191 1600 Manor Dr. NE [email protected] 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 - February/March (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 August/September 2017













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Phil Wilson -  President, Elementary/General Division It’s Elementary/General Division and AOSA. This year our clinician will be Orff specialist Ericka Bridge. Stay tuned to the myamea.org webpage for further details as they become available. Time! The 2018 AMEA Professional Development Conference will be moving from Montgomery to the BJCC in Birmingham, Alabama. You will not want to miss this one. This year we are honored to have Lorelei Batislaong as our A music teacher colleague tells the story of a farming family featured clinician. She will be presenting three sessions for who awakens one morning to do their daily chores. The us, while an Alabama favorite, Roger Sams, will return to father climbs on his tractor and heads to plow the distant present a session. We will also have member guided sessions fields while the mother and their son stay behind to do work ranging from bucket drumming to around the world on the farm. The mother is expecting and due to deliver at recorder. We look forward to seeing you in Birmingham any moment. While working, the time arrives for her to have January 18th -20th. If you have not renewed your NAfME the baby so she sends her young son to fetch his father. The membership, do so soon so that you will not miss a second son obeys, runs the distance to the father, and they both of this conference. arrive back at the house to find the very pregnant and in labor mother picking tomatoes. The father asks the mother We want to stay in touch with you and reach out to those why she is picking tomatoes when she is in labor. She simply who are not members of AMEA. Please email us at replies, because they are ready to be harvested; it’s time. [email protected] to update your information My friends, it is now time for us to do what we have done and please share this address with those who you know are not members. for years; teach music to the children who have been waiting all summer to learn from us. They deserve fresh, fun, and new ideas and it’s our duty to make sure they receive them. As you step into your classroom this fall know that you will not be there alone. The voices and ideas of teachers from Your elementary division board has been hard at work across the state and country will be there with you to help planning professional development opportunities for you over the course of this next school year to assist you in you along this journey. The professional development material you bring with you will interject new life into your educating the children of Alabama. I am honored to serve class, and your students will see the difference a little time you as President of the Elementary Division along with Dr. on your part makes. Please know how very hard your Rob Lyda, secretary and Lori Zachary, treasurer. As many of elementary/general board is going to work with and for you. you may know, Dr. Kelly Jo Hollingsworth was elected to We are always open for suggestions and hope that you will serve as President-elect, but has since taken a higher education job out of state. I have asked Betty Wilson to fill reach out to us. The tomatoes are ripe and it’s time to harvest them. Here’s wishing you a great school year! this position. Cliff Huckabee will serve two roles this year; Past-President and Choral Festival Director. See you in October, Phil R. Wilson, President This year, several professional development opportunities Elementary/General Division are available for you to attend beginning August 26. The East Alabama Music Workshop will be held in Auburn, AL at Grace United Methodist Church from 9 a.m. to 1 p.m. The guest presenters will be Dr. Sara Womack and Dr. Dates East Alabama Music Workshop, Grace United Methodist Becky Halliday. The topic of discussion will be the new state Church, Auburn, August 26, 9 a.m. to 3 a.m. standards. There is no cost for the workshop. Contact Dr. Rob Lyda for more details at [email protected]. 12th Annual Elementary Music Festival, Friday, October 6th, Samford University’s Wright Center The 12th Annual Elementary Music Festival will take place at Samford University’s Wright Center on Friday, October 6. Joint Fall Workshop sponsored by Elementary/General Approximately 400 elementary students representing over Division of AMEA and AOSA, Saturday, October 7, 9 a.m. 40 schools across the state have registered. The clinicians for this event will be Ericka Bridge and Vic Oates. This to 3 a.m. music festival is a great opportunity for our students. Thank 2018 AMEA Professional Development Conference, BJCC, you for your continued support of this festival. Birmingham, AL, January 18-20. Saturday, October 7th from 9 a.m. to 3 p.m. we will have our joint Fall Workshop sponsored by AMEA ala breve 17

Ginny Coleman - President, Alabama Vocal Association REFLECTING ON THE PAST TO PREPARE FOR THE FUTURE Hello! It was good to see many of you at the ACDA report from the AVA Summer Board meeting. We reviewed Summer Conference in Tuscaloosa. If you are not already all of your comments and suggestions that we received over involved with ACDA, you should join now! John Kincaid, the year. We appreciate those of you who took the time to Meg Rudolph, and the ACDA team did a great job share your ideas with us. Some of the decisions were: organizing the sessions and social events. This conference is a great reminder that it is time to get back to work and get • We will continue to work to improve the efficiency ready for the new year. of our online registration forms The time leading up to a new school year is always a time of reflection for me. I reflect on what has (and has not) gone • We are forming a committee to review SCPA well in my classroom over the past year. I think about what sight-reading with the end goals of clarity of expectation, I could do better and prepare to make those changes for the accessibility to various ability levels, and alignment with state upcoming year. This is one of the things I love about our standards profession: each new year is a chance to make a new start. As I reflected on the past year with the AVA, I re-read some • We continued to discuss ideas for using of the goals that I had for our organization at this time last technology to facilitate the All-State audition process year. Briefly stated, they were: efficiency through technology, focusing on our mission statement, and reaching • We continued to discuss ways to update our All- out to our membership. I am proud of many of the State Show Choir process advances we have made. We have continued to use available technology to facilitate record-keeping, registering for • Fees were updated to reflect changes in cost events, and communicating with the membership. The AVA • Deadlines and late fees were restructured to be board, guided by quality input from the membership, has more efficient made decisions with our mission statement at the forefront • We adopted a new logo of our minds. Our organization is becoming a group that is At Fall Workshop, we will detail how all of these changes willing to put aside tradition to make room for new ideas help to move our organization forward. We hope you will that may better serve our students. I am so encouraged by attend. this. FALL WORKSHOP The goal that has proven to be the most difficult for us is Our Fall Workshop will be held at First Baptist Church, reaching out to our membership. We are moving in the right Montgomery on Friday, September 8th. We look forward to direction. For example, the AVA and ACDA are involved in this time of learning, sharing, and connecting with our a joint effort to identify teachers who are not involved in our colleagues. Judy Bowers will be our featured clinician and professional organizations. We have also made some small she always has something great to share! We will also have advances by offering free registrations to events and we will mini-sessions and round-table discussions that need YOUR continue to offer these incentives. However, we have a input! Registration is open now. Visit the AVA website to chance to make a new start this year and need every register and don’t forget to bring a friend. member’s help with this goal. We all know someone who NAfME MEMBERSHIP may be new to the profession or may be working in a less- Now is the best time to renew your NAfME membership. than-ideal situation. These new/struggling teachers need, You must be a current member to log in to registration more than any of us, a community of fellow teachers so that forms on the AVA Website, so renew now. they can be mentored, ask questions, or just vent. Without a AVA DATES strong community, we may start to see our profession quietly The 2017-2018 event dates are posted on the AVA website fade. I would like to challenge each of you to invite one and page 41 of this issue of Ala Breve. Visit the website to person who is not currently involved in AVA to come to Fall find a printable list of dates. You will notice that there is Workshop with you. Also, if you have ideas about how we only one deadline for each event date. This is now the can continue to reach out to membership, please let me or registration AND payment deadline for that event. Please any member of the AVA board know. We are always plan accordingly. interested in your great ideas! Thank you for taking time to read about your professional SUMMER BOARD REPORT organization. As always, please send questions, suggestions, As we prepare for the new year, I would like to give a brief and ideas to me at [email protected]. I look forward to seeing you in September! 18 Ginny August/September 2017

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NAfME Collegiate Chapter of Excellence Recognition Congratulations University of Montevallo Chapter, William Yates, President and Edward (Ted) Hoffman, Advisor The Chapter of Excellence Recognition was developed to encourage collegiate chapters to plan and execute successful chapter music programs, professional development projects, recruitment techniques, and service projects. Recognition of excellent projects is conferred annually and is based on activities completed by the chapter between January 1 and December 31st of the prior year. Chapters are encouraged to present a project promoting the importance of music education for all, or to assist in an advocacy effort taking place in their community. Annually, three Chapter of Excellence activities can be selected for recognition in each of the four categories. Each selected activity receives a plaque from NAfME and is recognized in an issue of Teaching Music or Music Educators Journal. The University of Montevallo Collegiate Chapter was recognized this summer at the NAfME Leadership Assembly in Tyson’s Corner, Virginia. University of Montevallo Collegiate Chapter Professional Achievement Award - William Yates, William Yates University of Montevallo August/September 2017 The purpose of the Professional Achievement Award is to recognize individual Collegiate members for their commitment and dedication to NAfME and music education. This recognition is given to Collegiate members who have served their chapters in an exemplary manner. All Collegiate members who meet the following criteria are eligible to receive this distinction. Criteria: (all requirements apply) Student must be currently enrolled in an active NAfME Collegiate chapter. Student must also have been a Collegiate member of NAfME in the school year prior to the current one. Student must possess an overall minimum grade point average of 3.0 (on a 4.0 scale) or equivalent during the year of the application. Student must verify participation and involvement in chapter activities. William Yates was recognized this summer at the NAfME Leadership Assembly in Tyson’s Corner, Virginia. Congratulations William! 20

