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22 | 2017 I LLINOIS MUSIC EDUCATION CONFERENCE CONFERENCE SCHEDULE 9:00-10:00 am Tips for Quick and Easy Instrument Repairs Band, Orchestra Clinic | CC-134 Clinician: Andrew Eaton Sponsor: Music and Arts Learn to make minor repairs and adjustments to brass and wood- wind instruments in the classroom. Diagnose and solve many com- mon problems on your own – and know when to leave the repair to a professional. Receive guidance on stocking your own repair kits with the best tools and supplies to align piston valves, restring rota- ry valves, replace key bumpers, replace pads, routine maintenance and much more! Standards: Creating 1, Creating 3 9:00-10:00 am Assessment with a Purpose: Improving Your Band Students’ Sightreading and Music Literacy Skills Band Demonstration Clinic | CC-135/136 Clinicians: Greg Allen and Ed Huckeby Ensemble: Highland Middle School Band Sponsor: Barnhouse Music Publications The Core Competencies for the Successful Development of Sightreading Skills as well as assessment methods to demonstrate student growth will be discussed and demonstrated by the Highland Middle School Band through use of the Sightreading 101 Method by Dr. Ed Huckeby and C.L. Barnhouse Music. This clinic will provide insights into the structure of the curriculum, an introduction to the specific methodological approach (MKT-RADAR) used to prepare students for efficient sightreading, an overview of the defined learn- ing outcomes, a review of specific examples from the books which exemplify the sequential and progressive nature of the program. Standards: Responding 1, Performing 2 9:00-10:00 am Ensemble Director Teaching General Music? Ideas to Help All Music Educators To Be Comfortable with Teaching General Music JSGM Clinic | CC-210/211 Clinician: David Seifert General Music courses give all students an opportunity to be in- volved in music. Are you comfortable with teaching General Music? Many music educators have taught or will teach General Music in some capacity during their careers. This includes music educators that did not intend to teach General Music, but are willing to teach the subject area to build up a versatile music program, sustain full-time status or to just have a job in general. This presentation will focus on helping music educators to become more comfortable with teaching General Music. Participants will learn how to use their own musical strengths and teaching backgrounds to become a well-balanced General Music Teacher. Also, participants will learn how to build a General Music curriculum that will inspire students of all ages! Standards: Creating 1, Connecting 2 9:00-10:00 am Salt the Song So the Singers Get Thirsty Collegiate, MTE Clinic | CC-212/213 Clinician: Tim Fredstrom In this session, we will look at ways choral directors can introduce repertoire that will capture students’ interest and increase their mo- tivation to dig in and learn great music. We will consider strategies choral directors can use to help students become more confident and independent musical problem solvers as they learn new rep- ertoire. Participants will leave with practical strategies they can implement in their next rehearsal as well as a vision for new ways to introduce repertoire in the future. Standards: Performing 1, Performing 2 9:00-10:00 am Watch Me Grow! Digital Portfolios In Elementary Music EGM Clinic | CC-220/221 Clinician: Brenda Muench Show growth for your SLO in an authentic manner; let your stu- dents make music not take a multiple choice test. Give parents and administrators a window into your elementary music classes. You can do all this using Seesaw in your elementary music classroom! Standards: Responding 1, Creating 3 9:00-10:00 am Don’t Lose Your Voice! Vocal Health For the Music Educator EGM Clinic | CC-222 Clinicians: Chris Turner and Mary Turner Vocal illness and injury are common challenges for teachers across all music subject areas, impacting effectiveness of teaching and stu- FACILITY CODES CC Peoria Civic Center (201 SW Jefferson Street) MPM Marriott Pere Marquette (501 Main Street) MCD Marriott Courtyard Downtown (533 Main Street) WHS The Waterhouse (316 SW Washington) Thursday, January 26

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Page 1: CONFERENCE SCHEDULE Thursday, January 26

22 | 2017 IllInoIs MusIc EducatIon confErEncE

CONFERENCE SCHEDULE

9:00-10:00 amTips for Quick and Easy Instrument RepairsBand, Orchestra Clinic | CC-134Clinician: Andrew EatonSponsor: Music and Arts

Learn to make minor repairs and adjustments to brass and wood-wind instruments in the classroom. Diagnose and solve many com-mon problems on your own – and know when to leave the repair to a professional. Receive guidance on stocking your own repair kits with the best tools and supplies to align piston valves, restring rota-ry valves, replace key bumpers, replace pads, routine maintenance and much more!

Standards: Creating 1, Creating 3

9:00-10:00 amAssessment with a Purpose: Improving Your Band Students’ Sightreading and Music Literacy SkillsBand Demonstration Clinic | CC-135/136Clinicians: Greg Allen and Ed HuckebyEnsemble: Highland Middle School BandSponsor: Barnhouse Music Publications

The Core Competencies for the Successful Development of Sightreading Skills as well as assessment methods to demonstrate student growth will be discussed and demonstrated by the Highland Middle School Band through use of the Sightreading 101 Method by Dr. Ed Huckeby and C.L. Barnhouse Music. This clinic will provide insights into the structure of the curriculum, an introduction to the specific methodological approach (MKT-RADAR) used to prepare students for efficient sightreading, an overview of the defined learn-ing outcomes, a review of specific examples from the books which exemplify the sequential and progressive nature of the program.

Standards: Responding 1, Performing 2

9:00-10:00 amEnsemble Director Teaching General Music?Ideas to Help All Music Educators To BeComfortable with Teaching General MusicJSGM Clinic | CC-210/211Clinician: David Seifert

General Music courses give all students an opportunity to be in-volved in music. Are you comfortable with teaching General Music? Many music educators have taught or will teach General Music in some capacity during their careers. This includes music educators that did not intend to teach General Music, but are willing to teach the subject area to build up a versatile music program, sustain full-time status or to just have a job in general. This presentation will focus on helping music educators to become more comfortable with teaching General Music. Participants will learn how to use their own musical strengths and teaching backgrounds to become a well-balanced General Music Teacher. Also, participants will learn how to build a General Music curriculum that will inspire students of all ages!

Standards: Creating 1, Connecting 2

9:00-10:00 amSalt the Song So the Singers Get ThirstyCollegiate, MTE Clinic | CC-212/213Clinician: Tim Fredstrom

In this session, we will look at ways choral directors can introduce repertoire that will capture students’ interest and increase their mo-tivation to dig in and learn great music. We will consider strategies choral directors can use to help students become more confident and independent musical problem solvers as they learn new rep-ertoire. Participants will leave with practical strategies they can implement in their next rehearsal as well as a vision for new ways to introduce repertoire in the future.

Standards: Performing 1, Performing 2

9:00-10:00 amWatch Me Grow!Digital Portfolios In Elementary MusicEGM Clinic | CC-220/221Clinician: Brenda Muench

Show growth for your SLO in an authentic manner; let your stu-dents make music not take a multiple choice test. Give parents and administrators a window into your elementary music classes. You can do all this using Seesaw in your elementary music classroom!

Standards: Responding 1, Creating 3

9:00-10:00 amDon’t Lose Your Voice!Vocal Health For the Music EducatorEGM Clinic | CC-222Clinicians: Chris Turner and Mary Turner

Vocal illness and injury are common challenges for teachers across all music subject areas, impacting effectiveness of teaching and stu-

FACILITY CODESCC

Peoria Civic Center(201 SW Jefferson Street)

MPMMarriott Pere Marquette

(501 Main Street)

MCDMarriott Courtyard Downtown

(533 Main Street)

WHSThe Waterhouse

(316 SW Washington)

Thursday, January 26

Page 2: CONFERENCE SCHEDULE Thursday, January 26

MusIc: cEntral to a WEll-roundEd EducatIon | 23

dent achievement. Solutions discussed and practiced in the session include basic vocal health tips, time-efficient and user-friendly vocal warm-ups, better use of speaking voice, the pros and cons of class-room amplification and voice-saving classroom management tips.

Standards: Connecting 1, Performing 2

9:00-10:00 amAn edTPA Primer For Cooperating TeachersMTE Clinic | CC-401Clinician: Benjamin Helton

The edTPA is a new, required assessment for all student teachers and it involves a significant commitment from the cooperating teacher. As of September 2015, student teachers are burdened with an extensive task and their cooperating teachers are often left in the dark with how they can help. This clinic is designed as a guide to the edTPA with the cooperating teacher in mind. The nuts and bolts of edTPA will be discussed along with specific tips to promote understanding so cooperating teachers can confidently assist their student teachers with this consequential task to certification. The clinician will draw upon his experience as a student teacher super-visor and research done on the edTPA policy to promote a better understanding of the assessment. Cooperating teachers can further improve mentorship with their student teachers by having a clearer idea of how this new assessment operates.

Standards: Performing 4, Connecting 2

9:00-10:00 amThe Core Arts Music Standards and theModel Cornerstone AssessmentsMED Clinic | CC-403/404Clinician: Kimberly McCord

This session will provide a brief overview of the Model Cornerstone Assessments that are designed for the new National Standards for Music Education, their intended purpose in schooling and the pre-senter’s personal experience piloting the 8th grade general music standards with a 7th/8th grade rock band class.

9:00-10:00 amTrumpet MythbustersJazz Panel | CC-405/406Clinicians: Marvin Stamm and Guests

Is trumpet playing an enigma for you as a director? Do you wonder how you can ever get your students to play high notes, or develop the strength and stamina to play the trumpet for the length of your concerts without “running out of chops.” Do you have questions about trumpet playing but have not had the opportunity to ask a professional trumpet player? All these questions and more will be covered in a panel discussion with renowned New York jazz trumpet artist, Marvin Stamm, former Ray Charles lead trumpet player, Chuck Parrish, and the trumpet section of the Vern Spevak Big Band, Dave Katz, Terry Connell, Dave Froelichstein and Scott Wagstaff.

9:00-10:00 amExploring the New Web-Based SmartMusicOrchestra Clinic | CC-408 Clinician: David HawleySponsor: MakeMusic

SmartMusic is now web based and can be accessed from most mo-bile devices. The New SmartMusic continues the tradition of great practice and assessment features while greatly expanding access for students and parents. Come to this session and learn how Illinois educators are using the New SmartMusic to guide student practice and fulfill Student Learning Objectives.

Standards: Responding 2, Performing 1

9:00-10:00 amRecruiting and Retention:Building the Bridge Between Music and AthleticsChorus, Collegiate, MTE Demonstration | WHS-Ballroom Clinician: Brandon CrawfordEnsemble: Princeton High School Concert ChoirSponsor: Kidder Music Service

Teaching in a small school presents a unique set of challenges. This session will provide practical strategies utilized in the small school setting. Topics will include methods of recruitment and retention, building positive and supportive relationships with coaches and athletes, keys to student success and establishing realistically high standards.

Standards: Connecting 1, Connecting 2

10:15-11:45 amOpening General SessionGeneral Session | CC-400 Keynote: Scott LangPresider: Mark Corey, ILMEA State President

Introductions, Presentations of Awards and Keynote Address

12:15-1:15 pmFinding Your Sound On the Flute:Tips For Creating a Beautiful ToneBand Clinic | CC-134Clinician: Patricia Surman

Flutists of all ages struggle with tone development and a myriad of other playing problems that result from difficulties with tone pro-duction. This interactive clinic will provide simple steps to creating a consistent, fundamental tone and how to use this skill to develop intonation, projection, vibrato and phrasing on the flute. Attendees will leave with a strong understanding of the basic embouchure formation and how factors such as airflow, tongue placement and throat tension affect tone. With an easy to understand set of exercises that allow the students to develop their own tone in a way that is most natural and tension-free, directors will return to the

Thursday, January 26

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24 | 2017 IllInoIs MusIc EducatIon confErEncE

classroom confident in their ability to implement this process-based method. Every flute student can attain a clear and beautiful tone, and every teacher can teach their students to attain clarity and projection for higher levels of musical expression.

Standards: Creating 1, Performing 2

12:15-1:15 pmThe Big Picture: Producing and Directing Your Marching Band ProgramBand Clinic | CC-210/211Clinicians: Kenneth M. Snoeck and Pamela Snoeck

Do you struggle with finding and developing a marching band show concept that fits your band and your teaching philosophy? Are you looking for ways to coordinate all the pieces to make the program work? In this session, we will walk you through the process of put-ting together the program, managing the production and detailing the final product to elevate the fall experience both for the perform-ers, the audience and you.

Standards: Creating 1, Creating 2

12:15-1:15 pmAnalyzing for MeaningMED Clinic | CC-212/213Clinicians: Josh Chodoroff and Matt Temple

Score study is frequently an area of preparation that can be lost in the shuffle of the busy lives of music educators. It is also an area that can be intimidating for younger teachers. This clinic will provide a fresh perspective on how to analyze a musical score in a manner that deepens student comprehension of the musical content, fosters the independence of the student musician and leads to meaningful and outstanding performances.

Using the Comprehensive Musicianship through Performance (CMP) model, participants will experience a hands-on clinic during which they will analyze musical examples utilizing the techniques and strategies being presented. Music educators of all areas will leave this clinic with an understanding of the benefits of a thorough score analysis as well as the tools to approach the analysis process. An intentional approach to score analysis can simultaneously lead stu-dents toward performance excellence while helping them become more independent and literate musicians.

Standards: Performing 1, Performing 3

12:15-1:15 pmOrff of Course!EGM Clinic | CC-220/221Clinicians: Jean Hersey and Cynthia Seputis

Come enjoy rhythm and melody lessons geared towards grades K-3 and 4-6. Use speech, singing, playing and movement to teach concepts in the Orff style. Observe how lessons spiral based on a coherent music curriculum. Opportunities for assessment will also be covered.

Standards: Performing 4, Creating 1

12:15-1:15 pmLangauge, Music and Inclusion: Collaborative Teaching With Students For Whom English is a Second LanguageEGM Clinic | CC-222Clinician: Jacqueline Kelly-McHale

As the demographics of American public schools shift, the reality of a growing bilingual population is important to acknowledge, celebrate and understand. Culture and language are fluid concepts that have the potential to bring great rewards to the elementary music classroom. The purpose of this session is to explore pedagog-ical tools and musical materials that can help to create collabora-tive learning spaces between students who are English Language Learners, music educators and students for whom English is their primary language.

12:15-1:15 pmSystems of Big Band DrummingJazz Clinic | CC-401Clinician: Vern Spevak

Topics include:• The role of the big band drummer and the “musical personality”

of the player.• Communication within the band and rules that must be fol-

lowed.• Time keeping secrets and how to become a solid player without

overplaying.• The covenant of the rhythm section.• Choosing the right cymbals, drums and related gear.• And many more!

12:15-1:15 pmSpecial Guest LectureJSGM Clinic | CC-408Clinician: Alex Ruthmann

12:15-1:15 pmCreating More Than a Class, Creating a CultureGeneral Clinic | CC-Lexus ClubClinician: Scott Lang

As music educators, we run from rehearsal to rehearsal from dusk to dawn with very little time for reflection and thought. This session will help you sit back and see the forest for the trees as it relates to your program. During this dynamic session, participants are challenged to identify and define their classroom culture. This is an opportunity to step back and see yourself through a different lens and reflect on how what you see might not be what is in your mind’s eye. Don’t miss this intriguing and challenging session in which both teachers and students walk away the winner.

12:15-1:15 pmTeaching For Transfer: Making Every Moment CountChorus Clinic | WHS-BallroomClinician: Robert Sinclair

Why can’t they remember stuff from one rehearsal to the next? My choir sight reads well but many of my students do poorly when sight

CONFERENCE SCHEDULEThursday, January 26

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MusIc: cEntral to a WEll-roundEd EducatIon | 25

reading for auditions like All-State. Why? Perhaps we make the as-sumption that since the group sounds better, everyone learned the concept. We will explore teaching methods specifically designed to help students take skills or concepts from one moment in rehearsal and intentionally develop it in another. We will discuss warm-up or technique time, skill building like sight reading or count singing and look at ways to apply those skills into your daily rehearsal schedule.

