CONFERENCE SCHEDULE
Thursday, January 26
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)
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 involved 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
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 woodwind instruments in the classroom. Diagnose and solve many common 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 rotary valves, replace key bumpers, replace pads, routine maintenance
and much more!
Standards: Creating 1, Creating 3
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 motivation 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 repertoire. 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
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 learning outcomes, a review of specific examples from the books which
exemplify the sequential and progressive nature of the program.
Standards: Responding 1, Performing 2
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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 students 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-
Thursday, January 26
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 classroom amplification and voice-saving classroom management tips.
Standards: Connecting 1, Performing 2
9:00-10:00 am
An edTPA Primer For Cooperating Teachers
MTE Clinic | CC-401
Clinician: 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 supervisor 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 am
9:00-10:00 am
Exploring the New Web-Based SmartMusic
Orchestra Clinic | CC-408
Clinician: David Hawley
Sponsor: MakeMusic
SmartMusic is now web based and can be accessed from most mobile 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 am
Recruiting and Retention:
Building the Bridge Between Music and Athletics
Chorus, Collegiate, MTE Demonstration | WHS-Ballroom
Clinician: Brandon Crawford
Ensemble: Princeton High School Concert Choir
Sponsor: 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
The Core Arts Music Standards and the
Model Cornerstone Assessments
MED Clinic | CC-403/404
Clinician: 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 presenter’s personal experience piloting the 8th grade general music
standards with a 7th/8th grade rock band class.
10:15-11:45 am
Opening General Session
General Session | CC-400
Keynote: Scott Lang
Presider: Mark Corey, ILMEA State President
Introductions, Presentations of Awards and Keynote Address
9:00-10:00 am
Trumpet Mythbusters
Jazz Panel | CC-405/406
Clinicians: 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.
12:15-1:15 pm
Finding Your Sound On the Flute:
Tips For Creating a Beautiful Tone
Band Clinic | CC-134
Clinician: Patricia Surman
Flutists of all ages struggle with tone development and a myriad of
other playing problems that result from difficulties with tone production. 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
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CONFERENCE SCHEDULE
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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 pm
The Big Picture: Producing and Directing Your Marching
Band Program
Band Clinic | CC-210/211
Clinicians: 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 putting together the program, managing the production and detailing
the final product to elevate the fall experience both for the performers, the audience and you.
Standards: Creating 1, Creating 2
12:15-1:15 pm
Analyzing for Meaning
MED Clinic | CC-212/213
Clinicians: 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 students toward performance excellence while helping them become
more independent and literate musicians.
Standards: Performing 1, Performing 3
12:15-1:15 pm
Orff of Course!
EGM Clinic | CC-220/221
Clinicians: 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
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12:15-1:15 pm
Langauge, Music and Inclusion: Collaborative Teaching
With Students For Whom English is a Second Language
EGM Clinic | CC-222
Clinician: 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 pedagogical tools and musical materials that can help to create collaborative learning spaces between students who are English Language
Learners, music educators and students for whom English is their
primary language.
12:15-1:15 pm
Systems of Big Band Drumming
Jazz Clinic | CC-401
Clinician: 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 followed.