Noteworthy All-National Honor Ensembles The NAfME All-National Honor Ensembles (ANHE) represent the top performing high school musicians in the United States. So much more than a musical ensemble; it is a comprehensive, musical and educational experience. To be considered for selection, students must have been selected to participate in their state’s all-state music festival. The ensembles will meet at the Walt Disney World Resort in Orlando, Florida under the baton of leaders in the field of music education. The NAfME All-National Honor Ensembles are represented in the following components: Concert Band, Mixed Choir, Symphony Orchestra and Jazz Ensemble. AMEA congratulates the following students on their selection to the All-National Honor Ensembles: Jon Featheringill Symphony Orchestra Gadsden City High School, Keith LaBenne, Director Caroline Habig Concert Band Hoover High School, Ryan Fitchpatrick, Director Bethany Simon Symphony Orchestra Homeschool, Chin-Mei Li, Director THINK OF US as your Personal Rhythm Section JOIN NOW NATIONAL ASSO CIATION for MUSIC EDUCATION [email protected] nafme.org | 1-800-336-3768 A large group of enthusiastic NAfME Collegiates attended the 2017 NAfME Collegiate Summit 21 June 28 - July 1. A highlight of the summit for the future music educators was a visit to the capitol, along with MEA leaders from around the nation, to advocate for music education. Alabama was represented by Brenton Nash, AMEA Collegiate Secretary (pictured center). ala breve

FAME (Future Alabama Music Educators) Scholarship Essay Editor’s Note: AMEA recently awarded the FAME scholarship to Keturah Kuchinski, a 2017 graduate of Oxford High School. Scholarship recipients must have attended the FAME program and plan to major in music education at an Alabama university. Keturah plans to major in music education at Auburn University beginning this fall. Why I Want to be a Music Teacher by Keturah Kuchinski From a young age, I have always enjoyed being involved in area of the brain at the same time, especially when someone musical activities. Whether it was singing in my church, is playing a musical instrument versus just listening to elementary choirs, taking beginner piano lessons from my music. Research also shows that students that are engaged mom, and even learning how to play the recorder. I believe in playing a musical instrument achieve higher standardized all of these experiences led me to the decision of becoming test scores than those that do not. The arts are so important a part of our school’s sixth grade band. I had no idea of in more ways than are realized, and I believe research into even what instrument I would play, but after some the education and psychology of music will prove how instruction and suggestions from my band director, I settled essential music is to our very lives and why music must on the clarinet. After being a part of the band for the past remain a core part of education in the public schools. I six years as a clarinetist and drum major, the experiences believe that formal music education should begin early, as and opportunities it has given me have ultimately led me to soon as students enter school, and should be continued and pursue a lifelong career in music, something I had never required each year through graduation due to the proven imagined when I began this musical journey. benefits that music has on brain development, learning and The reason I have always loved and I have had a passion for memory, and even mood and overall satisfaction with life. music is because I believe music is a very important aspect Through this journey, I have not only learned the of living a happy and fulfilled life. Music feeds the soul, but fundamentals of music and how music has changed my life, it also does much more than that. Research shows that but I have learned a greater impact and importance that music has an impact on brain development, it can help music can have on the lives of others. I plan to pursue soothe emotional distress, it can be used for therapy with music education and performance in college, and ultimately those with brain injuries, it can be used for aesthetic hope to become a music educator so that I can teach, enjoyment, and ultimately, music can be used as an act of research, conduct, and perform, working to make music worship. I believe God has gifted me musical talents and education an important part of every school curriculum abilities to serve others and to make a difference. That is that is fully integrated across all content areas. why I am interested in finding ways to use music across and Music education is vital to overall development, which throughout all aspects of education. I have a personal includes academic achievement, social interactions, interested in this, having a brother with autism and seeing emotional regulation, and even spiritual connections that the positive effects that music has on his ability to will last a lifetime. That is why every student and every memorize information, to improve his verbal and language individual deserves access to music education from pre-k skills, and on his overall mood and affect. It is proven that through high school, no matter what their background or the use of music can help students remember the periodic socioeconomic status. I believe that music is a necessity for table, using music helps stroke patients recover speech, a fulfilled life, and this goal can only be accomplished singing can help Alzheimer’s patients recover memories, through having music as a part of all levels of public and music therapies are used for students with disabilities. education. We are in exciting times in which brain scans reveal that music is the only activity that engages and activates every 22 August/September 2017

University of NORTH ALABAMA DEPARTMENT OF MUSIC PERFORMING ENSEMBLES “Pride of Dixie” Marching Band Symphonic Band Wind Ensemble Studio Jazz Band Percussion Ensemble Collegiate Singers Chamber Choir Vocal Jazz Ensemble Opera/Musical Theatre Shoals Symphony at UNA DEGREES OFFERED Bachelor of Music in Performance • INSTRUMENTAL • VOCAL • PIANO Bachelor of Science in Music • INSTRUMENTAL • VOCAL/CHORAL Music Education • INSTRUMENTAL MUSIC, P-12 • CHORAL MUSIC, P-12 AUDITION DATES NOVEMBER 3, 2017 JANUARY 26, 2018 MARCH 10, 2018 APRIL 28, 2018 University of NORTH ALABAMA College of Arts and Sciences Department of Music 256-765-4375 256-765-4995 (FAX) [email protected] UNA.EDU/MUSIC

The University of South Alabama Department of Music, through its innovative curriculum, empowers professional musicians, music educators, and those who wish to enrich their lives through the arts. The Department serves the needs of the University to promote general education and to provide a vital cultural link to the great state of Alabama and to the Gulf Coast region. Its excellent facilities and faculty, promotion of technology, and dedication to life-long learning provide a wide spectrum of experiences for both the student and the community. Ensembles INSTRUMENTAL CHAMBER Wind Ensemble Flute Choir Symphony Band Clarinet Ensemble University Band Trumpet Ensemble Symphony Orchestra Trombone Ensemble String Ensemble Tuba Euphonium Ensemble Jaguar Marching Band Chamber Brass Ensembles Jaguar Pep Band Chamber Woodwind Ensembles Jazz Ensemble Percussion Ensemble USA Steel Band VOCAL USA World Music Ensembles Piano Ensemble University Chorale Guitar Ensemble USA Opera Theatre USA Concert Choir Degrees AUDITION DATES BM with Concentration in Music Education (Instrumental or Vocal) January 13, 2018 BM with Concentration in Performance (Instrumental or Vocal) February 3, 2018 BM with Concentration in Elective Studies (Business) March 10, 2018 %0YKVJ&QPEGPVTCVKQPKP(NGEVKXG6VWFKGU6RGEKƍE2WVUKFG)KGNFU April 14, 2018 MM in Music Education (General, Instrumental, or Vocal) MM in Performance (Brass, Percussion, Piano, Voice or Woodwind) For more Information about MM in Collaborative Keyboard AUDITION DATES, call 251-460-6136 Music Minor Contact Information University of South Alabama, Department of Music | Laidlaw Performing Arts Center, Room 1072 5751 USA Drive South, Mobile, AL 36688 | (251) 460-6136 | E-mail: [email protected] www.southalabama.edu/music | Facebook: facebook.com/southalabamamusic