12:15-1:30 pmOrchestra Performance | CC-403/404 Metea Valley High School Chamber StringsConductors: Mark Liu and Robin Sackschewsky

Little Suite, Mvmt 2: Intermezzo ................................. Carl Nielsen (Luck’s)

Violin Concerto in D Major, Mvmt 1: Allegro Moderato ...... Tchaikovsky (Luck’s)

Symphony No. 1 in g minor, Mvmt 1: Allegro Moderato .... Kalinnikov (Kalmus)

Prospect Symphony OrchestraConductor: Peter Weber

Romeo and Juliet .................................. Prokofiev, arr. Edmund J. SiennickiThe Montagues and The Capulets

Rumanian Folk Dances ................................ Béla Bartók, arr. Arthur Wilner I. Bot tánc / Jocul cu bâtă (Stick Dance)

II. Brâul (Sash Dance)III. Topogó / Pe loc (In One Spot)

IV. Bucsumí tánc / Buciumeana (Dance from Bucsum)V. Román polka / Poarga Românească (Romanian Polka)

VI. Aprózó (Fast Dance)VII. Mărunțel (Fast Dance)

Escapades from Catch Me if You Can ..................................... John WilliamsMvmt I. Closing In

Abby Citterman - Alto Saxophone, Kevin Greene - Vibes, Casey Wasowicz - Bass

Danzón No. 2 for Orchestra ............................................... Arturo Márquez

1:00-3:00 pmCollege FairCC-Theater Lobby

1:30-2:45 pmJazz Performance | CC-405/406Glenn Westlake Middle School Jazz EnsembleConductor: Nicholas MartinGuest Artists: Anthony Kidonakis and Mike Pinto

The Black Cat ........... Doug Beach and George Shutack (Doug Beach Music)

City Sunrise ................................................. Maria Schneider (Kendor Music)

Crunchy Frog ....................................... Gordon Goodwin (Alfred Publishing)

Filthy McNasty ............... Horace Silver, arr. John LaBarbera (Kendor Music)

Running of the Bulls ...... Doug Beach ,George Shutack (Doug Beach Music)

Edison Middle School Jazz Ensemble IConductor: Kimberly Branch

Fun Time .......................................................................... Sammy Nestico

Downtown Tango .................................................................... Rick Stitzel

Alright Okay You Win ................................................................ John Berry

Queen Bee ....................................................................... Sammy Nestico

Almost Like Being in Love ................................................ Frederick Loewe

Las Colinas ................................................................................. Jeff Jarvis

All of Me . ................................................................................. Rick Stitzel

What You Dealin’ With ...................................................... Wycliffe Gordon

1:30-2:45 pmChorus Performance | WHS-BallroomCrystal Lake Central High School A Cappella SingersConductors: Kimberly ScherrerGuest Artist: Rich Moore

Yanaway Heyona ..................................... arr. Brian Tate (Pavane Publishing)

Hlohonolofatsa .................................... arr. Daniel Jackson (Walton Music)

Miniyama Nayo ........................................ Paul John Rudoi (Walton Music)

Gede Nibo ........................................................ Sten Kallman (Earthsongs)

Danny Boy ............................... Joseph Flummerfelt (Hindon Publications)

Your Song ................................................... Don Macdonald (G. Schirmer)

Circle of Life ....... arr. F. G. Calalang, Jr. (University of Santo Tomas Singers)

Washington Community High School Chorus Conductor: Lara Reem

In Dulci Jubilo ......................................... Matthew Culloton (Morning Star)

My Bonnie Lass ................................... Peter Schickele (Theodore Presser)

Three English Madrigals ......................... Jeremy Bell (TheChoirStore.com)My Bonnie Lass She Smileth

Weep, Weep Mine EyesBeside a Fountain

O Magnum Mysterium .................................. T. L. de Victoria (G. Schirmer)

Sweet Was the Song ............................ Robert Young (Gentry Publications)

Little Drummer Boy ................................... arr. K.K. Davis (Shawnee Press)

Le Sommeil de l’enfant Jesus ............ Gevaert (from The A Cappella Singer)

O Tannenbaum ....................................... arr. Parker/Shaw (Lawson-Gould)

The Three Kings ............................ Healey Willan (Oxford University Press)

1:45–2:45 pmBand Performance | CC-135/136 Moraine Valley Percussion EnsembleConductor: Douglas BrattGuest Artists: Adam Cowger and James Yakas

Shock and Awe ................................................... Jamieson Carr (Tapspace)

Escape From Pirate Cove .................. Jeremy Kane (Row-Loff Publications)

Now the Day Is Over ......................................... John Willmarth (Tapspace)

Ellipsis ........................................ Nathan Daughtrey (C. Alan Publications)

Star Sweeper .......................................... Jonathan Michalik (Unpublished)

Concerto for Marimba & Percussion Ensemble: I. Saudação ..... (ProPercussão Brasil)

Away Without Leave ......... Bob Becker (Keyboard Percussion Publications)

Crown of Thorns ............................. David Maslanka (OU Percussion Press)

Rocket Summer .................................. Dan Moore (Row-Loff Publications)

Senegal Calling ....... Bruce Martin and Mike Mainieri, arr. Brian Mason (Unpublished)

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1:45–2:45 pmBassoon Strategies for the Instrumental Music EducatorBand Clinic | CC-209Clinician: Jacqueline Wilson

The bassoon carries with it countless misconceptions, particularly in regard to its role in the wind band setting. Music educators can easily feel that the bassoon is simply not worth it; the expense and complications associated with the bassoon do not balance their contributions to the ensemble or program as a whole. This presen-tation outlines the most common misunderstandings about the bassoon followed by recommendations for future student success. Specific topics include reeds, fingerings, starting a student bassoon-ist, and repertoire.

Standards: Responding 2, Connecting 1

1:45–2:45 pmOrchestra MasterclassOrchestra Clinic | CC-210/211Clinician: Stefan Kartman

Join pedagogue Stefan Kartman for a masterclass detailing meth-ods of practice towards the goal of improving general instrumental technique as well as techniques specific to the repertoire performed by students in the masterclass. Dr. Kartman teaches string peda-gogy at the University of Wisconsin in Milwaukee. He and his string pedagogy students teach in the String Academy of Wisconsin as part of a training program in the art of teaching stringed instru-ments. By teaching students from early developmental stages through professional level, Kartman’s unique system of techniques are relevant to all stages in the development of string players.

1:45–2:45 pmGot Privilege? An Examination Of Self andOtherness In Our Music SpacesMTE/Collegiate Clinic | CC-212/213Clinician: Joyce McCall

Using Bourdieu’s (1993) cultural capital theory and Yosso’s (2005) community cultural wealth theory as guiding frameworks, this ses-sion will illuminate how structures in the music education profession on one hand authorize privilege - greater economic, political, and social security (Harris, 1993) - and on the other hand, also endorse and perpetuate otherness - the sidelining of individuals outside the dominant framework. Being able to realize and acknowledge privilege and otherness provides the music education profession the opportunity to confront and destroy mindset, “the bundle of presumptions, received wisdoms, and shared understandings” that regularly obstruct one’s view of the world around them (Delgado, 1989, p. 2440.) The goal of this session to encourage self-critique and an awareness of otherness among pre- and in-service music teachers, and music teacher educators toward cultural responsive-ness.

Standards: Connecting 1, Connecting 2

1:45–2:45 pmAuthentic Assessment in General Music Class:Meeting Children’s Musical NeedsEGM Clinic | CC-220/221Clinician: Gina Yi

Assessing children’s music achievements is necessary so that teach-ers can design appropriate lesson plans and meet the individual needs of children. However, assessment can be an overwhelming process because there are so many children but so little time. This hands-on session will introduce how teachers can assess children’s musical achievements in class. Specifically, the presenter will share validated rating scales and demonstrate how authentic assessment can take place in the context of music activities. Rating scales and corresponding assessment activities will focus on assessing: singing, resting tone, pattern imitation, chant performance, beat keeping and rhythm improvisation. This presentation will be comprised of lecture, presenter-demonstration and audience participation.

Standards: Responding 1, Responding 2

1:45-2:45 pmIntro to OrffEGM Clinic | CC-222Clinicians: Eileen Andrews and the Augustana Orff Chapter

Move, play and learn! The Orff Schulwerk approach to music inte-grates speech and movement to enhance student learning and in-spire creative thinking. This session will introduce the basics of Orff Schulwerk with different activities showcasing speech, movement and literature that transfers to singing and playing instruments.

1:45–2:45 pmTeaching Ukulele: Pedagogy, Learning Sequence,Activities and AssessmentJSGM Clinic | CC-401Clinician: Ryan Clarin

This session hopes to provide teachers with tools and activities that will provide a solid foundation for a successful ukulele curriculum. Some of the essential questions that the session will answer include:

• What is the best learning sequence of skills and topics that should be covered in a ukulele curriculum?

• What are some examples of assessments, projects and arrang-ing activities for the ukulele?

• What are some apps and music technology that can support a ukulele curriculum?

• What are some recommended method books and online re-sources?

Classroom ukes will be available, but you are invited to bring your own.

Standards: Performing 2, Creating 2

CONFERENCE SCHEDULEThursday, January 26

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1:45–2:45 pmIntroduction to the Illinois Fine ArtsLearning Standards in MusicMED Clinic | CC-403/404Clinician: Justin Sisul

Adopted by ISBE earlier this year, the new Illinois Arts Learning Standards will affect every single one of us. This session provides an overview of the standards, including ideas for practical applications and suggestions for aligning current classroom practice to the new standards. The last set of standards were with us for almost 30 years - don’t leave the conference without an understanding of this signif-icant change in the music education landscape!

Note: This session will be presented four times throughout the confer-ence with identical content.

1:45–2:45 pmFinding My Voice: A Hip-Hop Music Curriculum ForStudents of Diverse BackgroundsJSGM Clinic | CC-408Clinician: Larena Code

There is often a disconnect between “standard school music” and what students think of as “their music.” No matter how well-inten-tioned or well-planned, a curriculum designed for students will fall short of achieving its desired goals if the students themselves are unable to relate it to their own life experiences. A curriculum that includes hip-hop music and composition using computer-recording software helps students to connect to the music through their own life experiences. This curriculum allows students to explore com-position, self-expression and social justice through a platform this is meaningful and relevant. Get ready to enter the creative world of hip-hop at this session! Explore possibilities and gather a list of ideas and lessons to modernize your classroom and help students connect to a wider perspective of learning.

Standards: Creating 1, Connecting 1

3:00–4:00 pmA Riddle Wrapped In a Mystery Inside an Enigma:The Double BassOrchestra Clinic | CC-135/136Clinician: Michael Riggs

For the string teacher whose primary instrument is something else, the bass can certainly seem mysterious--but it doesn’t need to be! Many things are different than on the upper strings, and yet it is also not simply a large cello; the bass has its own likes and dislikes. This session will attempt to bring some clarity to double bass technique, especially as it differs from that of the upper strings and even the cello (with which it does share some but not all characteristics). Topics covered will include basic setup, tone production, left- and right-hand technique and other miscellaneous issues as well as questions from the participants.

Standards: Performing 2, Performing 3

3:00–4:00 pmBrass Pedagogy 101:Basics to Brilliance and How To Switch For SuccessBand Clinic | CC-210/211Clinician: Thomas ZuggerSponsor: Edwards Trombones

This clinic is designed to give you the teaching tools and the confi-dence to help your brass students play with proper fundamentals. Special emphasis will be on breathing, tone quality, articulation and who and how to switch to brass for the most success. Attention will also be given to playing without tension or stress to help provide a blueprint for learning and working more efficiently. Analogies presented and demonstrated are appropriate for younger students and college students alike. Provide the student simple exercises or comments that are easy to remember and duplicate, and they will continue to develop musical skills their entire life.

Standards: Performing 1, Performing 2

3:00–4:00 pmBienvenidos a la Musica!Bilingual Students in the Performing Arts ClassroomOrchestra Clinic | CC-212/213 Clinicians: Andrew Darin and Elizabeth Darin

Bilingual students are a common group in schools but are often not as involved in the performing arts as they could be. This session will cover the various forms of bilingual education used today and how music teachers can engage and support bilingual students in band, orchestra and choir.

Standards: Connecting 1, Performing 2

3:00–4:00 pmIntro to KodalyEGM Clinic | CC-220/221Clinician: Katie Hays and Central Illinois Kodaly Educators (CILKE)

“Teach music and singing in school in such a way that it is not a tor-ture, but a joy for the pupil.” -Zoltan Kodaly.Are you curious about the Kodaly philosophy or just looking for some new ideas? This session will explore the basic principles of the Kodaly method, explain the prepare, present, practice process and provide new singing games and literacy ideas to use in the general music classroom. Come share in the joy of music with us!

3:00–4:00 pmRock Bands for Typical Students andThose with DisabilitiesEGM, MTE, Collegiate Clinic | CC-222Clinicians: Kimberly McCord and Nancy O’Neill

Figurenotes is an innovative way to symbolically represent music notation using colored stickers on adapted rock band instruments to represent pitch. The teaching approach is popular and successful in Europe and Asia, but it is relatively new in the United States. The presenters have been trained in Helsinki, Finland in teaching Figure-notes and have been teaching it in Illinois.

Thursday, January 26

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3:00–5:00 pmAll-State Composition Contest Showcase Concert General Session | CC-Theater Guest Artist: Alex Ruthmann, NYU Steinhardt School of MusicPresider: Caitlin McGovern, JSGM Division President *Free and Open to the Public*

Standards: Creating 1, Creating 2

3:00–4:00 pm Beatboxing 101Chorus Clinic | WHS-BallroomClinicians: Chris Moan, Kris Monn and Andrew Toniolo

Discover vocal percussion through history, demonstration and par-ticipation! This session aims to encourage the use of beatboxing for ensemble accompaniment as well as introducing warm-up strate-gies for the choral rehearsal. Come prepared to lay down some sick beats!

Standards: Performing 2, Connecting 2

4:15–5:15 pm9ths and 11ths and 13ths, Oh My!Jazz Harmony For the UninitiatedJazz Clinic | CC-135/136Clinician: Andrew Dahan

Do you ever look at the chord symbols in a jazz tune for one of your vocal ensembles and wonder what some of them mean? If so, this session may be useful for you. Jazz harmony is a topic that is generally not covered by traditional music theory classes required for degree programs. Understanding what chord symbols mean and how they relate to the voicings that we see on the page can make a big difference in how we hear the chords, and more important-ly, how we and our students listen for blend and balance. During the session, we will touch on typical extensions and alterations of chords and listen to how they change the colors of the chords from which they are built. We will also look at some examples from vocal jazz literature to see the practical application of this knowledge and talk about the similarities between jazz piano voicings and vocal jazz ensemble voicings. Come ready to listen and sing with open ears!

Standards: Performing 1, Responding 2

4:15–5:15 pm Recruiting By the Numbers(And Other Secrets To Recruiting More Low Brass)Band Clinic | CC-212/213Clinician: Doug Adams and George Quinlan, Jr.

When you see the Tiger Band from Hickory Creek MS take the stage, you first notice the impressive size of the trombone, baritone and tuba sections. Next you hear them perform and say “That’s the way this piece was supposed to sound!” The music educators in the band program have worked diligently to recruit and develop the low

brass section of their bands. It starts with the recruiting process. Their local school music retailer, George Quinlan, Jr., has worked alongside them for many years, and together they will present some of the key steps in the process of securing significant low brass beginners providing fair, educationally sound and effective techniques to achieve this goal.