• 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 pm
Special Guest Lecture
JSGM Clinic | CC-408
Clinician: Alex Ruthmann
12:15-1:15 pm
Creating More Than a Class, Creating a Culture
General Clinic | CC-Lexus Club
Clinician: 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 pm
Teaching For Transfer: Making Every Moment Count
Chorus Clinic | WHS-Ballroom
Clinician: 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
Thursday, January 26
reading for auditions like All-State. Why? Perhaps we make the assumption 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 pm
Orchestra Performance | CC-403/404
Metea Valley High School Chamber Strings
Conductors: Mark Liu and Robin Sackschewsky
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 pm
Chorus Performance | WHS-Ballroom
Crystal Lake Central High School A Cappella Singers
Conductors: Kimberly Scherrer
Guest Artist: Rich Moore
Yanaway Heyona ..................................... arr. Brian Tate (Pavane Publishing)
Little Suite, Mvmt 2: Intermezzo ................................. Carl Nielsen (Luck’s)
Hlohonolofatsa .................................... arr. Daniel Jackson (Walton Music)
Violin Concerto in D Major, Mvmt 1: Allegro Moderato ...... Tchaikovsky (Luck’s)
Miniyama Nayo ........................................ Paul John Rudoi (Walton Music)
Symphony No. 1 in g minor, Mvmt 1: Allegro Moderato .... Kalinnikov (Kalmus)
Gede Nibo ........................................................ Sten Kallman (Earthsongs)
Prospect Symphony Orchestra
Conductor: Peter Weber
Romeo and Juliet .................................. Prokofiev, arr. Edmund J. Siennicki
The 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 Williams
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 Eyes
Beside a Fountain
Mvmt I. Closing In
O Magnum Mysterium .................................. T. L. de Victoria (G. Schirmer)
Abby Citterman - Alto Saxophone, Kevin Greene - Vibes, Casey Wasowicz - Bass
Sweet Was the Song ............................ Robert Young (Gentry Publications)
Danzón No. 2 for Orchestra ............................................... Arturo Márquez
Little Drummer Boy ................................... arr. K.K. Davis (Shawnee Press)
Le Sommeil de l’enfant Jesus ............ Gevaert (from The A Cappella Singer)
1:00-3:00 pm
College Fair
CC-Theater Lobby
1:30-2:45 pm
Jazz Performance | CC-405/406
Glenn Westlake Middle School Jazz Ensemble
Conductor: Nicholas Martin
Guest Artists: Anthony Kidonakis and Mike Pinto
O Tannenbaum ....................................... arr. Parker/Shaw (Lawson-Gould)
The Three Kings ............................ Healey Willan (Oxford University Press)
1:45–2:45 pm
Band Performance | CC-135/136
Moraine Valley Percussion Ensemble
Conductor: Douglas Bratt
Guest Artists: Adam Cowger and James Yakas
Shock and Awe ................................................... Jamieson Carr (Tapspace)
Escape From Pirate Cove .................. Jeremy Kane (Row-Loff Publications)
The Black Cat ........... Doug Beach and George Shutack (Doug Beach Music)
Now the Day Is Over ......................................... John Willmarth (Tapspace)
City Sunrise ................................................. Maria Schneider (Kendor Music)
Ellipsis ........................................ Nathan Daughtrey (C. Alan Publications)
Crunchy Frog ....................................... Gordon Goodwin (Alfred Publishing)
Star Sweeper .......................................... Jonathan Michalik (Unpublished)
Filthy McNasty ............... Horace Silver, arr. John LaBarbera (Kendor Music)
Concerto for Marimba & Percussion Ensemble: I. Saudação ..... (ProPercussão Brasil)
Running of the Bulls ...... Doug Beach ,George Shutack (Doug Beach Music)
Edison Middle School Jazz Ensemble I
Conductor: Kimberly Branch
Fun Time .......................................................................... Sammy Nestico
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)
Downtown Tango .................................................................... Rick Stitzel
Alright Okay You Win ................................................................ John Berry
Queen Bee ....................................................................... Sammy Nestico
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1:45–2:45 pm
Bassoon Strategies for the Instrumental Music Educator
Band Clinic | CC-209
Clinician: 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 presentation outlines the most common misunderstandings about the
bassoon followed by recommendations for future student success.
Specific topics include reeds, fingerings, starting a student bassoonist, and repertoire.