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Band Music Reviews Randall Coleman Happy New Year! I hope everyone had a productive summer Pearson, which explores the younger adventures of Peter and you start the new school year energized and ready to go. Pan. StarCathers relies heavily on percussion to set the I can remember when I first started teaching many years groove for this wonderful new work that is a fantastic ago….one of the most anticipated deliveries for me were the teaching piece that strengthens your ensemble’s pitch presentations from the music publishers where they debuted sensitivity, vertical alignment skills, and rhythmic stability. their new publications for the year. Today, we don’t have to Your students will absolutely love this piece that is suitable wait for the mail…we have access to so much information for your fall or spring concerts. StarCathers is listed as a right at our fingertips! I hope you have had an opportunity Grade 3, but many of the challenges, including the to check out the new music for the upcoming school year percussion skills required and the ranges for some of the from all the publishers. There is so much new literature brass players, tend to push it comfortably into the Grade 4 available to us…the trick is finding the ones that work. category. Nathan Daughtrey’s music always includes highly Having spent a great deal of time this summer listening to so exceptional work for the percussion section. You can’t go much new music, I hope the following suggestions will help wrong with StarCathers. you as you begin to build your curriculum for the upcoming Please feel free to contact me with your questions. I look year. forward to hearing your outstanding ensembles this year! Along the Crystal Coast is a new Grade 2 publication by Randall Coleman, Michael Oare. Michael has written several wonderful pieces Wind Band Music Reviewer for young band and is a practicing music educator and The Ala Breve performer. I really enjoy his work and have found it to be Associate Director of Bands educational, entertaining, and engaging at every turn. His The University of Alabama beautiful To Dream in Brushstrokes has gained much [email protected] popularity in recent years, and his new work Along the Crystal Coast is another wonderful work from this talented 27 composer. Along the Crystal Coast begins with a full ensemble fanfare section that is scored well for young bands. The opening section moves to a brisk “allegro” section that initially features the woodwinds with the brass section joining in on the second phrase. The piece utilizes the same maestoso fanfare as it ends with a quick restatement of the allegro theme. The piece stays in the key of concert Eb throughout and utilizes simple syncopation with the low voices. Highly recommended for your Grade 2 ensemble for concerts or your assessments. Brian Balmages is one of the most performed composers in our genre today. Brian writes exceptionally well for all of the instruments and his pieces become fast favorites for your students. Commissioned by Bruce Zeiger and the St. John Paul II Catholic High School Band in Huntsville, Alabama, Renaissance Reimagined is a brilliant new piece that brings renaissance music to life in a modern, contemporary setting. Published at the Grade 3.5 level, I would say this piece might be more accurately classified as a Grade 4. Utilizing scoring techniques that are very idiomatic of the Renaissance sound, the piece is an excellent teaching tool for introducing the Renaissance period music to your students. Renaissance Reimagined requires the performers to be secure in both duple and triple subdivision, as the composer uses the duple subdivision and triple subdivision simultaneously, creating a unique hemiola effect. Strong rhythmic stability would be essential to a quality performance of this outstanding piece. Endurance may also be an issue for younger ensembles as the piece is approximately 5 ½ minutes in length. Nathan Daughtrey’s StarCatchers is an incredibly fun and entertaining work that is inspired by the young fiction series “Peter and the Starcathers” by Dave Barry and Ridley ala breve

Campus Connections Colleges and universities are encouraged to submit newsworthy material and announcements for publication in Ala Breve University of North Alabama the Innova, Enharmonic and Teal Creek labels. New Faculty/Staff Dr. Heather Small is Assistant Professor of Flute at Troy The University of North Alabama Department of Music is pleased University, where she teaches applied flute, music theory, class to welcome the following new faculty and staff: woodwinds, and directs the flute ensemble. Dr. Small received a Dr. Tom Lukowicz, low brass Bachelor’s Degree in Music Education from Oberlin Conservatory, a Ms. Grace Ashley, voice Master’s Degree in Flute Performance from the University of North Ms. Karen Cantrell, collaborative pianist Texas and a Doctorate of Music Performance from The Florida State University.Prior to her appointment at Troy University, Dr. Upcoming Events Small was a faculty member at Morehead State University, the UNA Department of Music events—visit una.edu/music University of Tennessee-Chattanooga, Southern Adventist Shoals Symphony at UNA 2017-2018 season— University, and Messiah College. Additionally, she has five years of visit shoalssymphony.una.edu teaching experience in public schools in Pennsylvania. Dr. Small UNA Honor Choir, October 24, 2017—contact Dr. Ian frequently performs as a soloist and in chamber ensembles at venues Loeppky, [email protected] throughout the United States. UNA Honor Orchestra, January 12-13, 2018—contact Dr. Daniel Stevens, [email protected] Professor Susan L. Smith is a Lecturer of Music at Troy University, UNA Honor Band, April 26-28, 2018—contact Dr. Lloyd where she teaches music education courses, applied horn, and Jones, [email protected] supervises student interns. Mrs. Smith received a Bachelor’s Degree in Music Education from James Madison University and a Master’s Alabama Intercollegiate Band Degree in Music Education from Troy University. Prior to her appointment at Troy University, Professor Smith taught for 17 years The 2017 Alabama Intercollegiate Band performed in January at the in the Virginia, Florida and Alabama Schools. She is the current Alabama Music Educators Association Professional Development President of the Alabama Music Educators Association and an Conference in Montgomery. The Alabama Intercollegiate Band was Educational Consultant for Music for All. She is a published designed by Alabama college/university band directors to be a curriculum author and editor and has presented clinics at multiple collaborative, educational experience. Dr. John Locke, Director of state, regional and national conferences. Bands at the University of North Carolina Greensboro, served as the conductor. Dr. Jason Sulliman is Assistant Professor of Trombone at Troy University, where he teaches applied trombone, class brass, and The John M. Long School of Music – Troy University coaches various chamber brass ensembles. Dr. Sulliman received a Bachelor’s degree in Music-Trombone Performance from the New School of Music Faculty University of Massachusetts Amherst, a Master’s Degrees in both Performance and Conducting from the University of New Mexico, Professor Kenneth Beck is a Lecturer of Music Education and Music and a Doctorate in Brass Pedagogy from Indiana University. Dr. Industry at Troy University, where he teaches courses in Sulliman is currently finishing a Master’s Degree in Kinesiology- audio/computer techniques and supervises interns. Mr. Beck received Motor Learning/Motor Control from Indiana University. Prior to his both a Bachelor’s and a Master’s degree in Music Education from Troy appointment at Troy University, Dr. Sulliman taught at the University University. Professor Beck is active as an audio engineer and a of North Alabama and Vincennes University, and freelanced in the lighting/sound technician and has worked with a wide variety of Indianapolis area. He played with several orchestras there including performing artists throughout the Southeast. He is the owner of Five the Indianapolis Symphony, Carmel Symphony, and Terre Haute Point Productions, LLC. Symphony. Dr. Sulliman was the music manager and conductor for the Broadway show “Blast!” for several international tours and Dr. Dave Camwell is Associate Professor of Saxophone and currently serves as the trombone tutor for the North American Director of Jazz Studies at Troy University. Dr. Camwell studied at Brass Band Summer School as part of the Royal Nova Scotia the universities of Calgary, Jacksonville State, and Northern International Tatoo in Halifax, Nova Scotia. Dr. Sulliman is in Colorado, and received his DMA in Saxophone Performance with a constant demand as a presenter and visiting artist and has given Secondary Emphasis in Jazz Studies at the University of Oregon. presentations at dozens of state and regional conferences. Prior to his appointment at Troy University, Dr. Camwell taught at Simpson College, Iowa, from 2005-2017. He has been a Yamaha Special Performances Performing Artist since 2004, a D’Addario Performing Artist since 2009, and occupies the Tenor Saxophone chair in the Oasis Quartet. The Troy University Concert Chorale and their conductor, Dr. Diane He has over thirty publications available through Jeanne, Dorn and Orlofsky, have been invited to perform at Carnegie Hall. The UNC Jazz Press, many of which have been performed throughout concert will take place on May 25, 2018 in the Isaac Stern the world. Since 2008, Dr. Camwell has released nine recordings on Auditorium. The Troy University Symphony Band and their 28 August/September 2017

conductor, Dr. Mark Walker, have been selected to perform at the M.I.C. Check – April 3, 2018 2018 CBDNA/NBA Southern Division Conference in February in Contact Robert W. Smith Tampa, Florida. Saxophone Day – April 14, 2018 Annual Events: Contact Dr. Dave Camwell Southeastern United States Middle School Band Clinic – Dec. 7-9, 2017. Additional information about the John M. Long School of Music Contact Dr. Mark Walker may be found at music.troy.edu. We invite you to visit us online or in person soon. Southeastern United States Choral Clinic – Jan. 12-13, 2018. Contact Dr. Diane Orlofsky Samford School of the Arts Division of Music Southeastern United States HS Honor Band/Conductors Clinic – Feb. 1-3, Samford School of the Arts Division of Music welcomes Dr. Beth 2018. McGinnis as a full-time faculty member this fall. Dr. McGinnis has been with Samford as a lecturer and now takes on a permanent role Contact Dr. Carla Gallahan with the piano program. She is the organist and children’s choir coordinator at Vestavia Hills Baptist Church and the pianist with the Guitar Festival – Feb. 16, 2018. Alabama Symphony Orchestra. She has her Bachelor in Music from Contact Dr. Robert Gibson Samford University, her Masters in Music from Texas Christian University and her Ph. D. in Musicology from University of North Vocal Jazz Festival – Mar. 28-29, 2018. Carolina at Chapel Hill. Contact Dr. Diane Orlofsky Clarinet Day – Mar. 24, 2018. Contact Dr. Tim Phillips ala breve 29