Standards: Connecting 1, Connecting 2

4:15–5:15 pm Incorporating Children’s Literature into theMiddle and Upper School Orff RoomEGM Clinic | CC-220/221Clinician: Vivian Murray CaputoSponsor: West Music

Start with a story and enhance it with song, speech, movement, Orff instruments and creative fun with students in grades 4-6.

Standards: Creating 2, Performing 1

4:15–5:15 pm Google Docs Rocks! Using Google Suite andGoogle Classroom in General MusicEGM Clinic | CC-222Clinicians: Mary Jensen, Laura Lauderdale, Katie McCann, Jamie VanMersbergen and Walter Zimmer

This session will be focused on utilizing the Google suite in various aspects of the elementary music classroom and as a collaborative tool for educators. The use of these tools provides a platform for innovative teaching and team building. This session will cover using Google Drive as a collaborative tool for educators/meetings, using Google Classroom for assignments and web based resources for students, using the suite tools for student based projects and col-laboration and using Google Form as a time-saving, effective tool. Come find out why Google Docs Rocks!

Standards: Creating 2, Responding 2

4:15–5:15 pm Small School Blues: Jazz Can Happen in Small Schools!Jazz Demonstration Clinic | CC-405/406Clinician: Sheri StewardEnsemble: St. Rose Jazz Band

This session will show teachers that a jazz band program can work in a small school. It will include ideas for rehearsal, instrumentation and choosing and teaching the literature. St. Rose Jazz Band will be part of the presentation both demonstrating techniques and shar-ing their personal experiences. These are students from 6th-8th grades, many of whom are playing a secondary instrument learned specifically for jazz band. We will also share the timing logistics for St. Rose and other area schools to demonstrate how it is possible for students to participate in both jazz band and other extra-curric-ular activities.

Standards: Performing 2, Performing 3

CONFERENCE SCHEDULEThursday, January 26

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4:15–5:15 pmThe Digital String Class: Powerful Tools for the21st Century String Music Educators featuringEssential Elements InteractiveOrchestra Clinic | CC-408 Clinician: David Eccles

With a renewed focus on one-to-one and data-driven instruction, tools like EEi can be a powerful instructional and assessment tool. This session will present tools and techniques to get the “digital na-tive” student plugged in and energized to make great analog music.

Standards: Performing 2, Connecting 2

4:15–5:15 pmThe Choral/Instrumental Director as Voice TeacherChorus Clinic | WHS-BallroomClinician: Kelly Miller

This session will explore ways in which choral and instrumental directors can incorporate proper vocal pedagogy for the individual into the climate of the choral classroom. Techniques for address-ing individual vocal technical issues while maintaining a collective choral atmosphere will be addressed. Examples of vocal warm ups which build the strength of each singer while maintaining choral blend and balance will be given. Proper vocal production using many different choral styles and tonal colors will be examined.

5:15-6:00 pmAll-Conference SingChorus Event | CC-135/136Conductor: John JostAccompanist: Molly SloterSponsor: Kidder Music

Die Nachtigall ...................................................... Mendelssohn (Hinshaw)

In virtute tua . ........................................................... Gorczycki (Shawnee)

Wondrous Cool ........................................................ Brahms (G. Schirmer)

Jubilate ............................................................................ Mozart (Fischer)

Day by Day (SSA) ...................................................................... How (GIA)

Ain’t That News .............................................. Hatfield (Boosey & Hawkes)

‘Tis A Wonder ............................................................................ Jost (Kjos)

The Paper Reeds .................................................. Thompson (G. Schirmer)

I’m Goin’ to Sing ....................................................... Shaw/Parker (Alfred)

6:00–7:30 pmGala Grand Opening Reception & Music Education/Industry ExpoCC-Exhibit Halls B/DRefreshments Compliments of ILMEA*21 and over event*

Thursday, January 26

The Bienen School of Music offers

· A new 152,000-square-foot state-of-the-art facility overlooking Lake Michigan

· Conservatory-level training combined with the academic flexibility of an elite research institution

· Traditional BM, BA, MM, PhD, and DMA degrees as well as innovative dual-degree, self-designed, and double-major programs

· Close proximity to downtown Chicago’s vibrant cultural landscape

847-491-3141www.music.northwestern.edu

Music Education FacultyMaud Hickey, coordinatorSarah J. BartolomeSteven M. Demorest

The Bienen School of Music offers a one-year master’s degree in music education and five years of full funding for PhD students.

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7:30–8:45 pmChorus Performance | WHS-BallroomDePaul University Chamber ChoirConductor: Eric EsparzaAccompanist: Michael McElvain

Ich lasse dich nicht, du segnest mich denn, BWV Anh. 159 ...................... J.S. Bach (Carus)

Libera Nos, Salva Nos ................................ John Sheppard (Divers Voyces)

Spanisches Liederspiel, Op. 74 ........ Robert Schumann (Breitkopf & Härtel)V. Es ist verrathenIX. Ich bin geliebt

Exultate Deo ........................................ Francis Poulenc (Éditions Salabert)

Hallelujah, vår strid er endt ..... arr. Ørjan Matre (Musikk-Husets Forlag A/S)

Ezekiel Saw the Wheel ......... arr. Mark Hayes (Alfred Publishing Company)

Illinois State University Concert ChoirConductor: Karyl Carlson

The Star Spangled Banner ........................................... arr. Nathan Lansing

My Soul’s Been Anchored in the Lord ............ arr. Stacey V. Gibbs (Santa Barbara)

Jabberwocky ................................ Dennis Tobenski (Tobenski Music Press)

War ............................................ Ivo Antognini (Alliance Music Publishing)

A Cold Day at the Beach .................................................... Ross Thomason

Hodie Christus Natus Est ....... Jan P. Sweelinck, ed. W. Barclay Squire (Novello & Co, Ltd)

7:30–8:45 pmBand Performance | CC-TheaterNormal West High School Wind EnsembleConductors: Ryan Budzinski and Lisa Preston

Early Light .................................... Carolyn Bremer (Carl Fisher Publishers)

Arrival Platform Humlet ....................... Grainger/Simpson (Masters Music)

Sanctuary ...................................... Frank Ticheli (Manhattan Beach Music)

Italian in Algiers ...................... Rossini/Lucien Cailliet (Sam Fox Publishing)

Illinois Brass BandConductor: Stephen Squires Guest Artists: Bruce Briney

Luminosity ................................. Anthony DiLorenzo (Art of Sound Music)

Little Suite for Brass, Op. 80 ............. Malcolm Arnold (Paterson’s Publications)

Jubilance ...... William Himes (Salvationists Publishing & Supplies Ltd, London)

Reflections in Nature .... Robert Redhead (Salvationists Publishing & Supplies Ltd, London)

The Millers Dance ........ Manuel DeFalla, arr. Alan Fernie (Obrasso Verlag, Switzerland)

7:30–9:00 pmJazz Performance | CC-405/406Fremd High School Jazz EnsembleConductor: Matthew MooreGuest Artist: Tom Garling

Rhapsody in Blue .................. George Gershwin/arr. Goodwin (Belwin Jazz)

Winds Out of the East ....................... Michael Philip Mossma (Hal Leonard)

My Foolish Heart ..................... Victor Young/arr. Dave Rivello (Belwin Jazz)

Legitimate Itch ....................................... Tom Garling (Tom Garling Music)

Hullabaloo ........................................................ Alan Baylock (Belwin Jazz)

Bradley University Jazz EnsembleConductor: Todd KellyGuest Artists: David Hoffman and Austin Seybert

Basie Straight Ahead ............ Sammy Nestico (Kendor Music, Sierra Music)

Emanon ....................................................... Dizzy Gillespie (Unpublished)

Spring Can Really Hang You Up the Most ......Tommy Wolf, arr. Mantooth (Kendor)

Whatever Lola Wants .................. R. Adler and J. Ross, arr. J. Pleis (Jazz Lines)

What a Little Moonlight Can Do .................. J. Van Heusen and S. Cahn, arr. May

Time for a Change ............................................... Hank Levy (Sierra Music)

Easin’ It .............................................Frank Foster (Walrus Music Publishing)

Love for Sale ........................................................ Cole Porter, arr. Bill Reddie

7:30–8:45 pmFolk Dancing EventEGM Division Meet & Greet | CC-220/221Clinician: Sarah Bartolome

This session is an opportunity to gather and enjoy an evening of social dancing with fellow music educators! It is also designed to assist participants in deciphering the often difficult to understand written directions for more advanced folk dance formations and figures. By participating in these dances in the workshop setting, teachers will have a deeper, more kinesthetic understanding of how to execute the dances and also get fresh ideas for breaking things down to make folk dance fun and accessible for school age learners.

10:30 pm–12:00 midnightAll-Star Jazz BandAdvanced Reading SessionJazz Event | MPM - Great RoomConductor: Todd Kelly

CONFERENCE SCHEDULEThursday, January 26

More ways toconnect at IMEC!

@ILMEA#IMEC2017

@ILMEA1#IMEC2017

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CONFERENCE SCHEDULE

8:15-9:30 amOrchestra Performance | CC-403/404Fremd High School Symphony StringsConductor: Marla Caballero

Serenade for Strings .................................. Pyotr Ilyich Tchaikovsky (Barenreiter)I. Pezzo in forma di Sonatina

Suite for Strings ................................. John Rutter (Goodmusic Publishing)III. O Waly, Waly

Rounds for String Orchestra ......... David Diamond (Theodore Presser Company)I. Allegro, molto vivace

II. AdagioIII. Allegro vigoroso

Barrington High School Chamber OrchestraConductor: Clark Sheldon

Concerto Grosso Op. 5 No. 12 “La Follia”.................... Francesco Geminiani

Cantus in Memory of Benjamin Britten ........................................ Arvo Part

Finale, from String Quartet No. 1 ........................................... Edvard GriegI. Andante; Presto

8:15–9:30 amJazz Demonstration Clinic | CC-405/406Stop, Collaborate and Listen!Clinician: Katrina FitzpatrickEnsembles: Morton Jr. High Jazz Band & JC and the Redemption

Collaboration is the action of working with someone to produce or create something and is the very cornerstone of education. The Morton Jr. High Jazz Band and JC and the Redemption have devel-oped a collaborative relationship. This partnership between young and professional musicians has yielded great benefits in practice, rehearsal and performance. This clinic is designed to describe how to develop a cooperative relationship with a burgeoning ensemble and professional musicians and to demonstrate the advantages it gives your students in practice, rehearsal and performance.

Standards: Performing 2, Responding 1

8:15–9:30 amBand Performance | CC-TheaterTraughber Junior High School8th Grade Symphonic BandConductor: Rachel Maxwell

A Zillion Nickels .......................... Samuel R. Hazo (Hal Leonard Corporation)

Little English Suite ............................... Clare Grundman (Boosey & Hawkes)

Aria ................. George PhilippTelemann/Larry Daehn (Daehn Publications)

La Tragenda-Witches’ Dance from “Le Villi” ..... Puccini/Beck (Alfred Music Publishing)

Yorkville High School Wind EnsembleConductor: Victor Anderson and Bobby Vriezen

First Suite in Eb .......................................... Gustav Holst (Boosey & Hawkes)3. March

Gone ......................................................... Scott McAllister (Lydmusic.com)

Peterloo Overture .................................. Malcolm Arnold (G. Schirmer, Inc.)

Sweet Trombone Rag ..................................... Al Sweet (Grand Mesa Music)

8:15–9:30 amChorus Performance | WHS-BallroomHinsdale Central Chamber ChoirConductor: Jennifer Burkemper

My Spirit Sang All Day ............................... Gerald Finzi (Boosey & Hawkes)

Good Night, Dear Heart ................................ Dan Forrest (Hinshaw Music)

A Dream Within a Dream (SSA) ........................... Ruth Morris Gray (Alfred)

Stars I Shall Find (TTB) ................. Victor C. Johnson (Heritage Music Press)

Ton The ........ Jeanne and Robert Gilmore, arr. Susan Brumfield (Colla Voce)

Quien Fuera Como El Jazmin ................................ Carlos Guastavino (Kjos)

Cross Cry .............................................. Gilbert M. Martin (Hinshaw Music)

Grand is the Seen ............................... David L. Brunner (Boosey & Hawkes)

Belleville East Concert and Treble ChoirsConductor: Andrew CowellAccompanist: Timothy HassallPercussion: Mark Tessereau

If I Were the Velvet Rose ................... Kevin A. Memley (Pavane Publishing)

Ergen Deda ...................................................... Peter Lyondev (Colla Voce)

All My Trials .................... Traditional/arr. Gwyneth Walker (ECS Publishing)

Ave Maria ...................................................... Franz Biebl (Hinshaw Music)

Jagdlied (op. 59, Nr. 6) ..................... Mendelssohn/rev. Gerd Eichler (CPDL)

Hymn of Acxiom ..... Vienna Teng/arr. Kerry Marsh (Kerry Marsh Vocal Jazz)

Ner Ner .............................................................. Jake Runestad (JR Music)

8:30–9:30 amBefore Assessment and Data: How Do You Decide What to Teach? Developing a Music Performance Ensemble Curriculum Based on StandardsMTE, Collegiate Clinic | CC-135/136Clinician: Leslie Manfredo

With current educational emphasis on the use of assessment and data, this session will focus on the step BEFORE assessment—de-ciding WHAT should be taught and students should learn in music performance ensemble classes. With a limited amount of time and the pressure of high-quality public performances, what can realisti-cally be taught and learned in a music performance ensemble class? How do you decide what to teach in a limited amount of time? We will look at what you are already teaching in your performance ensemble, align it with the Illinois Fine Arts Standards 25, 26, and 27, and determine where there are gaps in your curriculum. We will also look at concert performance repertoire and how to choose repertoire that will serve as the material through which to teach curricular concepts and skills. Finally, we will briefly discuss how to work collaboratively with all music educators within a building or across a district to develop curriculum both horizontally and ver-tically. This session is designed to be interactive and participatory. Attendees are invited to bring an iPad or laptop as well as present class curricular materials.

Standards: Performing 1, Performing 2

Friday, January 27

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8:30–9:30 amStarting Where You Are:Operationalizing Social Justice in Music EducationMTE/Collegiate Clinic | CC-210/211Clinician: Joyce McCallInspired by Nina Simone’s call to activism in the Primetime Emmy Award-winning documentary, “What Happened, Miss Simone?” Talbot (2015) urged fellow music educators to become more po-litically involved in sociopolitical discourse that has and continues to shape our country towards realizing social justice. Furthermore, he included that through creative activism in our music spaces, we will not only afford students the opportunity “to reflect the times in which we find ourselves,” but a greater capacity to critique it. Align-ing with Simone and Talbot, in order to take part in or realize social justice, one can simply start where they are, assessing the immedi-ate needs of their students and their surrounding communities. This session will illustrate how music educators and their students can create spaces that provoke individual and collective activism.

Standards: Connecting 1, Connecting 2

8:30–9:30 amUkulele in the General Music ClassroomJSGM Clinic | CC-212/213Clinician: Jennifer Peters

This unique ukulele pedagogy will guide teachers through how to successfully add the ukulele to their music classroom. Her presen-tation will demonstrate how she starts students off by strumming one-chord songs. This approach allows children to focus on rhythm, ensemble and mastering the coordination of singing while playing. As students progress to two- and three-chord songs, they are intro-duced to ukulele chord shapes, the tab staff for reading individual notes on the ukulele and the 12-Bar Blues. When students have mastered five chords they are ready to begin learning current pop-ular songs. This session will present a sampling of student-appropri-ate and tested material available on YouTube and other free outlets along with special audio-visual classroom resources (strum-along video lessons and a PowerPoint of color-coded lyrics and chord diagrams that show chord changes). The session will conclude by covering Common Core connections with the ukulele and assess-ment and differentiation within the music classroom.