Standards: Responding 2, Connecting 1
1:45–2:45 pm
Orchestra Masterclass
Orchestra Clinic | CC-210/211
Clinician: Stefan Kartman
Join pedagogue Stefan Kartman for a masterclass detailing methods 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 pedagogy 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 instruments. 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 pm
Authentic Assessment in General Music Class:
Meeting Children’s Musical Needs
EGM Clinic | CC-220/221
Clinician: Gina Yi
Assessing children’s music achievements is necessary so that teachers 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 pm
Intro to Orff
EGM Clinic | CC-222
Clinicians: Eileen Andrews and the Augustana Orff Chapter
Move, play and learn! The Orff Schulwerk approach to music integrates speech and movement to enhance student learning and inspire 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 pm
1:45–2:45 pm
Got Privilege? An Examination Of Self and
Otherness In Our Music Spaces
MTE/Collegiate Clinic | CC-212/213
Clinician: Joyce McCall
Using Bourdieu’s (1993) cultural capital theory and Yosso’s (2005)
community cultural wealth theory as guiding frameworks, this session 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 responsiveness.
Standards: Connecting 1, Connecting 2
26 | 2017 I llinois M usic E ducation C onference
Teaching Ukulele: Pedagogy, Learning Sequence,
Activities and Assessment
JSGM Clinic | CC-401
Clinician: 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 arranging 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 resources?
Classroom ukes will be available, but you are invited to bring your
own.
Standards: Performing 2, Creating 2
@ILMEA1
#IMEC2017
@ILMEA
#IMEC2017
Thursday, January 26
1:45–2:45 pm
3:00–4:00 pm
MED Clinic | CC-403/404
Clinician: Justin Sisul
Band Clinic | CC-210/211
Clinician: Thomas Zugger
Sponsor: Edwards Trombones
Introduction to the Illinois Fine Arts
Learning Standards in Music
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 significant change in the music education landscape!
Note: This session will be presented four times throughout the conference with identical content.
1:45–2:45 pm
Finding My Voice: A Hip-Hop Music Curriculum For
Students of Diverse Backgrounds
JSGM Clinic | CC-408
Clinician: Larena Code
There is often a disconnect between “standard school music” and
what students think of as “their music.” No matter how well-intentioned 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 composition, 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 pm
A Riddle Wrapped In a Mystery Inside an Enigma:
The Double Bass
Orchestra Clinic | CC-135/136
Clinician: 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
Brass Pedagogy 101:
Basics to Brilliance and How To Switch For Success
This clinic is designed to give you the teaching tools and the confidence 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 pm
Bienvenidos a la Musica!
Bilingual Students in the Performing Arts Classroom
Orchestra 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 pm
Intro to Kodaly
EGM Clinic | CC-220/221
Clinician: Katie Hays and Central Illinois Kodaly Educators (CILKE)
“Teach music and singing in school in such a way that it is not a torture, 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 pm
Rock Bands for Typical Students and
Those with Disabilities
EGM, MTE, Collegiate Clinic | CC-222
Clinicians: 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 Figurenotes and have been teaching it in Illinois.
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3:00–5:00 pm
All-State Composition Contest Showcase Concert
General Session | CC-Theater
Guest Artist: Alex Ruthmann, NYU Steinhardt School of Music
Presider: Caitlin McGovern, JSGM Division President
*Free and Open to the Public*
Standards: Creating 1, Creating 2
3:00–4:00 pm
Beatboxing 101
Chorus Clinic | WHS-Ballroom
Clinicians: Chris Moan, Kris Monn and Andrew Toniolo
Discover vocal percussion through history, demonstration and participation! 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!
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 the
Middle and Upper School Orff Room
EGM Clinic | CC-220/221
Clinician: Vivian Murray Caputo
Sponsor: 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
Standards: Performing 2, Connecting 2
4:15–5:15 pm
4:15–5:15 pm
9ths and 11ths and 13ths, Oh My!
Jazz Harmony For the Uninitiated
Jazz Clinic | CC-135/136
Clinician: 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 importantly, 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-212/213
Clinician: 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
28 | 2017 I llinois M usic E ducation C onference
Google Docs Rocks! Using Google Suite and
Google Classroom in General Music
EGM Clinic | CC-222
Clinicians: 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 collaboration 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-405/406
Clinician: Sheri Steward
Ensemble: 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 sharing 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-curricular activities.