Six Music Classroom Management Strategies Rachel Maxwell and Jessica Corry Reprinted from the SmartMusic blog with permission from the authors and SmartMusic We see 375 band students every day and have very few discipline issues or distractions during class. Below are six music classroom management strategies we use in our program. Teach, Model, and Reteach Routines Explain and show students how you expect them to do EVERYTHING. Include even the easiest behaviors: entering the room, where to build instruments, where to store cases, how to set up the music stand as a workstation for the class period (pencil, tuner, warm-ups, music). Insist that routines are done correctly every time and it will become habit for you and the students. Use Nonverbal Signals A simple arm raised by a teacher indicates all students need to raise their hands and become silent. Nothing proceeds until the room is silent. This sounds too simple but it works. When used consistently and diligently it quiets a noisy room of 80 sixth grade brass players in about 10 seconds. We have gotten to the point that students will initiate the arm raise when they hear talking among the students. Develop your own plan and use it every rehearsal every day. Keep Rules Simple Our classroom rule is “Act in a way which does not create problems for others.” We follow that up with our posted Rehearsal Expectations: 1. Pencil on EVERY Stand 2. Music out of Plastic 3. Mark Corrections (The more you mark, the less we stop!) 4. Eye Contact with Director (Track) 5. Instrument to Mouth on Count-Off 6. Correct Playing Position & Posture 30 August/September 2017

7. Raise Hand for Comments & Questions 8. Positive Body Language & Energy 9. Apply What You Already Know 10. Behavior Is Productive & Effective Organize Your Space Set up the room with aisles for you to be able to roam the room. Get off of the podium and move throughout the ensemble. Proximity does wonders for student behavior and allows you to see the rehearsal from their perspective. Keep the room clean and organized. Have the room set with the correct number of chairs and stands. Have a spot for everything: extra music, pencils, tuners, lost and found, etc. Use binders for student materials to eliminate lost music. Put a pencil pouch in each binder to hold reeds, oil, tuners and pencils. Put the daily plan on the board so students know what to set up for when they enter the room. Play More, Talk Less Students are in band to play their instrument. The more they play the more they will like it. Many student errors can be fixed through slow repetition of small sections. Do not be afraid to repeat something a dozen times if needed. Your kids are tough, they can do it. When stopping to make corrections use three short phrases to include: who, where, what. For example: trumpets, measure 43, staccato notes-put space between. It is also very effective to model the correction on your instrument or by singing. Every stop should be 30 seconds maximum. Consistent Expectations No matter how tired or frustrated you might become, calmly insist that there is only one way to do things in your classroom: the right way. What you accept is what you will get. Firm expectations and a loving attitude toward the students will create a comfortable and secure environment for you and your students. The whole point of music classroom management is to develop a system that removes distractions and logistics and allows students to focus on the task at hand-music. Jessica Corry is a graduate of the University of Illinois at Urbana-Champaign in Music Education. A current member of he National Association of Music Education, she is classically trained on clarinet and enjoys playing jazz tenor saxophone. Ms. Corry currently serves as a director of bands at Traughber Jr. High in Oswego, Illinois and is enjoying her third year of teaching as a Traughber Panther! Rachel Maxwell currently serves as the director of bands at Traughber Jr. High School n 31 Oswego, Illinois and as the Jr. High performing arts and band coordinator for the Oswego, IL School Dist. #308. She has taught music ed. courses at VanderCook College of Music and North Central College and has been a guest conductor, clinician and adjudicator at many music camps and festivals. Under her direction the bands at Traughber JHS have received national acclaim and have performed at The Midwest Clinic (as a clinic presentation and rehearsal lab group), the Illinois Music Educators Association All State Conference (1999, 2008, 2010, 2014), the University of Illinois Super-State Festival and at the ASBDA 2004 National Convention. ala breve

Auburn Junior High Choir Performs World Premiere of Choral Work by Composer Rosephanye Powell While the school year kicked into overdrive with end-of-year activities, students in Teresa Rhyne’s select girls’ choral class had a rare opportunity: they performed the world-premiere performance of a new work by internationally known, local composer Rosephanye Powell. The piece, “When I Sing”, was written as the eighth piece for ChoralQuest®, a series of music for middle-school choirs published by the American Composers Forum (ACF). The series is designed to place world-class choral composers in the middle-school classroom at no cost to the schools. This winter, composer Rosephanye Powell began a residency at State High School Women’s Choir, conductor; Kansas MEA All- Auburn Junior High School in Auburn, Alabama. The school’s State High School Women’s Choir, conductor; Festival Disney choir teacher, Teresa Rhyne, worked with Dr. Powell to engage Choral Festival, clinician and adjudicator; North Carolina MEA the students in the composition process and introduced them to Professional Development Conference (presenter) and High the composer and her work. This experience also gave choral School SATB Honor Choir (conductor); Melbourne International students at Auburn Junior High School the rare opportunity to Singers Festival (AUS), conductor-composer-in-residence; get to know a composer, to interact with Dr. Powell and learn Georgia All-State Chorus, Senior Women Chorus, conductor; the about writing music from a living composer. On the experience, New York State School Music Association (Rochester), presenter; Teresa Rhyne said, “The AJHS Elites are a group that has a the Georgia Music Educators Association Conference special musical camaraderie. It’s been a joy to see the students (Savannah), presenter; the Middle Tennessee Vocal Association work together to contribute to Dr. Powell’s composition and Treble Honor Choir (Nashville), conductor; the World Choir come to understand that “When I Sing” belongs to them – it’s Games (Cincinnati, OH), adjudicator; the Italian Feder Gospel their song.” Choirs Workshop (Milan, Italy), conductor-composer-in- residence. The premiere performance of “When I Sing” took place at She holds degrees from The Florida State University, Westminster Auburn Junior High School’s Spring Choir Concert and Show on Choir College, and Alabama State University. Dr. Powell served May 10, 2017 at Auburn High School. To guarantee that this on the faculties of Philander Smith College (AR) and Georgia experience is free for Auburn Junior High choir students, ACF Southern University prior to Auburn University. received funding support from Alfred and Ann Moore and by other individual donors. About ChoralQuest®and American Composers Forum ChoralQuest is a music series for middle-level choir, written About Composer Dr. Rosephanye especially for middle-level choirs by world-class composers. The Powell series is designed to breathe new life into the available repertoire Dr. Rosephanye Powell has been hailed for choral students in middle school and junior high, introduce as one of America’s premier women students to the composition process, and give commissioned composers of choral music. Dr. Powell composers the unique opportunity and challenge of writing new serves as Charles W. Barkley Endowed works for young, changing voices. Based on the success of Professor and Professor of Voice at ACF’s decade-long BandQuest® program, the composers selected Auburn University. Recent commission for ChoralQuest partner with a middle school in their area. and premiere highlights include: Composers will visit rehearsals and engage with the students “Friendship” composed in celebration before composing a piece specifically for them. These pieces are of the 20th Anniversary of the published by ACF and distributed exclusively by the Hal Leonard Jacksonville Children’s Chorus; “What Corporation, the world’s largest music retailer. Shall I Come” (SATB), composed for the St. Olaf Choir 2015 Winter Tour in celebration of the 25th anniversary of Dr. Anton Armstrong, conductor, and premiered at Carnegie Hall, (Feb. 2015). Dr. Powell travels the country and internationally serving as a workshop clinician, conductor, and adjudicator for solo vocal competitions/auditions, honor choirs, choral workshops and festivals. Recent commitments include the Oklahoma MEA All- 32 August/September 2017