Standards: Creating 1, Creating 2

8:30–9:30 amDrumming Up World Music:West African Rhythms and SongsEGM Clinic | CC-220/221Clinician: Steve CampbellSponsor: Dancing Drum

Take a musical journey through the rhythms and songs of West Africa! Join us for this interactive session and learn compositions for xylophones, drums and percussion. This session will demonstrate beginning to advanced arrangements, enabling music teachers to adjust the material for the appropriate age and skill set of their stu-

dents. Participants will learn two unique and exciting West African compositions to use in their music classroom.

Standards: Connecting 2, Performing 2

8:30–9:30 amMotivation and Musicianship withEducation Through MusicEGM Clinic | CC-222Clinician: Amanda McClintock and Monica Romano

This clinic will provide a brief overview of Education Through Music (ETM), a refreshing approach to teaching and learning through song, experience and play. ETM is a child-centered philosophy which focuses on promoting emotional, social, cognitive, language and musical development through best-practice teaching of song and play. The study and enactment of ETM materials and philos-ophy with children yields results that include increased intrinsic motivation, sustained focus and attention, heightened musicality, greater regard for others, and stronger auditory and literacy skills. Participants in this session should expect a joyful learning environ-ment with whole group singing, movement and play.

Standards: Creating 1, Responding 1

8:30–9:30 amIntroduction to the Illinois Fine ArtsLearning Standards in Music*Repeat PresentationMED Clinic | CC-401Clinicians: Bert Johnson and Elena Ryan

Adopted by ISBE earlier this year, the new Illinois Arts Learning Standards will affect every single one of us. This session provides an overview of the standards, including ideas for practical applications and suggestions for aligning current classroom practice to the new standards. The last set of standards were with us for almost 30 years - don’t leave the conference without an understanding of this signif-icant change in the music education landscape!

Note: This session will be presented four times throughout the confer-ence with identical content.

8:30–9:30 amCover Project: Relevant Performance ExperiencesUsing Popular MusicJSGM Clinic | CC-408Clinician: Carolyn Boudreau

Are you looking to structure a relevant and rigorous performance sequence in your general music classroom? Cover Project is the answer! Help students transform works into fantastic covers from their point of view in just 12 weeks! Cover Project teaches skills in guitar and piano chord realization, performance style and vocal technique. And by using songs that emerge from your student pop-ulation, motivation to succeed will skyrocket!

Standards: Performing 1, Performing 4

Friday, January 27

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8:30–9:30 amEvaluation of Music Specialists K-12, Part 1MED/Administrator Clinic | CC-Lexus ClubClinicians: Ben Collins and Justin Sisul

This session is designed to help administrators and department chairs who evaluate music educators become more knowledgeable about specific language and best practice in this content area. This session will also equip administrators to give music teachers the tools and support they need to create meaningful music assess-ments designed to accurately measure student growth. Thorough understanding of instructional best practices will result in identifica-tion and development of appropriate assessments to aid effective goal-setting, student assessment, and growth tracking. A variety of assessment strategies will be explored and applied to music con-tent. This session will give participants tools to use in their school’s music programs.

9:00 am–5:00 pmExhibits OpenCC-Exhibit Halls B/D

9:45–10:45 amCompelling Conducting:Creating, Connecting and CommunicatingOrchestra Clinic | CC-135/136Clinician: Kevin Geraldi

Beginning from the premise that conducting is musical leadership, requiring every music educator to have compelling ideas and the means to communicate them so others may follow, this session is designed to refresh and revisit fundamental principles to allow for more efficient and effective teaching from the podium in rehearsal.

Specific ideas and examples that relate directly to the real-world experience of teaching in a large ensemble environment will be ex-plored, including relevant exercises that can be implemented in indi-vidual practice and in everyday work with students to develop their imagination and responsiveness in rehearsal. Conducting requires an expectation of the sounds we want to hear from the score and the ability to represent those intentions physically. Therefore, move-ment principles that relate directly to effective conducting will be emphasized. Those in attendance will encounter and consider new ideas for more effective communication from the podium.

Standards: Creating 1, Performing 1

9:45–10:45 amTRSMED Clinic | CC-209Clinician: Rene Troppa

Do you want to learn more about your TRS benefits? In this session, Rene Troppa, a Teachers’ Retirement System Senior Benefits Coun-selor, will discuss the requirements needed to become eligible for TRS benefits as well as ways to maximize those benefits. She will also explain disability and survivor benefits. And for those nearing retirement, you’ll learn about the retirement application process, health insurance and post-retirement employment limitations. This is a fast-paced, basic overview of your TRS benefits.

9:45–10:45 amConverting Your Metal Head Student to Jazz Guitar GuruJSGM, Jazz Clinic | CC-210/211Clinician: Jonathan Untch

This session will focus on how to improve the guitar players in your middle school or high school jazz ensemble and provide other helpful resources for your school’s guitar students. Clinic topics will include how to deal with a musician who only reads tablature, crafting the perfect jazz tone, balancing your comping instruments and buying the proper rhythm section gear for your school. Other resources and ideas for the group classroom guitar teacher will also be discussed. Band directors don’t often go around recruiting guitar players because it’s not the biggest need. You may be too concerned with converting one of your 30 alto saxophone players to bassoon. But when that metal head comes into your classroom and wants to participate, it’s our duty as music educators to get that person involved and give them a meaningful experience.

9:45–10:45 amClarinet Playing Made Easy:Improve Your Clarinet Section with 5 Easy StepsBand Clinic | CC-212/213Clinician: Christine Damm

Is your clarinet section plagued by squeaks, poor intonationand thin tone? This session will give band directors the tools to build stronger and more confident clarinet players. Find out the 5 most common mistakes clarinetists make and gain the skills to easily fix these problems. The session will include tips and tricks to correct issues with finger positioning, embouchure, articulation, reeds and mouthpiece placement.

Standards: Performing 2, Connecting 1

9:45–10:45 amOrff Schulwerk in Grades 1-3EGM Clinic | CC-220/221Clinician: Vivian Murray Caputo Sponsor: West Music

Come sing, speak, move and play the Orff instruments. If you’re new to Orff Schulwerk, come discover the easily accessible magic in the sound of glockenspiels, xylophones and metallophones. If you’re an experienced Orff teacher, come add possibilities to your repertoire and join in the joy of making music together.

Standards: Creating 2, Performing 1

9:45–10:45 amInterAct with Assessments: Formative and Summative Assessments with InterActive TechnologyEGM Clinic | CC-222Clinician: Manju Durairaj

Technology is just one tool that is used by 21st century educators and students. Utilizing technology optimally is a skill that can be easily acquired. Elementary music students can create, sing, move, dance, play instruments, notate and listen in their music classes, even as the teacher uses technology-based medium to optimize

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and enrich student learning. This session illustrates lessons, activities and assessments using iPads, Smartboard/Interactive whiteboard, Activinspire/Notebook and Powerpoint applications for General Music teachers. The objective is to provide participants with effective lesson models, assessment ideas and templates, activi-ties including graphic and traditional notation that develop music literacy, presentation ideas that integrate and establish curricular objectives through movement, dance, song, story, poetry, speech, instruments, children’s literature, active listening, improvisation and composition.

9:45–10:45 amA Relative Modulation: Teaching the Language of the Art Form Through Verbal Precision from the PodiumBand Clinic | CC-403/404Clinician: William Jastrow

To read, interpret and fully realize a composition, a musician must have a working knowledge of the language of the art form; the ability to decode notation, translate foreign phrases and think in compositional terms like a composer. Recognizing that the vocab-ulary students utilize to describe musical elements and experiences reflects their perceptions and understanding provides ample reason for precision and consistency in teaching music terminology.

“A Relative Modulation” will present strategies for introducing, defining and utilizing music terminology drawn from three general categories: 1) notational symbols and terms, 2) Italian terminology and 3) music theory terminology. The session will offer examples of how sequence of instruction, depth of explanation and verbal precision in the use of terminology from the podium are critical factors in the development of both music literacy and musician-ship. The session will also provide examples of how knowledge of analytical terms such as recapitulation, closely-related scale, note grouping and environmental dynamics can enhance performance skills, including sight-reading.

Standards: Performing 1, Performing 3

9:45–10:45 amBuilding the Vocal Jazz EnsembleJazz Demonstration Clinic | CC-405/406Clinician: Jim McCulloughEnsemble: St. Charles East Vocal Jazz Workshop

When a choral director selects music for the year, many will often look for a variety of styles, genres, languages, tempos, time pe-riods…etc. In this way, the students learn flexibility and receive a rich, full and diverse experience. The same applies to programming and planning the vocal jazz year. The choral director will approach genres such as Renaissance, Romantic and 20th century with distinc-tive performance practices. Similarly, the vocal jazz director needs to approach genres such as blues, bossa nova, swing, ballad, bebop and contemporary differently. Through the use of select charts, the clinician, with the assistance of the STCE Vocal Jazz Workshop, will present a variety of techniques as they apply to specific styles. They will demonstrate the uniqueness of each and how they might be ap-proached differently so that they are stylistically accurate. This ses-sion is designed to offer something to everyone involved in the vocal

jazz idiom from students, to first year teachers and seasoned vocal jazz veterans.

Standards: Performing 2, Responding 1

9:45–10:45 amiPads in Music Education: The Latest and GreatestJSGM Clinic | CC-408Clinician: Christopher Russell

The iPad has been available for six years and has developed into a comprehensive device for music education. There are always new and updated features, apps and accessories, and keeping track of what is the latest and greatest as well as what “really works” for music education can be a challenge. Russell will call upon his own experience as an iPad user and a music teacher in a 1:1 iPad School to define the latest and greatest and how to make better use of these devices in any classroom.

9:45–10:45 amEvaluation of Music Specialists K-12, Part 2MED/Administrator Clinic | CC-Lexus ClubClinicians: Ben Collins and Justin Sisul

9:45–10:45 amQuick Start Your Young ChorusChorus Clinic | WHS-BallroomClinician: Cristi Cary MillerSponsors: Hal Leonard and J.W. Pepper

Keeping young singers’ attention and focus during a rehearsal can become a daily challenge for choir directors. Class time can often get repetitive and somewhat uninteresting. This session will present ideas, activities, games and warm ups to energize your young choir and keep them on track towards many positive learning experiences.

11:00 am-12:00 pmSound The Horn! Advocacy, Strategies & Support for Starting your Beginning Band Students on French HornBand Clinic | CC-134Clinician: Kelly Langenberg

For many years the practice has been to avoid the horn as a begin-ning band instrument… but why? It may be one of the more eclectic band instruments but it not an instrument to be feared and begin-ners can find great success with the right guidance and support.

This clinic will discuss strategies for recruiting the ideal student for horn-playing, processes to develop accuracy and ear training from day one, challenges exclusive to beginning horn players (like right-hand position), best practices on range and strength development and a few musical activities to garner tone concept and technique. We will also discuss the more controversial issues of single horns vs. double horns for beginners, off-knee vs. on-knee, and hand straps/guards and other devices meant to support the horn’s weight. We will conclude with a Q&A and thoughts on assessment, development and progress.

Standards: Performing 2, Responding 2

Friday, January 27

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11:00 am-12:00 pmTen Lessons in Jazz ImprovisationJazz Clinic | CC-135/136Clinician: Mike SteinelSponsor: Hal Leonard and Yamaha

Mike Steinel, the author of Essential Elements for Jazz Ensemble, will present a natural approach to teaching improvisation to young musicians and provide tools and techniques for educators with little or no experience in jazz. Effective strategies and clear “step by step” approaches will be demonstrated with the main focus on beginners.

Standards: Creating 2, Performing 2

11:00 am-12:00 pmTRS Questions & AnswersMED Clinic | CC-209Clinician: Rene Troppa

Do you have questions about the Teachers Retirement System in Illinois? This is your opportunity to find out the answers in a Q&A session with Rene Troppa from TRS.

11:00 am-12:00 pmRe-Placing Music Teacher Education: Collaboration in a School-University PartnershipMTE Clinic | CC-210/211Clinicians: Jeff Dare, Adam Kruse and Bridget Sweet

The purpose of this session is to provide insight on the process of collaboration between two university undergraduate music edu-cation courses and a local middle school general music program. The motivation for this collaboration came from a desire to create more meaningful and lasting field experiences for developing music teachers and to support a curricular initiative at the middle school. Therefore, our session will outline the social, curricular and techni-cal considerations related to this initiative. We will also discuss the various logistics involved in this venture and share outcomes and insights relevant to our experiences.

Standards: Creating 1, Connecting 1

11:00 am-12:00 pmTapping Invisible Talent: Discovering the Best Student Musicians at Your School You Never Knew ExistedJSGM Clinic | CC-212/213Clinician: Francisco Dean

A growing number of school music programs across the nation are implementing digital music production classes as part of their offer-ings. More than just “making sick beats,” a legitimate window to un-locking student creativity and musicianship has been uncovered. If you’re considering starting a digital music program for the first time or have an existing one you want to enhance, this session will show you how easy it is to start a program with little or no prior knowledge and give new ideas and structure to those programs that already ex-ist.

Standards: Creating 1, Performing 1

11:00 am-12:00 pmThe Parts Make the WholeEGM Clinic | CC-220/221Clinician: Vivian Murray Caputo

Use ostinati, motives, countermelody and canon in an Orff Schulw-erk way to develop part-singing. Add movement and Orff instru-ments.

Standards: Performing 2, Performing 3

11:00 am-12:00 pmPašokime! Lithuanian Folk Dance for theGeneral Music ClassroomEGM Clinic | CC-222Clinician: Sarah Bartolome

This session will explore folk dance traditions in Lithuania, introduc-ing participants to a number of folk dances suitable for the general music classroom. Based on five months of fieldwork in Vilnius, Lithuania, the workshop will feature video clips of performances to demonstrate authentic Lithuanian folk dance traditions. Partici-pants will be invited to learn and perform 4 folk dances and will use traditional percussion instruments to accompany the dancers. All will leave with a collection of Lithuanian folk dances that may be easily integrated into existing music curricula.

Standards: Performing 2, Connecting 2

11:00 am-12:00 pmI Am the Only One: Challenges and Rewards ofTeaching Music in a Small K-12 ProgramBand Clinic | CC-401Clinicians: Anne Barry and Scott Edgar

Music educators teaching in small, often isolated, schools and pro-grams experience unique challenges and the potential for profound rewards. These experiences are often different from those they had as students themselves. These teachers are often asked to do it all with few students and with materials which were not designed to work with their program. Are you the only music teacher in your school? Do you teach the entire music curriculum? Do you feel iso-lated from other music educators? We will discuss promising prac-tices addressing adapting traditional teaching materials for smaller programs, incorporating non-traditional music education experi-ences, adapting to teaching out of your area of expertise, recruiting students and finding resources to combat isolation. This session will involve opportunities to network and share your experiences with those who are in similar teaching environments.