Standards: Performing 2, Performing 3
Thursday, January 26
5:15-6:00 pm
4:15–5:15 pm
The Digital String Class: Powerful Tools for the
21st Century String Music Educators featuring
Essential Elements Interactive
Orchestra Clinic | CC-408
Clinician: David Eccles
All-Conference Sing
Chorus Event | CC-135/136
Conductor: John Jost
Accompanist: Molly Sloter
Sponsor: Kidder Music
Die Nachtigall ...................................................... Mendelssohn (Hinshaw)
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 native” student plugged in and energized to make great analog music.
In virtute tua . ........................................................... Gorczycki (Shawnee)
Standards: Performing 2, Connecting 2
Ain’t That News .............................................. Hatfield (Boosey & Hawkes)
Wondrous Cool ........................................................ Brahms (G. Schirmer)
Jubilate ............................................................................ Mozart (Fischer)
Day by Day (SSA) ...................................................................... How (GIA)
‘Tis A Wonder ............................................................................ Jost (Kjos)
4:15–5:15 pm
The Choral/Instrumental Director as Voice Teacher
Chorus Clinic | WHS-Ballroom
Clinician: 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 addressing 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.
The Paper Reeds .................................................. Thompson (G. Schirmer)
I’m Goin’ to Sing ....................................................... Shaw/Parker (Alfred)
6:00–7:30 pm
Gala Grand Opening Reception &
Music Education/Industry Expo
CC-Exhibit Halls B/D
Refreshments Compliments of ILMEA
*21 and over event*
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
847-491-3141
www.music.northwestern.edu
Music Education Faculty
Maud Hickey, coordinator
Sarah J. Bartolome
Steven 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.
CONFERENCE SCHEDULE
Thursday, January 26
7:30–8:45 pm
Chorus Performance | WHS-Ballroom
7:30–9:00 pm
Jazz Performance | CC-405/406
Conductor: Eric Esparza
Accompanist: Michael McElvain
Conductor: Matthew Moore
Guest Artist: Tom Garling
DePaul University Chamber Choir
Fremd High School Jazz Ensemble
Ich lasse dich nicht, du segnest mich denn, BWV Anh. 159 ...................... J.S. Bach (Carus)
Rhapsody in Blue .................. George Gershwin/arr. Goodwin (Belwin Jazz)
Libera Nos, Salva Nos ................................ John Sheppard (Divers Voyces)
Winds Out of the East ....................... Michael Philip Mossma (Hal Leonard)
Spanisches Liederspiel, Op. 74 ........ Robert Schumann (Breitkopf & Härtel)
My Foolish Heart ..................... Victor Young/arr. Dave Rivello (Belwin Jazz)
V. Es ist verrathen
IX. Ich bin geliebt
Legitimate Itch ....................................... Tom Garling (Tom Garling Music)
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 Choir
Conductor: 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)
Hullabaloo ........................................................ Alan Baylock (Belwin Jazz)
Bradley University Jazz Ensemble
Conductor: Todd Kelly
Guest 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 pm
Band Performance | CC-Theater
7:30–8:45 pm
Conductors: Ryan Budzinski and Lisa Preston
EGM Division Meet & Greet | CC-220/221
Clinician: Sarah Bartolome
Normal West High School Wind Ensemble
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 Band
Conductor: Stephen Squires
Guest Artists: Bruce Briney
Folk Dancing Event
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.
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)
More ways to
connect at IMEC!
30 | 2017 I llinois M usic E ducation C onference
10:30 pm–12:00 midnight
All-Star Jazz Band
Advanced Reading Session
Jazz Event | MPM - Great Room
Conductor: Todd Kelly
@ILMEA1
#IMEC2017
@ILMEA
#IMEC2017
CONFERENCE SCHEDULE
Friday, January 27
8:15-9:30 am
Orchestra Performance | CC-403/404
8:15–9:30 am
Chorus Performance | WHS-Ballroom
Conductor: Marla Caballero
Conductor: Jennifer Burkemper
Fremd High School Symphony Strings
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. Adagio
III. Allegro vigoroso
Barrington High School Chamber Orchestra
Conductor: 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 Grieg
I. Andante; Presto
8:15–9:30 am
Jazz Demonstration Clinic | CC-405/406
Stop, Collaborate and Listen!