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DEPARTMENT OF FINE ARTS JOIN US IN 2018! On-Campus Audition Dates Saturday, november 4, 2017 • Monday, February 19, 2018 SCHOLARSHIPS AVAILABLE PERFORMING ENSEMBLES DEGREE PROGRAMS • For both music majors and • Faulkner University Chorus • Bachelor of Arts in Music • Faulkner Singers non-music majors • Faulkner Marching Eagles (B.A.) • Renewable for four years • Faulkner University Wind • Bachelor of Music Education • Awarded for participation in Ensemble (B.M.E.) each ensemble • Faulkner Jazz Ensemble › Choral Track • Brass Quintet › Instrumental Track • Woodwind Choir • Faulkner Pep Band • Minor in Music For more information, visit www.faulkner.edu/music/auditions or contact: Dr. Stephen Foster, Director of Bands Dr. Allen Clements, Director of Choral Activities 800-879-9816, ext. 7656 | [email protected] 800-879-9816, ext. 7118 | [email protected]

Kim Bain - Jazz Chair ALL-STATE JAZZ BAND “Getting to Know the Artist” Series. Dr. Pendowski has Greetings! I hope everyone had a relaxing worked extensively as a freelance performer, appearing summer and a great start to the school with Natalie Cole, Johnny Mathis, Aretha Franklin, Carol year. In addition to your many marching Lawrence, Louis Bellson, George Shearing, Ray Charles, band activities, fall is the time to help your The Four Freshmen, and The Jazz Orchestra. students prepare for Alabama All-State Mr. Chris Gordon will be directing the Bronze Band. Jazz Band auditions. Please check the ABA Mr. Gordon is a professional musician who has spent website for audition requirements and the last 40 years performing, recording, composing, registration information. High school students are required to arranging, producing, and publishing or conducting perform a recorded audition consisting of two jazz standards music. He has been involved in advertisements for radio (including some improvisation), an etude, and several scales. and television, theater productions, industrial films, and Middle school students will perform only one jazz standard with recordings in the genres of R&B as well as big band and improvisation, etude, and scales. Students should be able to small group jazz. His published works for jazz ensemble improvise after learning just a few scales, so please do not let are in the catalog of Kendor Music Publishing. He them be intimidated by the improvisation component. We will composed for the Tonight Show Band, directed by Doc have three high school bands again this year (Gold, Silver, and Severinsen, during the Johnny Carson years. He regularly Bronze) and one middle school band. Last year we had over 200 performs on piano and trumpet on stages all over the students audition, and we hope to see continued growth. Please US, backing up member groups in the Rock & Roll Hall encourage your students to audition for the band. of Fame, including The Temptations, The O’Jays, The We will be using a new procedure for submitting student Four Tops, The Spinners, Frankie Valli and The Four auditions this year. Directors will forward registration forms and Seasons, The Impressions, Mary Wilson of The fees after which they will receive a link for submitting their Supremes, and Martha Reeves and The Vandellas. Most students’ recordings using Dropbox. All the directions on how recently, he produced the Steve Sample Legacy to submit audition recordings are at Project for JRL-SGS Records in Los Angeles. http://www.myamea.org/ABA/all-state-jazz-band/ Dr. Mark Foster will be directing the middle school jazz band. Remember to allow enough preparation time to get recordings Dr. Mark Foster is the band director at Mountain Brook completed by November 1, 2017. Junior High School in Birmingham, Alabama and has ALL-STATE JAZZ CLINICIANS taught band for 27 years. He previously taught in the I am excited to report that we have four outstanding clinicians for Jefferson County School System as band director at the 2018 all-state jazz bands. Gardendale High School and assistant band director at Dr. Gordon Towell will be directing the Gold Band. Hueytown High School. Bands under his leadership have Dr. Towell, coordinator of Jazz Studies at Loyola consistently earned superior ratings and best-in-class University, directs the Jazz Band I, jazz combos and awards at the district, state, and regional levels. Dr. teaches jazz history, arranging/composition, and Foster holds the Bachelor of Science, Master of Arts, improvisation. He holds a Bachelor of Education in and Doctor of Education degrees from The University music from the University of Alberta, a Master of Music of Alabama. He also holds National Board Certification in Jazz Studies from Indiana University, and a Doctor of through the National Board for Professional Teaching Music Education with a cognate in Jazz Studies from the Standards. He has served as guest honor band clinician College Conservatory of Music at the University of at the University of Alabama at Birmingham, the Cincinnati. He has taught at the University of University of Montevallo, the University of Georgia, Cincinnati, Morehead State University, Indiana and Mobile County. As a trombone player, he has University, Kenyon College, and Grant MacEwan performed with the Temptations, The O’Jays, the College. He also finds time to adjudicate, guest solo, and Alabama Ballet Orchestra, the Tuscaloosa Symphony perform with national and international artists and Orchestra, and the Alabama Symphony Orchestra. He is conducts throughout U.S and Canada. a member of Birmingham’s Superjazz Big Band and is also a founding member of the Renaissance Trombone Ensemble in Birmingham, Alabama. Dr. Michael Pendowski will be directing the Silver Band. All four of these clinicians are truly top-notch jazz educators. I Dr. Pendowski is the Professor of Saxophone and the am confident they will provide an excellent experience for our Director of the Jazz Program at Auburn University. His students. career has encompassed a wide variety of musical styles Please feel free to contact me ([email protected]) if I can and venues. He is a prominent composer in the be of assistance to you with your jazz programs, and I hope you educational field, writing for the full spectrum of will encourage your students to audition for the all-state jazz ensembles available in today’s schools and universities. In ensembles. addition, he has composed, arranged, and produced over Have a great school year! a dozen albums; has scored for off-Broadway productions and animated features, including the ala breve 35

Choral Music Reviews Dr. Diane Orlofsky Where Your Bare Foot Walks This setting of the hymn tune, Eventide, explores “crunch” Music: David N. Childs (b. 1969) dissonances found in most vocal jazz arrangements, moving Text: Rumi (with World English translation by Coleman from dissonance to resolution to dissonance in effortless and Barks) text appropriate ways. The tenor section is featured on SATB divisi, with piano melody for the first section (quarter note = 68); sopranos take Publisher: Walton Music the lead in the second section (quarter = 84) over an open- Approximate performance time: 5’20” (approximately) fifth bass ostinato) and the final stanza moves to quarter= 92, Complete audio performance is available on the Walton Music modulating up a fourth. Jasperse’s sensitive harmonization of website. this poignant hymn supports the plea for Divine Help to be present through loss and hardships. Childs utilizes three Rumi poems (translated by Georgia native If Ye Love Me and leading Rumi expert, Coleman Barks) for this evocative and delicate selection. Dedicated to his wife, Lesley, the piece Music: Philip Stopford (b. 1977) premiered at their 2008 wedding. Childs is careful to provide Text: John 14:15-17 very detailed composer notes where he encourages expansive Publisher: Ecclesium Publishing use of rubato throughout. He also speaks to issues of blend SATB divisi, unaccompanied and provides other text painting suggestions. The lovely Approximate performance time: 3’48” soprano melody is a bit challenging due to its intervallic leaps and it moves independent of the alto, tenor and bass parts in British born composer Philip Stopford began his career as a several parts. The piano accompaniment will sit well under singer in the choir of Westminster Abbey. Most of the music the fingers of an accomplished pianist. This unique love song he has composed has been written for his own choirs and this has programming versatility; with the depth of text meaning, it setting of If Ye Love Me is no exception (composed for the will allow for meaningful classroom discussion. main Cathedral Choir of Chester Cathedral). The piece alternates between sparse harmonies that open up to full lush I want to be where your bare foot walks, chords, utilizing mixed meters (3/4, 5/4, 6/4, 3/2, 2/4). I because maybe before you step you’ll look at the ground. have always been intrigued by Stopford’s use of repetition of I want that blessing; text; for example, he chooses to repeat the phrase “keep my I open and fill with love and all objects evaporate. commandments” three times (even though it is not reiterated All the learning in books stays put on the shelf. in the John 14 passage). It is as if he is foreshadowing a later Poetry, the dear words and images of song, conversation between Christ and Peter (John 21: 15-17) where comes down over me like water; the question “Do you love me?” is repeated three times. This I want to be where your bare foot walks, is an excellent teaching piece that will reinforce part because maybe before you step you’ll look at the ground. independence, blend, and unified diction through the use of This is how I would die into the love I have for you; accessible dissonance. This will be a thoughtful and beautiful As pieces of cloud dissolve in sunlight; addition to the repertoire for advanced high school groups This is how I would die into the love I have for you. and church or community choirs. Want a great program Abide with Me pairing with this Stopford composition? Try the well-known Music: William Henry Monk (1823-1889) setting of the same text by Thomas Tallis (1505-1585). Arranger: Greg Jasperse Text: Henry Francis Lyte (1793-1847) Dr. Diane Orlofsky is Professor of SATB divisi, unaccompanied Music and Director of Choirs at Troy Publisher: Ausberg Fortress University, where she oversees the choral Approximate performance time: 3’45” program and teaches undergraduate and Greg Jasperse, Assistant Professor of Vocal Jazz and Director graduate classes in music education. She of Gold Company/GCII at Western Michigan University, is is the conductor of the Troy University best known for his vocal jazz and show choir arrangements Concert Chorale and the Director of the and professional vocal work with groups like Vertical Voices Troy University vocal jazz ensemble, and Sixth Wave. One of the things I love about Jasperse, frequency. however, is his ability to write pieces that work well in either the vocal jazz or traditional choral performance worlds. His arrangement of the hymn, Abide with Me is one such example (Want proof ? Listen to St. Olaf Choir’s rendition (https://www.youtube.com/watch?v=iaI__UfcGPk) 36 August/September 2017