Standards: Creating 2, Connecting 2

11:00 am-12:00 pmSpecial Guest Lecture #2JSGM Clinic | CC-408Clinician: Alex Ruthmann

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11:00 am-12:00 pmDiscussions Of Diversity, Inclusion and Access In Music EducationGeneral Session | CC-403/404Presider: Brayer Teague, ILMEA President Elect

What barriers have music educators created that are unintention-al roadblocks for minority students? How do we create effective learning environments for our students that are safe and inclusive of everyone, regardless of gender or sexual orientation? How can we work collaboratively as a profession to improve access to high qual-ity music education regardless of race, ethnicity or socioeconomic background? How can music educators in the 21st century enhance the traditional school music curriculum to include alternative path-ways to experience the arts? Seven distinguished music educators, all of whom are revered and respected voices in our profession, will gather to share their thoughts on Equity, Diversity, Inclusion and Access to music education in America today. Each panelist will be invited to respond to questions from the moderator in an interac-tive format. Questions from the audience will also be encouraged.

11:00 am-12:00 pmOrchestra Performance | CC-TheaterNeuqua Valley High School Chamber OrchestraConductors: Kevan Kosobayashi, Greg Schwaegler and Brad Pfeil

Concerto for Strings in E minor, RV 133 .................. Antonio Vivaldi (Schott)

Sextet No. 1 in B-flat Major, Op. 18 ................... Johannes Brahms (Kalmus)

Suite for Strings ........................................................ Leos Janacek (Luck’s)

Serenade No. 6 in D Major “Sernata Notturna”, K. 239 ........ W. A. Mozart (Luck’s)

11:00 am-12:15 pmVocal Jazz Reading SessionJazz Demonstration Clinic | CC-405/406Clinician: Cory Jones

11:00 am-12:15 pmChorus Performance | WHS-BallroomGeneva Middle School North & South 8th Grade ChoirConductors: Eric Hibbeler and Rhonda Hibbeler

Program to be chosen from the following:

The Star Spangled Banner (3-part mixed) ...... arr. Donald Moore (Carl Fischer)

Come to Me, O My Love (SATB) ................. Allan Robert Petker (Hinshaw)

Al Shlosha D’Varim (2-part treble) ...... Allan E. Naplan (Boosey & Hawkes)

Sing We and Chant It (3-part mixed) .... Thomas Morley, arr. Russell Robinson (Alfred)

Barter (SAB) ........................................ Frank DeWald (Boosey & Hawkes)

Old American Songs (3-part mixed) ........... arr. A. Copland, ed. J. K. Day (Boosey & Hawkes)The Boatmen’s Dance

Simple GiftsChing-a-Ring Chaw

Cantate Domino (3-part mixed) ......... Hans Leo Hassler, arr. R. Robinson (Carl Fischer)

My Funny Valentine (SATB) ....... Richard Rodgers, arr. Jay Althouse (Alfred)

Blackbird (SAB) .... Lennon and McCartney, arr. Mark Brymer (Hal Leonard)

I Hear America Singing (3-part mixed) ............... Andre J. Thomas (Heritage)

Wilson Middle School ChoirConductor: Ben Holmes

Now is the Month of Maying (SAB) ..... Thomas Morley, arr. Robinson (Alfred)

Gloria in Excelsis from Gloria (SATB) ....... Antonio Vivaldi, arr. Martens (Walton Music)

Blow, Blow Thou Winter Wind (SAB) .................. John Purifoy (Hal Leonard)

Bonse Aba (3-part mixed) ....... arr. Victor C. Johnson (Heritage Music Press)

Duond Akuru (SAB) .......................................... Rollo Dilworth (Hal Leonard)

How Can I Keep from Singing (3-part mixed) .................. Greg Gilpin (BriLee)

No One is Alone from Into the Woods .......... arr. Mark Brymer (Hal Leonard)

21 Guns from American Idiot .................... arr. Roger Emerson (Hal Leonard)

11:30–1:15 pmPhi Beta Mu Luncheon & Business MeetingPackard Plaza (211 NE Adams Street, Peoria)

12:00–1:00 pmMTE Division Poster SessionCC-Exhibit Halls B/DPresider: Al Legutki

Visit the Exhibit Hall to interact with other music educators from early childhood through high school, university faculty, undergrad-uate music education majors and graduate students about exciting research happening in Illinois and in the national dialogue. This year’s research covers a wide variety of topics, including those in the general music, orchestra, band and choir contexts.

Presenters will set up their displays when exhibits open on Friday morning, giving attendees an opportunity to read about the studies before returning to talk informally with the presenters during this session.

12:00–1:00 pmASTA Luncheon CC-Theater Lobby

1:15–2:15 pmThe Festival of Hitting Things and Other Strategies for Developing a Culture of Excellence in Your Percussion SectionBand Clinic | CC-135/136Clinician: Chris Dandeles and Shelley May HutchinsonEnsemble: Waubonsie Valley Percussion

Explore strategies for creating an environment in which your percussion students will grow and thrive. In the context of percus-sion ensemble, percussion class or even small group lessons, you can help students develop an ownership of musical excellence and artistry. Be prepared for tips on motivating, educating and chal-lenging your percussion students. Topics to be covered will include programming, selecting repertoire, scheduling and structuring re-hearsals, set-ups, instrumentation modifications, rehearsal tips and how to create an event that showcases the great things happening in your program.

Standards: Performing 1, Performing 2

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1:15–2:15 pmBuilding From the Ground Up: Keys To Growing aSuccessful Music Program with Limited ResourcesBand Clinic | CC-210/211Clinicians: Marcus Hostetler and Amber Kenis

Building a band program can be a challenge. Programs do not always start out with the necessary resources for success. This pre-sentation will cover resources and ideas for smaller, start-up music programs with limited means. Information is strongly applicable to music programs that are in Title 1 schools and serve a diverse group of learners. Tips for gathering donations and implementing recruitment, retention and student investment strategies will be discussed. The content of this presentation is based on the clini-cians’ personal experience with implementing and building new music programs in both rural and culturally diverse communities. In their current position at Ridgeland School District #122, the band program has grown in three years from a ten student pay-to-play after school activity to an academic program serving over two hun-dred and sixty students.

Standards: Performing 2, Connecting 2

1:15-2:15 pmBeyond Music Appreciation:Curricular Models for Student EngagementJSGM Clinic | CC-212/213 Clinician: Caitlin McGovern

Music Educators around the state of Illinois are becoming increas-ingly able and open to addressing the needs of the “other” 80-90% of students in our schools. While these students bring a wide variety of musical interests, strengths and backgrounds to our classrooms, evidence suggests that they also share an important common thread: the desire for hands on, individualized and personally mean-ingful musical experiences. This clinic will share a curriculum for Music Industry and Production, a course developed to support this type of process-oriented student engagement with music.

Standards: Creating 3, Connecting 1

1:15–2:15 pm Performance NormsEGM, JSGM Clinic | CC-408Clinicians: Peter Eilrich and Monica Fuentes

The purpose of this session on performance norms is to introduce and explain a structure and format that is used to present creative work. Creating and establishing performance norms upon which students are assessed for the presentation of their work is a way to start shaping the culture of presentation to be a positive one. Put simply, the what (content) is often the focus in our preparations without covering the how (presentation) to better enable the con-tent. Students need this structure to find initial success, especially students who have had no music experience before they get to high school. As a result, they have a shallow depth of musical knowledge and require reinforcement on musical essentials such as presenting creative work.

Standards: Performing 2, Responding 2

1:15–2:15 pmDance & Play: Movement Games for theMusic ClassroomEGM Clinic | CC-220/221Clinician: Beth NelsonSponsor: West Music

Movement games can help to develop kinesthetic, social and ex-pressive skills. They can be a fun way to warm-up, introduce a new concept or prepare a musical piece or dance. We’ll explore games to expand movement vocabulary and develop skills through playful activities for a variety of ages.

Standards: Creating 1, Connecting 1

1:15–2:15 pmDo You Hear What I Hear?Audiation, MLT, the Elementary Music ClassroomEGM Clinic | CC-222Clinician: Robin Giebelhausen

Audiation means the hearing and comprehension of music in the mind. It is the ability to think in music. Even more importantly it in-volves musical prediction. Just think what our music students could do if they were able to think IN music!! Giebelhausen will discuss audiation as the foundation for Music Learning Theory and how it can utilized in the elementary music classroom through singing, movement, playing on instruments, and games. In addition, she will share some connections between MLT, Orff, Kodály, and Dalcroze. Finally, Giebelhausen will discuss a sequence which allows students to build up multiple musical skills in multiple meters and tonalities.

Standards: Performing 2, Responding 2

1:15–2:15 pmChorus Performance | WHS-BallroomHigh Five ChoirConductors: Vicki Murphy and Susan VaughanAccompanist: Timothy Mah

Come On Get Happy! ................................................................. Harold Arlen

Blame it on the Boogie ........ Krohn, Meyer, Kampschroer, Jackson and Rich

Brighter than the Sun .................................... Colbie Caillat and Ryan Tedder

One Call Away .................. Prime, Franks, Isaac, McDonald, Puth and CarterSoloist: Sam Green

If You’re Out There .............................. Stephens, Harris, Prather and Bryant

Sing ..................................................................................... arr. Mark Brymer

One Day ......................................... Lawrence, Miller, Hernandez and Levine

Keep Your Head Up ................................................................ Andy Grammer

Humble and Kind ..................................................................... Lori McKenna

Q & A Session

Song Long Song ........................................................ from “Out of the Box!”

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1:15-2:15 pmOrchestra Performance | CC-403/404 The Pro Arte Ensemble of Thompson Middle SchoolConductors: Carol Dallstream and Sandra Sebolt-Pogge

Theme and Variations from Trout Quintet .... Schubert, arr. Dabczynski (Highland/Etlin)

Swashbuckler’s Saga ...................................... Chris Thomas (FJH Music Co.)

Carpe Diem! ............................................... Richard Meyer (Highland/Etling)

Canon Power ...................................................... Bob Lipton (FJH Music Co.)

See You Again ........ Thomaz, Puth, Franks, Cedar arr. Moore (Hal Leonard)

A Little Stream ........................................ arr. Albert Wang (Highland/Etling)

Fire in the Forge ............................................. Ted Allen (Grand Mesa Music)

Glenbard West High School Honor String OrchestraConductor: William Ortega

Serenade for Strings, Op. 20 ..................... Elgar (Kalmus Orchestra Library)

Adagietto from Symphony No. 5 ........ Mahler (Verlag Walter Wollenweber)

Romance, Op. 42 ................................... Jean Sibelius (Luck’s Music Library)

Hava Bottle Twist ................ Traditional, arr. Margarite Ortega (manuscript)

1:15–3:00 pmSLO Support PanelMED Open Meeting | CC-200 and 201Presider: Justin Sisul, MED Division President

All teachers in Illinois are implementing student growth goals as part of their evaluation, but not all music teachers have had the opportunity to review their student goals and growth targets with a supervisor who has a music education background. This will be an open forum; stop by for a few minutes to ask questions, share success stories or review your student learning objectives with a trained music educator evaluator.

1:15–3:00 pmMock Interview PanelMED Open Meeting | CC-202 and 203Presider: Justin Sisul, MED Division President

Are you looking for that first job or considering a change in the near fu-ture? Our panel of experienced administrators will provide a brief mock interview experience, offer immediate feedback and provide helpful tips for the interview process. Bring your resume or just yourself and gain valuable insight on the best ways to pursue the job of your dreams!

2:15–3:30 pmJazz Performance | CC-405/406Coolidge Junior High School Jazz BandConductor: Charles NoudGuest Artist: Garrett Schmidt

April In Paris ..................................................... Vernon Duke, arr. Rick Stitzel

Hey, That’s Mine! .......................................................................... Paul Baker

Likely Suspect ................................................................................. Jeff Jarvis

Maximum Velocity ................................................................... Russ Michaels

On Green Dolphin Street .................... Bronislau Kaper, arr. Frank Mantooth

Big Noise from Winnetka ........... Bob Haggart and Ray Bauduc, arr. P. Lavender

Manteca ............................................. Dizzy Gillespie, arr. Michael Sweeney

Blackhawk Middle School Jazz EnsembleConductor: Sarah Brown

Cool Front .................................................... Doug Beach, Kendor Music Inc.

Fly Me to the Moon ........ Bart Howard arr. Michael Sweeney (Hal Leonard)

Inside Out ......................................................... Dave Mills (Jalen Publishing)

Azure ...................... Duke Ellington and Irving Mills, arr. Mike Lewis (Alfred)

On Broadway ....... Mann, Weil, Stoller and Leiber, arr. Michael Sweeney (Hal Leonard)

2:30–3:30 pmInternational Baccalaureate (IB) Music: A Crash CourseJSGM Clinic | CC-134Clinician: Erica Desaulneirs

The IB Diploma Program, a worldwide curriculum first offered in 1968, seeks to develop students with excellent breadth and depth of knowledge and that will flourish physically, intellectually, emo-tionally and ethically. “The Arts” is one of the six components of the curriculum and offers courses in theater, dance, visual arts, film and music. The incorporation of IB music can be difficult for American public high schools because it poses scheduling problems alongside existing large ensemble electives and it carries a hefty music theory prerequisite that can often seem impossible and exhausting.

This clinic will offer an overview of the IB Diploma Program and will provide an in-depth examination of the music component specif-ically. The assessment expectations and samples of exemplary student work will be presented. Curriculum for one and two year IB Music programs as well as solutions to fitting in high standards of music theory knowledge will be provided. Navigating scheduling difficulties between IB programs and school music ensembles will also be addressed.

Standards: Responding 2, Connecting 2

2:30–3:30 pmBand Performance | CC-135/136University of Illinois Double Reed PerformanceConductors: John Dee and Timothy McGovern

Radetsky March .............................. Johann Strauss, Sr., arr. Dominik Schulz

Green Dolphin Street ............................. Bronisław Kaper, arr. Garrett Jones

Le Phenix ............................................................................... Michel Corrette2. Adagio3. Allegro

Trio ....................................................................................... Franz Krommer

Terzetto ....................................................................................... James Hook

Tambourin ........................................... Francois Gossec, arr. Rachel Pointon

Sevilla ................................................... Isaac Albeniz, Trans. Loren Flickman

Carmen Suite .......................................... Georges Bizet, arr. Chris Raymond1. Prelude

2. Aragonaise 3. Intermezzo

New Reed Blues ........................................................................ Garrett Jones

Tasty Tango .......................................................................... David Burndrett

The Magic Oboe! (or Magic Flute?) ............................................ W.A. Mozart

Hungarian Dance No.5 ........................... Johannes Brahms, arr. Marc Vallon

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2:30–3:30 pm60 Seconds to Excellence:A Fast and Easy Approach To Shaping the Left HandOrchestra Clinic | CC-210/211Clinicians: Rhona Reagen and Jessie Reagen Mann

60 Seconds to Excellence is a fast, easy approach to developing, maintaining and remediating left hand position for violinists, violists and cellists. Each exercise takes 60 seconds or less and is short, repeated on each string of the instrument. The session will explain the basic philosophy of the approach and exercises targeting intonation, left hand shaping and shifting will be demonstrated. A framework will be presented for suggested use with reference to Suzuki Book Levels, although the exercises can be incorporated for any method approach. Participants are encouraged to bring instru-ments to play along with the demonstration.

Standards: Performing 2, Performing 4

2:30–3:30 pmBecoming the Bridge: Connecting With Our StudentsUsing Rich Instrumental MusicBand Clinic | CC-212/213Clinicians: Robert Buckley and William RankEnsemble: Oak Prairie Symphonic Band

Selecting repertoire is one of the most important aspects of our jobs as music teachers! As Wynton Marsalis pondered, “If the future success of the American way of living depended on your teaching, how would you approach lessons, rehearsals, concerts? How would you approach the literature? Now is a good time to re-think our goals.” Using the Comprehensive Musicianship through Performance model, we aim to select rich instrumental music of the highest quality, then construct intentional instructional outcomes and experiences designed to help students grow as musicians and critical thinkers. The clinic will utilize the Oak Prairie Symphonic Band as a demonstration ensemble for selecting literature, crafting transferrable outcomes and strategies for teaching young students about rich, historical music.