Hinsdale Central Chamber Choir
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 Choirs
Conductor: Andrew Cowell
Accompanist: Timothy Hassall
Percussion: 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)
Clinician: Katrina Fitzpatrick
Ensembles: Morton Jr. High Jazz Band & JC and the Redemption
Jagdlied (op. 59, Nr. 6) ..................... Mendelssohn/rev. Gerd Eichler (CPDL)
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 developed 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.
Ner Ner .............................................................. Jake Runestad (JR Music)
Standards: Performing 2, Responding 1
8:15–9:30 am
Band Performance | CC-Theater
Traughber Junior High School
8th Grade Symphonic Band
Conductor: 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 Ensemble
Conductor: 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)
34 | 2017 I llinois M usic E ducation C onference
Hymn of Acxiom ..... Vienna Teng/arr. Kerry Marsh (Kerry Marsh Vocal Jazz)
8:30–9:30 am
Before Assessment and Data: How Do You Decide What
to Teach? Developing a Music Performance Ensemble
Curriculum Based on Standards
MTE, Collegiate Clinic | CC-135/136
Clinician: Leslie Manfredo
With current educational emphasis on the use of assessment and
data, this session will focus on the step BEFORE assessment—deciding 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 realistically 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 vertically. 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
8:30–9:30 am
dents. Participants will learn two unique and exciting West African
compositions to use in their music classroom.
MTE/Collegiate Clinic | CC-210/211
Clinician: Joyce McCall
Inspired 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 politically 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. Aligning with Simone and Talbot, in order to take part in or realize social
justice, one can simply start where they are, assessing the immediate 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 2, Performing 2
Starting Where You Are:
Operationalizing Social Justice in Music Education
Standards: Connecting 1, Connecting 2
8:30–9:30 am
Ukulele in the General Music Classroom
JSGM Clinic | CC-212/213
Clinician: Jennifer Peters
This unique ukulele pedagogy will guide teachers through how to
successfully add the ukulele to their music classroom. Her presentation 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 introduced 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 popular songs. This session will present a sampling of student-appropriate 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 assessment and differentiation within the music classroom.
Standards: Creating 1, Creating 2
8:30–9:30 am
Drumming Up World Music:
West African Rhythms and Songs
EGM Clinic | CC-220/221
Clinician: Steve Campbell
Sponsor: 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-
8:30–9:30 am
Motivation and Musicianship with
Education Through Music
EGM Clinic | CC-222
Clinician: 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 philosophy 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 environment with whole group singing, movement and play.
Standards: Creating 1, Responding 1
8:30–9:30 am
Introduction to the Illinois Fine Arts
Learning Standards in Music
*Repeat Presentation
MED Clinic | CC-401
Clinicians: 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 significant change in the music education landscape!
Note: This session will be presented four times throughout the conference with identical content.
8:30–9:30 am
Cover Project: Relevant Performance Experiences
Using Popular Music
JSGM Clinic | CC-408
Clinician: 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 population, motivation to succeed will skyrocket!
Standards: Performing 1, Performing 4
M usic : C entral
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CONFERENCE SCHEDULE
Friday, January 27
8:30–9:30 am
9:45–10:45 am
MED/Administrator Clinic | CC-Lexus Club
Clinicians: Ben Collins and Justin Sisul
JSGM, Jazz Clinic | CC-210/211
Clinician: Jonathan Untch
Evaluation of Music Specialists K-12, Part 1
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 assessments designed to accurately measure student growth. Thorough
understanding of instructional best practices will result in identification 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 content. This session will give participants tools to use in their school’s
music programs.
Converting Your Metal Head Student to Jazz Guitar Guru
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.