UA Bands

AMEA Industry/Institutional Membership 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 Inc., 3030 E. Blvd., Montgomery, AL 36116 Gadsden Music Company Inc., 607 Broad Street, Gadsden, AL 35902 Group Travel Network, Inc., 7485 Conroy Windermere Rd. Suite D, Orlando, FL 32835 Huntingdon College Bands, 1500 E. Fairview Ave., Montgomery, AL 36106 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 Samford University, 800 Lakeshore Drive, Birmingham, AL 35216 Southeastern Performance Apparel, 142 S. Woodburn Drive, Dothan, AL 36305 Thomas Tours, Inc., 2405 12th Ave. South, Nashville, TN 37204 University of Alabama School of Music, 810 2nd Ave., Tuscaloosa, AL 35487 University of Alabama Bands, 211 Moody Music Building, Tuscaloosa, AL 35487 University of South Alabama, LPAC 1072, 5751 USA Drive South, Mobile, AL 36688 ala breve 39

AMEA Division Events 2017 - 2018 Alabama Bandmasters Association Event Date/s Location All-State Solo Festival April 18, 2018 Montgomery, AL All-State Band Festival April 19-21, 2018 Montgomery, AL Summer In-Service Conference June 20-21, 2018 Orange Beach, AL District I District Fall Meeting August 21, 2017 (6:30pm) James Clemens HS District II All-State Band Middle School Unassigned January 13, 2018 Albertville High School District III District IV All-State Band Auditions January 26 & 27, 2018 Sparkman HS District Honor Band February 16 & 17, 2018 Grissom HS State MPA I March 7-9, 2018 James Clemens HS State MPA II March 14 & 15, 2018 Huntsville HS Solo and Ensemble Festival April 14, 2018 Priceville HS Solo and Ensemble Festival April 28, 2018 Liberty MS Spring Meeting None District Fall Meeting August 29, 2017 Gadsden City High School All-State Band Auditions January 13, 2018 Albertville High School State MPA February 27-March 2, 2018 Gadsden City High School District Honor Band January 27, 2018 Albertville High School Solo and Ensemble Festival April 16, 2018 Southside High School Solo and Ensemble Festival April 30, 2018 Oxford High School District Fall Meeting September 4, 2017 Champy's 120 2nd St, Muscle Shoals All-State Band Auditions January 27, 2018 Muscle Shoals High School District Honor Band February 16, 2018 Russellville High School State MPA February 27,28, March 1, 2018 Florence High School Solo and Ensemble Festival May 5, 2018 Muscle Shoals High School District Fall Meeting September 18, 2017 Pelham HS All-State Band Auditions January 27, 2018 Hoover HS State MPA (High School) March 6-8, 2018 Oak Mountain HS State MPA (Middle School) February 26-March 1, 2018 Hewitt-Trussville HS District Honor Band March 16-17, 2018 Homewood HS Solo and Ensemble Festival April 24, 2018 Homewood MS Solo and Ensemble Festival May 5, 2018 Bumpus MS District Spring Meeting May 15, 2018 Bumpus MS District V District Fall Meeting August 22, 2017 Billy's 430 Main Ave Northport, AL 35476 All-State Band Auditions January 27, 2018 Brookwood High School District Honor Band February 16-17, 2018 University Of West Alabama, Livingston District Spring Meeting February 17, 2018 University Of West Alabama, Livingston State MPA March 1-2, 2018 Moody Music Building, University of Alabama Solo and Ensemble Festival March 22, 2018 Prattville Jr. High School Solo and Ensemble Festival April 26, 2018 Tuscaloosa County High School District VI All-State Band Auditions January 27, 2018 Opelika HS Unassigned All-State Band Auditions January 27, 2018 Montgomery District Honor Band February 16-17, 2018 Auburn HS State MPA March 6-8, 2018 Opelika HS Solo and Ensemble Festival April 26, 2018 Auburn JHS Solo and Ensemble Festival May 5, 2018 Trinity Presbyterian District Spring Meeting May 14, 2018 TBA District VII District Fall Meeting August 28, 2017 St. Michael Catholic HS All-State Band Auditions January 27, 2018 Davidson High School State MPA March 6-9, 2018 Baker High School Solo and Ensemble Festival April 28, 2018 Spanish Fort Middle School Solo and Ensemble Festival May 5, 2018 Saraland High School District Spring Meeting May 7, 2018 Chickasaw High School District Honor Band March 8-10, 2018 Murphy High School District VIII District Fall Meeting August 21, 2017 Enterprise All-State Band Auditions January 27, 2018 Troy Elementary School State MPA March 12-15, 2018 Enterprise High School District Honor Band March 16-17, 2018 Enterprise High School District Spring Meeting March 16, 2018 Enterprise High School Solo and Ensemble Festival April 28, 2018 Carver Magnet School Solo and Ensemble Festival May 5, 2018 Greenville High School 40 August/September 2017

Alabama Vocal Association Event Date/s Location City Fall Workshop September 8, 2017 First Baptist Church Montgomery Tuscaloosa ASSC Auditions October 5-7, 2017 Birmingham All-State Auditions November 10-17, 2017 Birmingham AMEA Board Meeting January 17, 2018 BJCC AMEA Conference January 18-20, 2018 BJCC Solo and Ensemble Date Location City District I April 3, 2018 Highland Baptist Church Florence District II April 5-6, 2018 University of Alabama Tuscaloosa District III February 10, 2018 Cahaba Heights United Methodist Church Birmingham District IV February 15, 2018 Jacksonville State University Jacksonville District V February 12-13, 2018 Trinity United Methodist Church Huntsville District VI March 15, 2018 First Baptist Church Tallassee District VII (Fall) October 20, 2017 University of Mobile Mobile District VII (Spring) February 27, 2018 Springhill Baptist Church Mobile SCPA Date(s) Location City March 1, 2018 First Baptist Church Decatur District I March 2, 2018 Highland Baptist Church Florence District I April 5-6, 2018 University of Alabama Tuscaloosa District II March 19-21, 2018 Gardendale Mt. Vernon UMC Gardendale District III April 13, 2018 Gadsden City High School Gadsden District IV March 22-23, 2018 Columbia High School Huntsville District V March 15, 2018 First Baptist Church Tallassee District VI March 22, 2018 Springhill Baptist Church Mobile District VII OCS/OA/ME Date Location City District I November 28, 2017 Decatur High School Decatur District II November 28, 2017 Paul W. Bryant High School Cottondale District III November 27, 2017 Cahaba Heights United Methodist Church Birmingham District IV November 28, 2017 Alexandria High School Alexandria District V November 28, 2017 Bob Jones High School Madison District VI November 29, 2017 Montgomery Academy Montgomery District VII December 5, 2017 University of Mobile Mobile August 26, 2017 Elementary/General Division October 6, 2017 October 7, 2017 East Alabama Music Workshop Grace United Methodist Church, Auburn, AL January 18-20, 2018 12th Annual Elementary Music Festival Samford University’s Wright Center August 1, 2017 August 8, 2017 Fall Workshop Location TBA September 27, 2017 AMEA Professional Development Conference Birmingham-Jefferson Convention Complex November 16, 2017 December 1, 2017 Alabama Orchestra Association October 29, 2017 Composition Contest Deadline December 1, 2017 Scholarship Application Deadline January 18-20, 2018 December 2, 2017 Begin Notifying Alternates Audition Excerpts Posted ala breve December 15, 2017 Music Mailed Audition Registration Deadline January 18-20, 2018 AMEA Conference Results Posted February 8-11, 2018 All-State Festival Festival Registration Deadline AMEA Collegiate Division Collegiate Summit University of Montevallo AMEA Professional Development Conference Birmingham-Jefferson Convention Complex 41