Standards: Responding 1, Connecting 1

2:30–3:30 pmShapes and Shadows: An Approach to ChoreographyEGM Clinic | CC-220/221Clinician: Beth NelsonSponsor: West Music

Explore an approach to choreographing a mallet percussion piece through the exploration of simple movement concepts. We will discover ways to develop a group dance using mirroring, shadowing and body shapes.

Standards: Creating 1, Performing 2

2:30–3:30 pmSpecial Guest Lecture 3JSGM Clinic | CC-408Clinician: Alex Ruthmann

2:30–3:30 pmPreventing Behaviors: How to Prepare Students with Exceptionalities to Succeed In MusicEGM Clinic | CC-222Clinicians: Catie Alls and Maureen Orawiec

Transferring skill sets such as appropriate behavior from the classroom to the music room is often difficult for learners with exceptionalities and can become even more difficult when trans-ferring these same skills from the music room to the performance venue. This difficulty can then manifest as undesirable behavior in the music room: yelling, running out of the room, playing out of turn, even throwing instruments. This session will highlight how to prepare your students with multi-needs to engage appropriately in the room and on stage using visual checklists, social narratives and specific step-by-step walkthroughs. Participants will learn to target behaviors and help eliminate problems before they happen.

Standards: Connecting 1, Connecting 2

2:30–3:30 pmSolfege Is Not Just For Teaching Sight-ReadingChorus Clinic | WHS-BallroomClinician: Mary Hopper

Solfege is not just for teaching sight reading. It can be used in the choral rehearsal to develop tone and intonation. The development of vowel formation and unification starts with the vowels of the solfege scale. Methods from string pedagogy to improve intona-tion will be explored using solfege. Examples of exercises included in choral warm-ups will be shared, and the audience will have an interactive part in the presentation.

3:45–4:45 pmMindfulness in MusicJSGM Clinic | CC-135/136Clinicians: Brandon Stover and Emily Stover

This session will include ways to incorporate mindfulness (main-taining an awareness of our thoughts, feelings and surroundings) in music classes. Teachers will receive practical and simple ways to incorporate mindfulness into both the music classroom and their personal lives through breathing techniques, relaxation methods and simple classroom activities that encourage mindfulness in students of all ages. These techniques focus on relieving stress, improving student focus and attention and reducing behavior issues through developing compassion and empathy. Music teachers of any discipline and age will benefit from this session.

Standards: Responding 1, Connecting 1

3:45–4:45 pmIncorporating Content-Area Literacy IntoPre-service Music EducationMTE Clinic | CC-210/211Clinician: Brian N. Weidner

Content-area literacy instruction is required for Illinois teacher certification and is typically fulfilled by general education courses that may be poorly matched to music education coursework. This

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mismatch is not necessary. Literacy today parallels instruction-al practices used in music by embracing cognitive and affective processes needed to understand and make meaning from media of all types. This session will present an overview of content-area literacy pedagogy and will discuss how literacy can be integrated into pre-service music education coursework. Presented effectively, content-area literacy can complement and enhance music teaching and learning.

Standards: Responding 1, Responding 2

3:45–4:45 pmMission: iPad – Launching Active Music-Making into the 21st CenturyEGM Clinic | CC-220/221Clinicians: Nathan Coon and Sophie Taft

In this session, the presenters will share ideas and success stories from their first year participating in their district’s 1:1 iPad initiative. The presenters will demonstrate numerous ways that elementary general music students use iPads to enhance their learning and par-ticipate in active music making. Participants will leave the session with practical ideas for integrating the active use of iPads into the general music classroom, for creation and composition projects, reflection and assessment and to increase opportunities for differ-entiated instruction and student choice.

Standards: Creating 2, Creating 3

3:45–4:45 pmControl Your Classroom EGM Clinic | CC-222Clinician: Judy Hays

There’s an art to great classroom management, and great class-room management allows you to share the art you were trained to teach! In this session, the presenter will share successful strategies that will work for any teacher in any situation. If you have ever felt the frustration of a class less managed than you would have liked, this session is for you.

Standards: Creating 2, Performing 2

3:45–4:45 pmIntroduction to the Illinois Fine ArtsLearning Standards in Music*Repeat Presentation MED Clinic | CC-401Clinicians: Alyssa Cudney and Nicole Oberg

Adopted by ISBE earlier this year, the new Illinois Arts Learning Standards will affect every single one of us. This session provides an overview of the standards, including ideas for practical applications and suggestions for aligning current classroom practice to the new standards. The last set of standards were with us for almost 30 years - don’t leave the conference without an understanding of this signif-icant change in the music education landscape!

Note: This session will be presented four times throughout the confer-ence with identical content.

3:45–4:45 pmIn Their Own Write: Transforming YoungMusicians Through the Power of ComposingOrchestra Clinic | CC-212/213Clinician: David Getz

This clinic will equip you to teach the basics of music composition and to empower your students through the public performance of their works. Regardless of your experience or talent in composing, you can easily facilitate students to start writing their own music. Four years ago, I began an after-school group called “The Compos-ers’ Guild.” What began as a small group of students that would sight-read each other’s sketches has grown into a small commu-nity of students who annually premier their works for the public. Through the support of Dr. Mario Pelusi, director of the School of Music at Illinois Wesleyan University, my students get to hear their works performed by IWU music majors!

Regardless of whether my students go on to major in composition in college, the Composers’ Guild supplies them with an experience that will never fade and a sense of achievement and purpose that will empower them in the future. In this clinic, it is my intention to provide other educators with the tools and motivation to imple-ment similar programs in their schools.

Standards: Creating 3, Performing 3

3:45–4:45 pmNew Band Music Reading SessionBand Clinic | CC-403/404Conductor: Stacy Larson Dolan

Bring your instrument and join the VanderCook College of Music as they present over 20 selections of new music for concert band, grades 1, 2, 3 and 4. These compositions and arrangements will help you to find that last-minute contest selection or program for your spring concert.

Standards: Performing 1, Responding 2

3:45–4:45 pmACDA Reading SessionChorus Clinic | WHS-BallroomPresider: Dennis Morrissey, President, IL-ACDASponsor: Kidder Music Service

Audience participants will sing through twenty choral selections provided free of charge by Kidder Music Service. They will include repertoire for a variety of choral ensembles: children’s, middle school/junior high, high school, two-year college, college/university, male, female, community, ethnic/multicultural, community, jazz, and show. Conductors will be the IL-ACDA Repertoire and Resourc-es chairpersons for these areas.

Standards: Performing 1, Performing 3

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@ILMEA#IMEC2017

@ILMEA1#IMEC2017

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3:45-4:45 pmSpotlight on ResearchMTE/Collegiate Clinic | CC-209Clinicians: Matthew Fiorentino and Catherine Savino

The Spotlight on Research will include presentations of two re-search reports. First, Cathrine Savino will present her research study titled, “Middle School Students’ Attitudes, Motivations and Music Self-Concept as Related to Solo/Ensemble Contest Participation.” Her study examined the relationship between attitudes about solo and ensemble contests and overall music self-concept of middle school students, general attitudes of students and teachers about the contests and the aspects of the contests that motivate students to work for success.

Second, Matthew Fiorentino will present his paper “Welcoming Every Student: Making Our Ensembles and Classrooms Safe Spaces for All.” The presentation and discussion will provide teachers with guideposts for teaching inclusivity and will draw on the research literature to suggest personal and professional reflection practices that foster a democratic and socially just school environment.

4:00–5:00 pmJazz Performance | CC-405/406NIU SteelbandConductors: Yuko Asada and Cliff Alexis

Piensas (Dile La Verdad) ............................................ Pitbull, arr. Yuko Asada

Hannibal ................................................. Marcus Miller, arr. Alex Fragiskatos

Dame Verruct Fugue Bad Romance ................ Lady Gaga, arr. G Dettori, adap. K. Asumen

Waltz in D-flat major, Op. 64, No. 1, Minute Waltz ......Frédéric Chopin, arr. Gary GibsonDajhumbay Russell, soloist

String Quartet in D minor, Op.76, No. 3 .... Joseph Haydn, adap. Sam Doran

Niceness ........................................... Len “Boogsie” Sharpe, arr. Yuko Asada

Samba De Arcata ........................................................................ Ray Holman

Melda ....... Mighty Sparrow (Slinger Francisco), arr. Beverly Griffith, adap. Yuko Asada

5:00–6:00 pmILMEA Retired Members &Former Board Member ReceptionMPM - LaSalle Ballroom

5:00–6:00 pmBand Division Open MeetingCC-403/404Presider: Kris Cox, ILMEA Band Division President

5:00–6:00 pmChorus Division Open MeetingWHS-BallroomPresider: Curtis Fischer-Oelschlaeger, ILMEA Chorus Division President

5:00–6:00 pmEGM Division Open MeetingCC-220/221Presider: Rachel Aupperle, ILMEA EGM Division President

5:00–6:00 pmJSGM Division Open MeetingCC-408Presider: Caitlin McGovern, ILMEA JSGM Division President

5:00–6:00 pmMED Division Open MeetingCC-401Presider: Justin Sisul, ILMEA MED Division President

5:00–6:00 pmOrchestra Division Open MeetingCC-209Presider: Jeremy Marino, ILMEA Orchestra Division President

7:30 pmAll-State Jazz Night ConcertTicketed Admission | CC-Theater Complimentary ticket given at registration for conferenceregistrants; $5 General Admission Ticket at the door for all others.

10:30 pm–12:00 midnightDistricts 1, 3 and 6 Director Jazz Jam SessionJazz Event | MPM - Great Room

CONFERENCE SCHEDULEFriday, January 27

North Park University is an accredited institutional member of the National Association of Schools of Music.

Find YourFuture Here

For more information, contact:

Dr. Rebecca Ryan, Director of OperationsSchool of Music, Art, and Theatre(773) [email protected]

www.northpark.edu/music

Undergraduate Auditions:February 4 and March 4, 2017

At North Park, you’ll get the personalized attention and performance opportunities you need to reach your goals— in the classroom, on the stage, and throughout the city of Chicago.

Kelly Langenberg, horn instructor

Don’t miss Ms. Langenberg’s presentation: Sound the Horn!Advocacy, strategies, & support for starting your beginning band students on French horn.

Friday January 27, 2017 at 11:00 a.m. - Peoria Civic Center, Room 134

Professional Development Booth Hours

Terrazzo Convention Lobby – Peoria Civic Center

Thursday, January 26, 2017 ........................................ 4:00 pm – 5:00 pmFriday, January 27, 2017 ............................................. 7:30 am – 6:45 pmSaturday, January 28, 2017 ......................................... 7:30 am – 3:45 pm

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RESE ARCH POSTER SESSIONS

*Spotlight on Research SelectionMiddle School Students’ Attitudes, Motivations and MusicSelf-Concept as Related to Solo/Ensemble Contest ParticipationCathrine SavinoDePaul University

This study aims to illuminate the opinions and effects of suburban Chicago middle school band students (N = 109) who participated in solo/ensemble contests. The three research questions were (a) What attitudes do students hold towards solo/ensemble contests? (b) Is there a correlation between student overall attitude towards solo/ensemble contest and overall music self-concept? (c) What aspects of solo/en-semble contests motivate students to work for success? Using a survey, students reported on their music self-concepts, attitudes, and motiva-tions about solo/ensemble contests. The findings illustrated that 8th graders’ attitudes (p < .01) and music self-concept (p < .05) were sig-nificantly lower than 6th and 7th graders’. Mandatory participants had significantly higher attitudes (p = .04) and motivations (p < .0001) than non-mandatory participants. Students earned division I ratings (86.4%) more than any other rating. These findings suggest that the format of solo/ensemble contests does not support students as they mature.

*Spotlight on Research SelectionWelcoming Every Student:Making Our Ensembles and Classrooms Safe Spaces for AllMatthew FiorentinoUniversity of Illinois

Contemporary research on the experiences of LGBTQ students show these populations are at significantly higher risk than their heterosexu-al peers for harassment and bullying. Teachers interested in establish-ing a more inclusive and socially-just schooling environment can em-ploy simple means to affect great change in their students’ daily lives. To that end, this project intends to provide teachers with five guide-posts for teaching inclusively to be used by teachers, and incorporated into ensemble, program, or even school-wide policies for behavior and conduct. These simple suggestions for personal and professional reflection and growth have been drawn from the research literature to address a need for practical and easily contextualized solutions.

Academy of Music and Art for Special Education:An Ethnographic Exploration of an Individual MusicInstruction Program for Children with DisabilitiesSarah J. Bartolome and Amanda D. McClintockNorthwestern University

This poster shares the findings from Phase I of an ethnographic case study exploring the Academy of Music and Arts for Special Education (AMASE) program and its impact on stakeholders. AMASE is a stu-dent-run organization that provides free music lessons to local children with disabilities. Preliminary analysis of Phase I data revealed four emergent themes related to the volunteers’ experiences with AMASE: building relationships with diverse individuals, recognizing inequity and privilege, developing empathy, and cultivating a civically engaged identity. Initial findings suggest that through service with AMASE, vol-unteers are developing professionally, becoming more aware of social justice issues in their community, and cultivating a more empathetic and civically minded disposition. We posit that community engaged projects like AMASE might play a pivotal role in the training of 21st century music educators.

Adaptive Music Curriculum for Students onthe Autism Spectrum and Cognitive DisordersKatherine BushDePaul UniversityWoodland Elementary West School

General music teachers tasked with teaching classes for students on the autism spectrum and/or significant cognitive and communication disorders face a lack of long term planning option. This research pro-vides a tool to develop and plan a year long curriculum beyond simple modifications and lesson specific adaptations. By using currently avail-able tools as well as aspects from widely used music teaching models like Orff and Kodaly, students who need separate classes for music can learn material parallel to general education peers. Teachers can assume practical modifications that also bridge into mainstreaming and full inclusion models of delivery for special education students.

Cultural Responsiveness in Music Education:A Review of the LiteratureDiondria WoodhouseBenedictine University

This literature review examines research focused on cultural respon-siveness as it pertains to the social exchange between people in a pro-fessional and academic setting, with a special focus on cultural compe-tence (i.e., the ability to have a positive cultural exchange between two people). According to Derald Sue’s Multidimensional Facets of Cultural Competence, key considerations are: (a) cultural awareness and beliefs, including sensitivity to the impact of one’s values and biases on percep-tions of students, potential barriers, and the teacher-student relation-ship; (b) knowledge of students’ cultural background, worldview and learning expectations; and (c) cultural skills, encompassing the ability to provide culturally relevant and sensitive curriculum. This review will survey literature that identifies culturally responsive practices and cultural competency; applications in medicine, education, and music; and how these methodologies have been and can be further applied in the field of music education.

The Effect of Focused Instruction on Young Children’s Singing AccuracySteven M. DemorestNorthwestern University

The purpose of this study was to test the effect of singing instruction on the singing accuracy of kindergartners. In a pretest/post-test exper-imental design we compared the singing accuracy of kindergarteners receiving daily singing instruction to children receiving no curricular music instruction. All children completed the same singing tasks at the beginning and end of the study: pitch matching, interval match-ing, pattern matching, and singing a familiar song from memory. The experimental group demonstrated significantly more improvement in the echo tasks but song performance did not improve for either group. Regular instruction seems to accelerate the development of accurate singing for young children, but improvement was only evident in the echo singing tasks. It is possible that singing skill development proceeds from echo singing to the more difficult task of singing a song from memory. This has implications for how we structure singing instruction in the early grades.