9:00 am–5:00 pm
Exhibits Open
9:45–10:45 am
9:45–10:45 am
Band Clinic | CC-212/213
Clinician: Christine Damm
CC-Exhibit Halls B/D
Compelling Conducting:
Creating, Connecting and Communicating
Orchestra Clinic | CC-135/136
Clinician: 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 explored, including relevant exercises that can be implemented in individual 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, movement 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
Clarinet Playing Made Easy:
Improve Your Clarinet Section with 5 Easy Steps
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 am
Orff Schulwerk in Grades 1-3
EGM Clinic | CC-220/221
Clinician: 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.
9:45–10:45 am
Standards: Creating 2, Performing 1
MED Clinic | CC-209
Clinician: Rene Troppa
9:45–10:45 am
TRS
Do you want to learn more about your TRS benefits? In this session,
Rene Troppa, a Teachers’ Retirement System Senior Benefits Counselor, 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.
36 | 2017 I llinois M usic E ducation C onference
InterAct with Assessments: Formative and Summative
Assessments with InterActive Technology
EGM Clinic | CC-222
Clinician: 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
Friday, January 27
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, activities 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 am
A Relative Modulation: Teaching the Language of the
Art Form Through Verbal Precision from the Podium
Band Clinic | CC-403/404
Clinician: 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 vocabulary 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 musicianship. 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.
jazz idiom from students, to first year teachers and seasoned vocal
jazz veterans.
Standards: Performing 2, Responding 1
9:45–10:45 am
iPads in Music Education: The Latest and Greatest
JSGM Clinic | CC-408
Clinician: 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 am
Evaluation of Music Specialists K-12, Part 2
MED/Administrator Clinic | CC-Lexus Club
Clinicians: Ben Collins and Justin Sisul
9:45–10:45 am
Quick Start Your Young Chorus
Chorus Clinic | WHS-Ballroom
Clinician: Cristi Cary Miller
Sponsors: 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.
Standards: Performing 1, Performing 3
11:00 am-12:00 pm
9:45–10:45 am
Building the Vocal Jazz Ensemble
Jazz Demonstration Clinic | CC-405/406
Clinician: Jim McCullough
Ensemble: 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 periods…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 distinctive 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 approached differently so that they are stylistically accurate. This session is designed to offer something to everyone involved in the vocal
Sound The Horn! Advocacy, Strategies & Support for
Starting your Beginning Band Students on French Horn
Band Clinic | CC-134
Clinician: Kelly Langenberg
For many years the practice has been to avoid the horn as a beginning band instrument… but why? It may be one of the more eclectic
band instruments but it not an instrument to be feared and beginners 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 righthand 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
M usic : C entral
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CONFERENCE SCHEDULE
Friday, January 27
11:00 am-12:00 pm
11:00 am-12:00 pm
Jazz Clinic | CC-135/136
Clinician: Mike Steinel
Sponsor: Hal Leonard and Yamaha
EGM Clinic | CC-220/221
Clinician: Vivian Murray Caputo
Ten Lessons in Jazz Improvisation
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.
The Parts Make the Whole
Use ostinati, motives, countermelody and canon in an Orff Schulwerk way to develop part-singing. Add movement and Orff instruments.
Standards: Performing 2, Performing 3
Standards: Creating 2, Performing 2
11:00 am-12:00 pm
11:00 am-12:00 pm
EGM Clinic | CC-222
Clinician: Sarah Bartolome
TRS Questions & Answers
MED Clinic | CC-209
Clinician: 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 pm
Re-Placing Music Teacher Education:
Collaboration in a School-University Partnership
Pašokime! Lithuanian Folk Dance for the
General Music Classroom
This session will explore folk dance traditions in Lithuania, introducing 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. Participants 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.
MTE Clinic | CC-210/211
Clinicians: Jeff Dare, Adam Kruse and Bridget Sweet
Standards: Performing 2, Connecting 2
The purpose of this session is to provide insight on the process of
collaboration between two university undergraduate music education 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 technical 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.