Sight-Singing: What Is It Good For, Absolutely Everything! Dr. Jeramy A. Nichols For decades, choral music teachers have recognized the importance of teaching sight-singing and continue to use a variety of student’s kinesthetic learning mode is an important pedagogical teaching methods as Kodaly, solfege syllables and Curwen hand feature to Curwen hand signs (McClung, 2008). By using kinesthetic signs, numbers, pitch names, and intervals to teach sight-singing to and visual models when learning pitch patterns, scale degrees, their choral ensembles. Teaching singers to sing from notation intervals, etc., students have the opportunity to reinforce their without hearing the music first remains a perennial challenge for auditory skills. choral music educators. Why is sight-singing important for choral ensembles? Sight-singing gives choral ensembles the opportunity to A study of trained high school students using solfege sing through choral selections with more musical independence. As syllables with Curwen hand signs and without Curwen hand signs the choral ensemble becomes more musically independent, choirs was conducted by McClung (2008) at the University of North Texas. develop more confidence when sight-singing. By using sight-singing, He selected a random group of trained high school students and had how can choral ensembles improve their overall musicianship skills? them sight-sing two melodies. His findings produced no statistical Choral members improve overall musicianship skills through sight- significance between using hand signs and not using hand signs. singing with the ability to sing ascending and descending intervals According to McClung and other researchers, movable solfege correctly using solfege syllables. Sight-singing also provides choirs syllables (movable “do”) and movable pitch numbers (scale degree the opportunity to improve rhythmic patterns as well as melodic numbers) are the two dominant pitch systems used to sight-sing in phrasing and dynamics. What are the American classrooms. Educators list the approaches they have used methodologies being used to teach sight- in teaching sight-singing: moveable “Do” with solfege, moveable singing? Are choral teachers only using sight-singing to improve state musical performance assessments? Sight-singing is defined as the ability “Do” using numbers, fixed “Do” in addition with solfege, neutral to sing from notation without assistance of a syllables, letter names, and/or intervals. It is safe to say that the musical instrument or without hearing the moveable “Do” with using solfege syllables is the most widely used melody first. The ability to understand musical teaching method for pitch accuracy. In addition to using solfege notation to sight-sing is a useful skill for syllables and hand signs, teachers continue to explore different ways choral musicians. Without this understanding, to use sight-singing to improve pitch accuracy for choral ensembles. singers will be dependent on other singers or Some of these ways has included the aspects of groups versus the choral teacher playing their respective part individual achievement, individual assessments, the use of tonal to learn the music. This phenomenon grew patterns, using pitch names versus solfege symbols, the pitches as out of the idea for improving congregational they relate to the harmonics, and the use of visual-spatial singing in church music in hopes the overall representations as Curwen hand signs or similar actions. singing would improve. In order to improve Interestingly, singers that have had instrumental experience tend to overall singing, choral members need to be be better sight-singers than those singers who have had only a choral made aware of the problem. Once the background. By using the above aspects of sight-singing and with problem is established, a sight-singing some preparation prior to the performance, choral musicians have teaching method is then put into place to more opportunities to become a stronger sight-singer. assist the choral members in eliminating the problem. The teacher must show a visible enthusiasm for singing, for music, and for the people he or she is teaching in order to teach people how to sing. Solfege Syllables and Curwen Hand Signs In 1841, John Curwen was commissioned to find the simplest way to teach singing by note. This teaching method was used for choirs and in congregational hymn singing. His method evolved leading to publication in 1858 of The Standard Course of Lessons and Exercises in the Tonic Sol-Fa Method of Teaching Music (Curwen & Zinar, 1983). Through these lessons and exercises, Curwen employed the moveable “do” concept in conjunction with a system of hand signals to illustrate the scale degrees. The hand signals became known as the Curwen Hand Signs. These hand signals represent each syllable in the scale degree and the relationship each degree has to the tonic or home tone, “do”. Tapping into a 42 August/September 2017

Why do we, choral music educators, teach sight-singing to the respective part and having the choir sing the part back until the our choral ensembles? We want to instill and equip our choral melody is learned. However, there are times in a rehearsal when it is singers with independent musicianship skills in hopes of developing necessary for the choral teacher to demonstrate a respective voice musical literacy. With proper and consistent implementation of part by either singing or playing the part on the piano. Choral sight-singing in the choral music classroom, choral students are given teachers are demonstrating phrasing, dynamics, style, etc. for choral the opportunity to become stronger sight-singers, choral musicians, singers to understand their part in reference to the piece of music. and can promote musical literacy. Johnson’s (1987) survey of choral So, therefore, it may not be considered as teaching a piece of music directors from the North Central region of the American Choral by rote, but instead using correct vocal technique and proper vocal Directors Association (ACDA) revealed there needs to be an demonstrations to assist the choral singers with the respective vocal emphasis on music literacy, but little time is dedicated to sight- parts and the choir as a whole. singing in ensembles. Although sight-singing is important, giving rehearsal time to it is a different matter. With concerts, special Sight-Singing Trends in Texas, Michigan, and Florida performances, and musical assessments throughout the year, giving It is with no doubt that sight-singing is an important part rehearsal time to focus on sight-singing could take away from learning repertoire. However, choral teachers find a variety of ways of choral music education and that choral music educators use a to incorporate sight-singing into the rehearsal. One way choral variety of method books, vocal excerpts, and rhythmic exercises to teachers incorporate sight-singing into the rehearsal is to use a teach sight-singing. Texas choral educators (80%) reported that they portion of the warm-up to sight-singing. After singing ascending and provide sight-singing instruction at least four days a week; Florida descending patterns, a diction exercise, and a chordal pattern, choral choral educators (22%) allow an average of 14.3 minutes to have teachers can use the next portion of the warm-up to sight-sing. As opening activities centered around sight-singing; and 97% of those all choral teachers know, the use of warm-ups are to help vocalize choral educators were convinced that sight-singing resulted in the the choir prior to a rehearsal and/or performance. As part of the ability to read music faster (Norris, 2004). However, and since sight- warm-ups, choral teachers teach ascending and descending patterns. singing is a requirement in state musical assessments, these Choral teachers also use solfege syllables in those patterns. Often, percentages might be influenced by those state musical assessment there is a short exercise that is made up of solfege syllables and with requirements. numbers such as: At the expense of developing sight-singing and enhancing do, do re do, do re mi re do, do re mi fa mi re do, do re mi overall musicianship skills, choral music educators are often criticized fa sol fa mi re do, do re mi fa sol la sol fa mi re do, do re mi for rote teaching and placing emphasis on performance aspects. As a fa sol la ti la sol fa mi re do, do re mi fa sol la ti do ti la sol part of state musical assessments and competitions, sight-singing is fa mi re do required of all choirs. Choirs receive a participation and sight-singing 1, 121, 12321, 1234321, 123454321, 12345654321, rating which determines the overall rating of the choir. Choral 1234567654321, 123456787654321 educators (86%) surveyed from Texas reported rehearsing sight- singing more than 25 weeks of the regular school year while 80% By using these short vocal exercises, choral teachers are able to teach rehearse four to five days a week and 78% practice sight-singing musicianship skills of solfege, intervals, and eight-note scale between six and fifteen minutes a day (Demorest & May, 1995). patterns. The vocal exercises can also be used in a round setting. When sung in a round, the vocal exercise teaches listening skills, The Michigan State Adjudicated Choral Festivals require independent singing, and tuning to assist in pitch accuracy. choirs to sight-sing three eight-measure melodies within a twenty- minute time frame as part of the adjudication. The choral directors Pitch Accuracy select the grade level for their groups and each group can be Choral teachers continue to use a variety of techniques to adjudicated for a rating or just comments. If the initial sight-reading is unsuccessful, a second attempt may be allowed and taken into assist with vocal pitch accuracy. One vocal technique used to assist in consideration in the final rating (Stegman, 2009). The Florida pitch accuracy is choral members singing unifying vowel sounds by Musical Performance Assessment (MPA) requires each choir to using unifying vowel shapes. By having a more unified sound and perform one rhythmic exercise and one melodic exercise for the shape of the mouth and lips, choral singers can have better pitch examples provided. Just as in Michigan, choral teachers are able to accuracy. As long as the singers are demonstrating “pure” vowel choose the appropriate exercises for their choir. Surveys have shown shapes with a unified sound, the choir has a higher chance of having that Florida middle school choral teachers are teaching sight-singing better pitch accuracy. Another technique used is the dropped jaw. By by using sight-singing methods and elements of melody and rhythm, dropping the jaw, this creates space inside of the mouth. Space whether the piano is being used, and if they taught aural skills and inside of the mouth helps with the resonance of the sound; which in staff notation. Results have shown that choral teachers use solfege return supports the vowel shape. Unifying vowel shapes and syllables or Kodaly hand signs, rhythm syllables, physical movement, dropping the jaw both assist in pitch accuracy. When sight-singing, and movable “Do” during warm-ups. In addition, choral teachers use pitch accuracy is very important. It allows the singers to sing through current concert literature, self-composed rhythm, and melody a melody with ease. As choral singers sing through melodies with examples. ease, the singers continue to build confidence. In addition to dropping the jaw and unified vowel shapes, choral teachers often Surveyed Florida participants used choral textbooks that demonstrate the pitch by an echo-sing or playing the pitch on a included sight-singing, rhythm, and melody exercises. In addition, piano. This helps the choral members to hear the pitch to internalize other Florida choral teachers used published method books like The or audiate before singing the pitch. Although, this technique can be a Sight Singer, Melodia, Successful Sight Singing, and The Jenson Sight-Singing controversial topic among choral music educators. It becomes an Course (Kuehne, 2007). However, there were a small portion of argument of teaching by rote. Teaching by rote is singing or playing choral teachers who used a technological based program through ala breve 43