Research Abstracts

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Research AbstractsDefining Musical Independence inthe Large Ensemble ClassroomBrian N. WeidnerNorthwestern University

Musical independence has been discussed in many ways, but little focus has been placed on how ensemble teachers define and experi-ence the term. This multiple case study focused on 3 experienced high school band directors regarding two guiding research questions:

• How do music teachers who focus on musical independence define the term?

• How are their definitions translated into their classroom practices?

A close, hierarchical relationship between student agency, student decision making, and lifelong musicianship became apparent through teacher and student interviews and classroom observations conducted over the course of one academic year. Student agency and decision making were directly encouraged by the teachers’ constructivist philos-ophies, curricular design and instructional practices. Student agency authorized students to make meaningful decisions, while decision making gave students ownership of their educational experiences. Lifelong musicianship developed by personalizing their musical experi-ences within large ensembles and making students aware of their own musical sensitivities.

Active Unionism in the Music ClassroomAmy LewisMichigan State University

The National Education Association is the largest labor union in the United States (National Education Association 2016). For every 100 US citizens, there is at least one National Education Association member (National Education Association 2016). As the largest labor union in the United States, the National Education Association provides a wealth of support from which its members benefit. For example, the National Education Association provides local association affiliates with proper collective bargaining agreement tactics, a community filled with like-minded educators, and professional development opportunities for local members. Even though the National Education Association is an expansive organization with large influences, there is a range of in-volvement, activity, and cohesion within its local association affiliates. In addition to collective bargaining access and professional develop-ment opportunities, it is important to see how an active union affects the classroom. I am interested in how an active union translates into a classroom environment, if teachers feel empowered or less empow-ered as educators as a result of being an active union member, and if teachers feel a sense of safety within their profession as a result of the union. The purpose of this research is to determine if there is a rela-tionship between having an active union and the teaching environment in the music classroom. My research questions include the following. What is the definition of an active union? What types of classroom environments, for music educators, for cultivated from an active union presence? How does an active union presence affect music educators? Drawing upon interviews, surveys, and observations, this ethnographic study will examine how the music classroom is affected when an active union is present in the school district.

Exploring Applications of Alexander Technique inthe String Orchestra Classroom: A Graduate Research ProposalNathan M. RhodesLake Forest College

The purpose of this research is to explore ways in which the principles of Alexander Technique can be applied to a string orchestra classroom. Alexander Technique is based on principles that help you establish reliable coordination, and to avoid unnecessary muscular and mental tension. While the Technique has been applied to education and music communities, there has been little documented effort to incorporate these principles to string ensemble curriculum. There are several physical and emotional issues common to student string players that the principles of Alexander Technique can help address. These include posture and pain reduction from playing, increased focus and motiva-tion, and reduced performance anxiety. Through interviews and les-sons from certified Alexander Technique teachers, this research aims to develop strategies to effectively incorporate the Technique into string orchestra classrooms.

The Hometown Band Director: An Autoethnographic Studyon the Needs of Rural High School Music EducatorsJonathan SchallerUniversity of Illinois

The purpose of this study was to identify and describe the needs of the rural high school instrumental music educator. Three research questions guided the inquiry: 1) How do the needs of practicing rural high school instrumental music teachers compare to the unique needs of rural music educators identified by other researchers in previous studies? 2) How are the needs of a rural instrumental music educator distinctive? Autoethnography was the primary research methodology utilized with additional participant interviews to enrich the data. Four themes emerged from the coding of data: 1) Need of balance, 2) Need of support, 4) Need of identity, and 4) Need of understanding. Based on its findings, this study recommends the creation of mental health sup-port, rural music education support networks, unique program culture, and advocacy of rural instrumental music programs.

Influences of Teaching Background on Evaluation of Music TeacherEffectiveness in the Large Ensemble: A Pilot StudyErica J. DesaulniersNorthwestern University

The purpose of this pilot study is to determine if the teaching back-ground of an evaluator influences their scoring of the effectiveness of teachers in large performing music ensembles. Eight secondary edu-cation evaluators, all certified in the Charlotte Danielson Framework for Professional Practice modules, were divided evenly into two groups based on their teaching backgrounds as being certified in music and certified in a discipline other than music. Two video clips each of two secondary music ensemble teachers with varying levels of experience teaching were captured. Each evaluator viewed each video and scored teaching effectiveness using the Danielson model. Results indicated that on every component, non-music teacher evaluators scored teacher effectiveness higher than their music teacher evaluator counterparts. These findings suggest that although music teachers perceive being evaluated by individuals outside of their profession results in lower scores, in this study, the opposite was found to be true.

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Music Education is Related to Achievement in Reading:Research EvidenceJames L. Reifinger, Jr.Southern Illinois University Carbondale

This study investigated the relationships among beginning sight-sing-ing achievement, tonal discrimination, reading fluency, reading comprehension, and academic ability. Both curriculum-based and standardized tests were used, included the Intermediate Measures of Music Audiation, the Otis-Lennon School Ability Test, and Dynamic Indicators of Basic Early Literacy Skills. Sight-singing ability of second grade students (N = 170) was individually assessed for pitch accuracy only using four-note tonal patterns following a 16-week instructional period, and 8 weeks later following a period of no practice. Principle components analysis explained 62% of the variance across 13 variables, revealing correlated factors of Music Ability, Reading Ability, and Aca-demic Ability. Regression analyses indicated that significant variance the students’ sight-singing achievement, beyond that explained by pitch matching ability, was explained by their reading comprehension ability. Similar results were found for both sight-singing tests. Findings are discussed in relation to Patel’s (2003) shared syntactic integration resource hypothesis.

The Perception of Music Performance Anxiety:Tricking the Brain through Body ConsciousnessChristina FarleyEastern Illinois University

The primary research question in this study investigated how positive/negative body postures affect the way students perceive their per-formance anxiety in three settings (six sessions): in front of peers, in personal practices, and in front of studio professors. I designed the positive and negative body postures based on Amy Cuddy’s work with

high- and low-power poses. Qualitative methods were used to collect and analyze data; data included open-ended questions on pre- and post-session questionnaires and individual pre-study and post-session interviews. The post-study questionnaire focused on each student’s perception of how both postures affected his or her performance anxiety. Overall, four main themes emerged: reduction and increase in anxiety, confidence, sense of calm, and awareness of breathing. Each participant had a positive reaction to one of the two poses and stated that they would utilize these poses outside of the study to help combat their anxiety.

Selecting Instruments Based on Physical Facial Characteristics:Illinois Band Directors’ BeliefsRebecca WarfelEastern Illinois University

When learning to play any wind instrument, forming a functional em-bouchure is one of a student’s first and most important tasks. Problems may arise when physical facial characteristics impede ideal embou-chure formation for their chosen instrument. In this situation, a band director may choose to help them overcome these difficulties or to redirect the student to another instrument. This independent under-graduate research study will investigate Illinois band directors’ beliefs about matching ‘appropriate’ facial characteristics to instruments. Directors will be surveyed electronically about their beliefs. Instrumen-tal professors will be interviewed about embouchure development and how to overcome common issues. Musicians in college ensembles will be surveyed about their embouchures, their experiences as beginners, and whether they were ever asked to switch instruments. This study will inform music educators about ways to overcome common issues due to non-ideal facial structure and how switching a student’s instru-ment may affect their motivation to learn.

RESE ARCH POSTER SESSIONSResearch Abstracts

For scholarship and additional information, visit

carthage.edu/musicCMYK Transparent PMS

programs of study Choral/General Music Education

Instrumental/General Music Education

Music Performance

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audition dates Feb. 4, 2017

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At Carthage College, you will study with exceptional faculty who set high expectations for the unique, creative individual you are. Whether you’re interested in music performance or music education, the opportunities at Carthage are limitless.

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Degree ProgramsBachelor of Music in:• Performance• Contemporary Musicianship• Composition• String Performance and Pedagogy• Classical Guitar PerformanceBachelor of Music Education Bachelor of Arts in MusicFour-year double major option Five-year dual – degree optionConcentration in Composition

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Contact Us!Laura Dolan, Music Admissions Coordinator (309) 556-3063 • fax: (309) 556-3121 e-mail: [email protected] iwu.edu/music

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8:00–9:00 amJazz Division Open MeetingCC-200 Presider: Craig Roselieb, ILMEA Jazz Division President

8:15–9:30 amOrchestra Performance | CC-403/404 Hawthorn Middle South 7th & 8th Grade OrchestraConductor: Samantha May

Concerto in G for String Orchestra ................ Vivaldi, arr. S. Frackenpohl (Ludwig)

March Petite from Symphony No. 8 .............. Beethoven, arr. J Hoffman (Hal Leonard)

Double Quartet in d minor, Op. 65, Finale ................ Spohr, arr. S. May (Merton Music)

Waltz from Serenade for Strings .............. Tchaikovsky, arr. L Keiser (Hal Leonard)

Novo Cetvorno .................. Bulgarian Folk Song, arr. Bob Lipton (F.J.H. Music Co.)

Symphony No. 8 in G Major, Finale ...................... Dvorak, arr. S. Dackow (Ludwig)

Edwardsville High School Symphonic OrchestraConductor: Victoria Voumard

Commissioned Piece (title TBD) .... Mark J. Connor (SODY Music/Mark J. Connor)

Serenade in C Major Op. 48 ..................... Tchaikowsky (Kalmus Publishing)I. Pezzo in forma di Sonatina

IV. Finale (Tema Russo)

Sing, Sing, Sing ... Louis Prima, arr. D Marshall, adap. B Phillips (Alfred Publishing)

8:15–9:30 amBand Performance | CC-Theater Clarendon Hills Middle School Concert BandConductors: Richard Lehman and Terry Melbourn

Days of Glory ...................................................... John Cacavas (Hal Leonard)

On a Hynmsong of Phillip Bliss ........................ David Holsinger (TRN Music)

Amen ............................................... Frank Ticheli (Manhattan Beach Music)

American Riversongs ......................... Pierre La Plante (Daehn Publications)

The Incredibles .............................................. arr. Paul Murtha (Hal Leonard)

Highland Park High School Wind SymphonyConductor: Joshua Chodoroff

Bells Across the Atlantic ....................................... Adam Gorb (StudioMusic)

Song of Hope ............................................. Peter Meechan (Meechan Music)

Council Oak ..................................... David Gillingham (C. Alan Publications)

Variations on America ...... Ives/transcribed William E. Rhoads (Theodore Presser)

8:30–9:30 amThere Are Only 12 Notes:A Guide To Getting Started at ImprovisingJazz Clinic | CC-405/406Clinician: Jarrard Harris

The proposed clinic will be geared towards instruction in jazz im-provisation for beginner to intermediate level students. Discussion will focus on a list of simple to intermediate song that are ideal for beginners. These songs incorporate slower-moving chord changes which allow students to thoroughly explore correct scale and note choices. The forms (12 Bar Blues and rhythm changes) will be appro-priate for both small and large ensembles.

8:30–9:30 amYes, Uke Can! Teach the Ukulele with aSong-Based CurriculumJSGM Clinic | CC-408Clinician: Robin Giebelhausen

Ukuleles have lots of possibility for the music classroom. They can be used as an accompanying instrument that is both portable and suitable for very young children’s voices. They are also an excel-lent tool for teaching harmonic function and accompaniment. In addition, they are great for little hands and easy to play. Giebel-hausen will teach ukulele skills that will be useful as a musician and educator. She will include songs that can be used for introducing skills and presenting possibilities for arranging, improvisation, and composition. General music educators can integrate this informa-tion easily into their normal classroom setting. There will also be a discussion of the place of ukulele clubs in middle and high school settings. Ukulele clubs and other participatory culture music groups offer musical connections to those who might not find their identity in the normal secondary music course offerings such as band, choir or orchestra. Giebelhausen will outline some protocol to establish a ukulele club. Bring a uke! Bring a friend!

Standards: Creating 1, Performing 1

8:30–9:30 amOur Product Is a Certain Kind of Kid: A Comprehensive Musicianship Through Performance OverviewChorus Clinic | CC-210/211 Clinicians: Paulette Boddy, Jeremy Little, Ray Ostwald and Bill Rank

Music educators in performance-based classrooms often speak of “the product,” a certain sound the band gets, the style which with the orchestra plays or the energy and professionalism of the choir. While these are worthy goals to have for their students, many music educators have asked, “Is this all I want for my students? Isn’t a broad musical education about more than just performing well?” Through this overview of the Comprehensive Musicianship through Performance model of planning and teaching, we will uncover how thousands of music educators from all areas have used great per-formances as a tool to highlight student learning while inspiring and honoring all students’ voices throughout the process.

8:30–9:30 amUsing Literacy Strategies to Enhance Musical LearningEGM Clinic | CC-222Clinician: Brian N. Weidner

We’ve all heard “everyone is a reading teacher,” but including lit-eracy in your daily teaching practice does not need to be at the ex-pense of music learning. Through careful selection and application of literacy strategies in the rehearsal classroom, we can improve music learning while also promoting literacy. Literacy can be taught using the materials we already use including sheet music, record-ings and live performance. This presentation will focus on how to use literacy strategies in the music classroom to make ensemble rehearsals more effective and efficient while also meeting adminis-trative calls for literacy across the curriculum.

Standards: Responding 1, Responding 2

Saturday, January 28

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Saturday, January 288:30–9:30 amClick, Tap, PassEGM Clinic | CC-220/221Clinician: Rachel Aupperle

Rhythm stick, bean bag and hand clapping games for the upper elementary general music classroom.

Standards: Creating 3, Performing 4

8:30–9:30 amCollegiate Business MeetingMTE, Collegiate Meeting | CC-401Presider: Jacqueline Kelly-McHale, ILMEA MTE Division President

8:30-9:30 amCrossing Over: Contemporary, Accessible VoiceTechniques for Solo and Ensemble SingingChorus Clinic | WHS-BallroomClinician: Sarah Wigley Johnson

Do you feel like belting is a phenomenon that can’t be taught or learned? What does a healthy pop/rock voice sound like and how do we know when it is correct? Come learn the similarities and differ-ences between classical and contemporary vocal technique while discovering accessible vocal exercises that bridge the gap from art song to Adele in this highly interactive, exciting workshop for solo and ensemble singing!

9:00 am–1:00 pmExhibits OpenCC-Exhibit Halls B/D

9:45-11:00 amComposition Contest Awards Ceremony & RecitalJSGM Special Event | MPM - LaSalle BallroomPresider: Caitlin McGovern, ILMEA JSGM Division President

9:45–10:45 amYoga and Stretching for the Music ClassroomOrchestra Clinic | CC-134Clinician: Daryl Silberman

This dual purpose clinic will guide you through yoga and stretches for teachers and students in the classroom as well as exercises for your own physical and mental health. The stretching portion of the clinic will focus on injury prevention for choir, band and orchestra students (especially appropriate during this All-State time in many of our students’ lives). Stretch sequences and advice compiled from chiropractic and physical therapy resources will be provided. An overview of yoga practice will include audience participation, so please be willing to explore some standing and seated poses. Experienced clinician, Daryl Silberman, will guide you through this clinic and inspire you to bring body awareness both to you and your students.

Standards: Connecting 1, Connecting 2

9:45–10:45 amI Don’t Know Anything About Popular Music!How (Why) Can I Teach It?JSGM Clinic | CC-212/213Clinicians: Emily Cleghorn and Maud Hickey

It feels overwhelming to try to keep up with the latest music that our students listen to. Yet it is imperative that we let students know we do care about what they listen to and use this to cater our teaching to their needs and interests. With the exponential prolif-eration of new music to keep up with, it may seem like a daunting task. Music educators don’t have to keep up; we have the musical skills necessary to stay one step ahead of our students. I will share curricula and strategies used for facilitating rap compositions and song writing with adolescents in a detention center setting. Though the setting is not relevant, it provides an example of a very specific population with specific musical tastes far removed from my own and allows me to show how I navigated this by relying simply on my own music skills. Sample lessons and resultant music files will be shared.

Standards: Creating 1, Creating 3

9:45–10:45 amMirror, Mirror, on the Wall: Using Reflection to Cultivate Intrinsic MotivationBand Demonstration | CC-135/136Clinician: Michael Kasper and Beth Mazur WoodEnsemble: Carpentersville Middle School 8th Grade Band

Do you get frustrated when you hear your students practicing music from earlier grades instead of working on the task at hand? Do you have efficient, well run rehearsals but notice students are still not motivated to practice routinely? Have you been asked to redesign your assessments so they are performance based? Do you wish that your students would independently reflect on their playing and make their own choices in regards to progression and growth? Most music teachers do an exceptional job of leading their ensem-ble classes. In fact, we are so efficient, we can plan our rehearsal time down to the minute! Yet our ensemble classes only meet on average for 2.7% of a day or 2.3% of a week. For our students to show visible growth, they must be willing to reflect on their performances, develop goals and enact a plan for progression; they must be willing to access the other time available to them during the day and week. The Carpentersville Middle School 8th Grade Band will demonstrate how to develop and implement instructional and assessment tools that inspire reflection leading to pragmatic goal-setting and purposeful practice.

Standards: Performing 1, Responding 2

9:45–10:45 amThe First Four Weeks:Successfully Starting Your BeginnersBand Clinic | CC-210/211Clinician: Kelley Gossler

The first month of a beginning instrumental class is the foundation for a successful year of music making. This presentation will cover the tips and tricks employed in the first month that helped grow a

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new band program to over 180 students in four years. Strategies will be presented for instrument try-outs, starting beginners in a heterogeneous band room, teaching music and English reading skills, peer-teaching projects and other methods that get students making music fast!

9:45–10:45 amSinging: The Cornerstone of the General Music ClassEGM Clinic | CC-220/221Clinician: Renee DeJager and Beth Thompson

Singing is paramount to the general music classroom, but are all general music classes engaged in singing? For a variety of reasons, singing is not always the focus of the general music room, but it is essential. Because the singing instrument is part of who we are and tied to our identity, it must be nurtured from the earliest age.

Singing games, lessons and resources for the Kindergarten through 5th grade general music classroom will be provided in this inter-active session; focusing on the healthy development of the child’s singing voice. Join us as we sing our way through a variety of activities, share thoughts on developing voices and walk away with ready-to-use materials that are sure to build your students’ singing voices and help them love singing!

Standards: Creating 2, Connecting 2

9:45–10:45 amRecorders: Not Weapons Of Mass DestructionEGM Clinic | CC-222Clinician: Dale SchubertSponsor: Macie Publishing Company

Many teachers love to teach recorder while other teachers would rather have a root canal. Wherever you fall on the spectrum, you will enjoy this practical, hands-on session. Dale will provide unique solu-tions for commonly encountered challenges such as keeping the left hand on top of the recorder, avoiding overblowing, developing strong music reading skills and rhythmic independence and identi-fying the difference between Baroque and German fingering.

A curriculum will be presented which offers teachers a variety of options such as audio and piano accompaniments, Orff and rhythm instrument orchestrations and a colorful reward program that mo-tivates students to practice and promotes musical literacy. A brand new interactive, digital version of a student method book will be introduced which features engaging, musically supportive illustra-tions and animations, 50 embedded audio accompaniments to en-courage home practice, music theory pages which can be submitted to the teacher and fun timed long tone line exercises for developing air control and superior tone production. Participants will receive a complimentary recorder, safety neck strap and printed review copy of the student method book. Door prizes will be provided as a fun incentive.

Standards: Creating 2, Performing 2

9:45–10:45 amThe New Teacher Survival GuideMTE, Collegiate Clinic | CC-401Clinician: Meagan Zahora

Music teachers wear many hats - we are directors, teachers, event planners, accountants, community liaisons and secretaries. Though college and student teaching effectively prepares you for the class-room aspect of the career, very few first-year teachers consider the incredible amount of responsibility that comes with the position. The New Teacher Survival Guide is a session geared toward college students and new teachers. It addresses the aspects of teaching that very few beginning music teachers learn/think about (i.e. bud-geting, event planning, professional development, parent-teacher communication, contract negotiations, etc.). The aim of this session is to create awareness and give new teachers the tools necessary to be successful in a very demanding career. This session is relevant to all music teaching areas but is presented from a performance ensemble perspective.

Standards: Creating 2, Responding 2

9:45–10:45 amRehearsal Strategies for Beginning Jazz BandsJazz Clinic | CC-405/406Clinician: Mike SteinelSponsor: Hal Leonard and Yamaha

Mike Steinel, author of the Essential Elements for Jazz Ensemble, will demonstrate the most effective strategies for developing a com-prehensive jazz curriculum for beginners. This clinic will focus on jazz style, rhythm section techniques, and basic improvisation. The various approaches and tips offered in this session should help your students experience the joy of exploring jazz and help you make the most your precious rehearsal time.

Standards: Performing 2, Creating 2

9:45–10:45 amIntroduction to the Illinois Fine ArtsLearning Standards in Music* Repeat SessionMED Clinic | CC-408Clinician: Ben Collins

Adopted by ISBE earlier this year, the new Illinois Arts Learning Standards will affect every single one of us. This session provides an overview of the standards, including ideas for practical applications and suggestions for aligning current classroom practice to the new standards. The last set of standards were with us for almost 30 years - don’t leave the conference without an understanding of this signif-icant change in the music education landscape!

Note: This session will be presented four times throughout the confer-ence with identical content.

Saturday, January 28

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Saturday, January 289:45-11:00 amChorus Performance | WHS-BallroomCarlyle Junior High School Mixed ChorusConductor: Erika RegisterAccompanist: Barb Roberts

Ring the Bells .................................... Libby Larsen (Oxford University Press)

Silent the Forests .............................. Eugene Butler (Lorenz Publishing Co.)

I Know An Old Woman ....................................... Debra Morton (Carl Fischer)

Dobru Noc ..................................... Victor C. Johnson (Heritage Music Press)

Elijah Rock ........................................................ Rollo Dilworth (Hal Leonard)

In Flanders Fields ............................................ Roger Emerson (Hal Leonard)

Windy Nights ........................................................ Kirk Aamot (Hal Leonard)

Sing to Me ............... Andrea Ramsey (Santa Barbara Music Publishing, Inc)

Gloria Deo! ............................... Mary Lynn Lightfoot (Heritage Music Press)

I Ask for One Day ................................................. Jim Papoulis (Hal Leonard)

Ding-a-Ding-a-Ding .............................................. Greg Gilpin (Hal Leonard)

Hill Middle School Women’s ChorusConductor: Ron Korbitz

Morokeni ....... Traditional Kwangali and Sotho, arr. B. Kruger (Hal Leonard)

In You I Found................................................Laura Farnell (Alliance Music)

Shady Grove ........ Traditional, arr. N. B. Allsbrook and G. Goodin (Boosey and Hawkes)

Abendlied ......................................................... Felix Mendelssohn (CPDL)

Shto Mi E Milo ................... Traditional Macedonian, arr. J. Ryan Rimington

Hope is the Thing with Feathers ................... Susan LaBarr (Santa Barbara)

Wayfaring Stranger ..................... Traditional Appalachian, arr. Ron Korbitz

Light My Light ........................................ Connor J. Koppin (Santa Barbara)

Pin Pin de Sarapin .......................... Philipine Folk Song, arr. Jude B. Roldan

10:45 am –12:00 pmBand Performance | CC-TheaterLincoln Park High School Wind SymphonyConductor: Chad Smith

Fanfare of Wakakusa Hill ................... Itaru Sakai (Hal Leonard Corporation)

Grace Praeludium ............... Francis W. McBeth (Southern Music Company)

Walking to the Sky .................... Robert Buckley (Hal Leonard Corporation)

Shepherd’s Hey ............ Percy Aldridge Grainger, adap. Jerell Horton (Carl Fischer)

Dancing on Water ........................... Frank Ticheli (Manhattan Beach Music)

Amparita Roca .......... Jaime Texidor, arr. Aubrey Winter (Boosey & Hawkes)

Quincy Community BandConductor: Trent HollingerGuest Artist: Mark Duker

Ecstatic Fanfare .......................... Steven Bryant (Gorilla Salad Productions)

Elegy for the Wall’s Unnamed .................... Kevin M. Walczyk (Keveli Music)

A Lewis and Clark Celebration ........ William Camphouse (JPM Music Publications)III. Oh! The Joy

Symphony No. 3 ............................. Vittorio Giannini (Alfred Publishing Co.)III. Allegretto

IV. Allegro con brio

11:00 am-1:00 pmExhibits Open to the Public (Free)

11:00 am –12:00 pmBackwards Curriculum Design:A Framework for Mindful Music EducationMTE, Collegiate Clinic | CC-210/211Clinician: Manju Durairaj

This session outlines the rudiments of designing, implementing and customizing a music curriculum using the backward design process which begins with the end goals or objectives. It is a part of every music educator’s job to structure, organize and deliver lessons and assessments in ways that optimize student learning. National, state or local standards provide a framework to guide curriculum design while instructional and learning experiences have to be designed to include student interests, developmental levels, inclusivity and integration of technology. The session provides an overview and an illustration of developing and implementing an active music-making curriculum that continually evolves to integrate best practices.

11:00 am-12:00 pmAll-Conference Drum CircleGeneral Session | CC-Triangle LobbyFacilitator: Laura MillerSponsor: West MusicFree and Open to the Public

11:00 am –12:00 pmLeft Hand Technique, Everyone All TogetherOrchestra Clinic | CC-212/213Clinician: Anna Cromwell

In this session we will explore games and exercises to improve left hand technique in the orchestra classroom. Finding enjoyable ways to practice fundamentals in the beginning paves the way for faster progress in the years to come. Loose left thumbs, buzzing finger-tips, matching open strings, practicing by memory and intonation exercises will be discussed. We will explore a variety of exercises and games to help develop an even vibrato and relaxed shifts.

11:00 am –12:00 pmTeaching Music History Through RoundsChorus Clinic | WHS-BallroomClinician: Ronald Korbitz

This clinic will focus on introducing music history using rounds, canons and catches written by significant and influential compos-ers throughout time. Music from the Renaissance, Baroque and Classical eras will be explored. We will also look at significant events of the various time periods and interesting biographical information on various composers. The goal is to help bring music history to life for young musicians in a way that allows them to participate in the work of significant composers beyond listening. Some compos-ers include: Praetorius, Haydn, Mozart, Tallis, Beethoven, Hilton, Cherubini, Palestrina, Purcell, Schubert.

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CONFERENCE SCHEDULE

11:00 am –12:00 pm2017 ILMEA Vocal Jazz Audition MusicJazz Clinic | CC-405/406Clinician: Mike Bultman

Get a head start on how to prepare your students for the 2017 ILMEA Vocal Jazz Ensemble auditions. The two selections will be sung through and tips, suggestions, and other thoughts will be shared by a panel of vocal jazz educators.

11:00 am –12:00 pmArches and BridgesEGM Clinic | CC-220/221Clinician: Beth NelsonSponsor: West Music

Join us to explore dances and music games for a variety of ages that use arches or bridges.

Standards: Performing 2, Connecting 2

11:00 am –12:00 pmWisdom Begins in Wonder: Asking Thoughtful Ques-tions, Creating Meaningful ConversationsEGM, MTE, Collegiate Clinic | CC-222Clinicians: Mary Lynn Doherty and Jeremy Little

When teachers ask thoughtful questions, students are presented with a wonderful opportunity to take ownership of their learning. When teachers create an environment of trust and safety, students are allowed to take risks, expand their thinking and develop the ability to respect and consider other perspectives. Well planned

questions, asked in an environment of wonder and openness, can ignite students’ curiosity and cultivate attitudes of self-improve-ment. Using the Comprehensive Musicianship through Performance (CMP) model, we will explore how music teachers, by strategically asking thoughtful questions throughout the rehearsal process, have a unique opportunity to engage all students at their individual level while elevating the level of thought (and therefore performance) of the ensemble as a whole. Coincidentally, these techniques are also specifically evaluated in the Danielson model – imagine that!

Standards: Performing 2, Responding 1

12:15 pmAll-State Elementary ConcertTicketed Admission | CC-400Complimentary ticket given at registration for conferenceregistrants; $5 General Admission Ticket at the door for all others.

1:00 pm All-State ConcertTicketed Admission | CC-Carver ArenaComplimentary ticket given at registration for conferenceregistrants; $5 General Admission Ticket at the door for all others.

Saturday, January 28

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Saturday, January 281:00–2:00 pmDo You Hear What I Hear? Audiation, MLT, the Elementary Music Classroom * Repeat SessionEGM Clinic | CC-220/221Clinician: Robin Giebelhausen

Audiation means the hearing and comprehension of music in the mind. It is the ability to think in music. Even more importantly it involves musical prediction. Just think what our music students could do if they were able to think IN music! Giebelhausen will discuss audiation as the foundation for Music Learning Theory and how it can utilized in the elementary music classroom through singing, movement, playing on instruments and games. In addition, she will share connections between MLT, Orff, Kodály, and Dalcroze. Finally, Giebelhausen will discuss a sequence which allows students to build up multiple musical skills in multiple meters and tonalities.

Standards: Performing 2, Responding 2

1:00–2:00 pmOh, the Places You’ll Go: Making the Most of Repertoire EGM Clinic | CC-222Clinician: Crystal Henricks

Do you ever find yourself doing the same activity or game time and time again? Do you divide your repertoire into “learning songs” and “fun songs?” One of the challenges of teaching elementary general music is not only developing musically rich activities that are connect-ed to the students’ favorite repertoire, but making sure those activities are varied, cover a multitude of skills and practice the different skills evenly. With careful planning and thought, teachers can produce lay-ered, diverse lessons that will challenge students as well as give them joyful experiences of active music making. We will explore the many musical journeys one can take from a seemingly simple folk song. Incorporating singing, moving, reading, writing, listening, part-work, improvisation and instruments into our repertoire will help give our students a balanced and well-rounded music education.

Standards: Performing 1, Responding 1

2:15–3:15 pmPiecing Together the Pedagogy Puzzle: Kodály and Orff Meet QuaverMusic Interactive TechnologyEGM Clinic | CC-220/221Clinicians: Alyssa Hunsucker Avenatti and Otto Gross

How can you integrate best practices from many different pedagogical approaches at the same time? Learn how Quaver’s Marvelous World of Music can help you fill in the missing pieces of the puzzle! Interactive screens, games, assessments and mobile elements can help you create learning activities that fulfill many student learning objectives. Expe-rience the new Orff and Kodály tools that guide students as they sing, play, improvise, compose, read and notate music.

Standards: Creating 1, Creating 2

2:15–3:15 pmBeatboxing 101* Repeat SessionEGM Clinic | CC-222Clinicians: Chris Moan, Kris Monn and Andrew Toniolo

Discover vocal percussion through history, demonstration and par-ticipation! This session aims to encourage the use of beatboxing for ensemble accompaniment as well as introducing warm-up strategies for the choral rehearsal. Come prepared to lay down some sick beats!

Standards: Performing 2, Connecting 2

3:15 pmHonors ConcertTicketed Admission | CC-Carver ArenaComplimentary ticket given at registration for conferenceregistrants; $5 General Admission Ticket at the door for all others.

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