Finale, Essentials of Music by Alfred, or Music Ace I and II. The Method 1816-1880: A English Minster Teaching Music through the remainder of the respondents answered they used their own or someone else’s unpublished self-designed methods that included Sound of Tones and Only Later Using Notation. Music Educators melody, rhythm, and interval exercises in conjunction with Kodaly hand signs, rhythm syllables, and numbers to represent the pitch Journal, (October 1983) 46-47. names. Demorest, S. M. (1998). Improving Sight-Singing Performance in the Kuehne noted the common theme that drives the motivation for the Florida Vocal Association (FVA) members to Choral Ensemble: The Effect of Individual Test. Journal of Research in teach sight-singing was in direct reference to the participation in choral contests, festivals, and assessments. The FVA members felt Music Education, 46 (2). 182- 192. the contests were their form of assessment for the choral group(s). When polled, the respondents commented that their lack of Demorest, S. M. and May, W. V. (1995). Sight-Singing Instruction in assessment came from their lack of choral sight-singing experience either in their teaching career or in the undergraduate or graduate the Choral Ensemble: Factors Related to Individual Performance. setting. For the majority of the respondents, their choirs are being taught sight-singing at least five to ten minutes during each class. Journal of Research in Music Education, (43) 2. 156-167. CONCLUSION Frederickson, K. B. (1993). The Relationship of Spatial Ability and Choral sight-singing is the action of singing a melody or Encoding Ability to Kodaly Hand Signs and Singing Performance. piece of music at sight without instrumental accompaniment. Choral sight-singing is an integral component of singing and is an ongoing (Doctoral Dissertation, Arizona State University). Dissertation challenge for choral music educators. Choral educators use a variety of sight-singing methods, i.e., solfege syllables, fixed “Do”, Abstracts International. 53-12. 4244A. moveable “Do”, the use of Curwen hand signs, numbers, and tonal intervals with an anticipation of improving musicianship skills to Henry, M. L. (2004). The Use of Target Pitch Skills for Sight-Singing create independent musicians. Interestingly, in the states of Texas, Michigan, and Florida, assessments and competitions are becoming a Instruction in the Choral Rehearsal. Journal of Research in Music mainline sight-singing method to receive higher ratings at adjudications. The more traditional sight-singing methods of solfege Education, (52) 3. 206-217. syllables, fixed “Do”, moveable “Do”, the use of Curwen hand signs, numbers, and tonal intervals are being used as a sub-method to Jones, B. A. (1981). A Comparative Study of Spatial Reinforcement achieve higher ratings at adjudications. Have we, as choral music educators, begun to stray away from teaching the fundamentals of as a Means for Improving the Pitch Discrimination of Severn Year choral musicianship skills to improve the quality of the individual singer and the overall ensemble for the highest adjudication rating? Olds. (Doctoral Dissertation, University of Mississippi). Dissertation Have we lost sight to why sight-singing is important for our choral ensembles? Although teaching sight-singing is a perennial challenge Abstracts International, 42. 592A. (UMI No. AAT 8117286). for choral music teachers, the skill of sight-singing is an important skill for choral singers to develop and master. Sight-singing helps Killian, J. N. (1991). The Relationship between Sightsinging Accuracy choral singers to become independent singers and stronger musicians. It also assists with developing better pitch and rhythm and Error Detection in Junior High Singers. Journal of Research in accuracy; which again is creating stronger and more confident singers. Yes, the looming factor of receiving a higher rating at Music Education, (39) 3. 216-224. adjudication is a main contributor of teaching sight-singing. However, sight-singing is still being taught in the choral classroom Killian, J. N. and Henry M. L. (2005). A Comparison of Successful and and choral students are becoming strong, independent, and more confident choral singers. We, as music educators, need to be mindful Unsuccessful Strategies in Individual Sight-Singing Preparation and to not merely go through the motions of sight-singing to receive a placard to hang on the wall, but we need to keep in mind that as we Performance. Journal of Research in Music Education, (53) 1. 51-65. are preparing for that next adjudication that we are still preparing our choral students to be confident, stronger, better accuracy, and Kuehne, J. M. (Summer, 2007). A Survey of Sight-Singing independent choral musicians in and outside of the choral classroom. Instructional Practices in Florida Middle-School Choral Programs. References Journal of Research in Music Education. 55(2). 115- 128. Apfelstadt, H. (1986). Learning Modality: A Potential Clue in the Search for Vocal Accuracy. Update: Applications of Research in Music Martin, B. A. (1991). Effects of Hand Signs, Syllables, and Letters on Education, 4(3). Pp. 4-6. Cooper, N. A. (1995). Children’s Singing Accuracy as a Function of First Graders’ Acquistion of Tonal Skills. Journal of Research in Music Grade Level, Gender, and Individual versus Unison Singing. Journal of Research in Music Education, (Autumn 1995) 222-231. Education, (Summer 1991) 161-170. Curwen, J. A. (1983). John Curwen: Teaching the Tonic Sol-Fa McClung, A. C. (2008). Sight-Singing Scores of High School Choristers with Extensive Training in Movable Solfege Syllables and Curwen Hand Signs. Journal of Research in Music Education, (October 2008) 255-267. Moore, R. S. (1994). Effects of Age, Sex, and Melodic/Harmonic Patterns on Vocal Pitch-Matching Skills of Talents 8-11 Year-Olds. Journal of Research in Music Education, (Spring 1994) 5-12. Norris, C. E. (2004). A Nationwide Overview of Sight-Singing Requirements of Large-Group Choral Festivals. Journal of Research in Music Education, (52) 1. 16-28. Powell, S. (1991). Choral Intonation: More than Meets the Ear. Music Educators Journal Vol. 77 No. 9, (May 1991) 40-43. Stegman, S. F. (2009). Michigan State Adjudicated Choral Festivals: Revising the Adjudication Process. Music Educators Journal, (95) 4. 62-65. Dr. Jeramy A. Nichols is an Assistant Professor of Music Education and Choral Music at Indiana University Southeast in New Albany, Indiana. Dr. Nichols coordinates the Music Education program and is the Director of Choral Music. He assists with local choral music educators, is an active choral clinician within the area and region, and has presented at state level conferences. Dr. Nichols earned a Ph.D. and Masters degree in Music Education with a concentration in Choral Conducting from the University of Florida and a Bachelor of Science degree in Vocal Performance with concentrations in Choral Music Education and Church Music from Olivet Nazarene University. 44 August/September 2017

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