11:00 am-12:00 pm
Standards: Creating 1, Connecting 1
11:00 am-12:00 pm
Tapping Invisible Talent: Discovering the Best Student
Musicians at Your School You Never Knew Existed
JSGM Clinic | CC-212/213
Clinician: Francisco Dean
A growing number of school music programs across the nation are
implementing digital music production classes as part of their offerings. More than just “making sick beats,” a legitimate window to unlocking 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 exist.
Standards: Creating 1, Performing 1
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I Am the Only One: Challenges and Rewards of
Teaching Music in a Small K-12 Program
Band Clinic | CC-401
Clinicians: Anne Barry and Scott Edgar
Music educators teaching in small, often isolated, schools and programs 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 isolated from other music educators? We will discuss promising practices addressing adapting traditional teaching materials for smaller
programs, incorporating non-traditional music education experiences, 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 pm
Special Guest Lecture #2
JSGM Clinic | CC-408
Clinician: Alex Ruthmann
Friday, January 27
11:00 am-12:00 pm
Discussions Of Diversity, Inclusion and
Access In Music Education
General Session | CC-403/404
Presider: Brayer Teague, ILMEA President Elect
What barriers have music educators created that are unintentional 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 quality 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 pathways 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 interactive format. Questions from the audience will also be encouraged.
11:00 am-12:00 pm
Orchestra Performance | CC-Theater
Neuqua Valley High School Chamber Orchestra
Conductors: 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 pm
Vocal Jazz Reading Session
Jazz Demonstration Clinic | CC-405/406
Clinician: Cory Jones
Wilson Middle School Choir
Conductor: 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 pm
Phi Beta Mu Luncheon & Business Meeting
Packard Plaza (211 NE Adams Street, Peoria)
12:00–1:00 pm
MTE Division Poster Session
CC-Exhibit Halls B/D
Presider: Al Legutki
Visit the Exhibit Hall to interact with other music educators from
early childhood through high school, university faculty, undergraduate 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 pm
ASTA Luncheon
11:00 am-12:15 pm
Chorus Performance | WHS-Ballroom
Geneva Middle School North & South 8th Grade Choir
Conductors: 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 Gifts
Ching-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)
CC-Theater Lobby
1:15–2:15 pm
The Festival of Hitting Things and Other Strategies
for Developing a Culture of Excellence in Your
Percussion Section
Band Clinic | CC-135/136
Clinician: Chris Dandeles and Shelley May Hutchinson
Ensemble: Waubonsie Valley Percussion
Explore strategies for creating an environment in which your
percussion students will grow and thrive. In the context of percussion 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 challenging your percussion students. Topics to be covered will include
programming, selecting repertoire, scheduling and structuring rehearsals, 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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CONFERENCE SCHEDULE
Friday, January 27
1:15–2:15 pm
1:15–2:15 pm
Band Clinic | CC-210/211
Clinicians: Marcus Hostetler and Amber Kenis
EGM Clinic | CC-220/221
Clinician: Beth Nelson
Sponsor: West Music
Building From the Ground Up: Keys To Growing a
Successful Music Program with Limited Resources
Building a band program can be a challenge. Programs do not
always start out with the necessary resources for success. This presentation 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 clinicians’ 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 hundred and sixty students.
Standards: Performing 2, Connecting 2
1:15-2:15 pm
Beyond Music Appreciation:
Curricular Models for Student Engagement
JSGM Clinic | CC-212/213
Clinician: Caitlin McGovern
Music Educators around the state of Illinois are becoming increasingly 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 meaningful 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 Norms
EGM, JSGM Clinic | CC-408
Clinicians: 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 content. 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
40 | 2017 I llinois M usic E ducation C onference
Dance & Play: Movement Games for the
Music Classroom
Movement games can help to develop kinesthetic, social and expressive 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 pm
Do You Hear What I Hear?
Audiation, MLT, the Elementary Music Classroom
EGM Clinic | CC-222
Clinician: 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 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 pm
Chorus Performance | WHS-Ballroom
High Five Choir
Conductors: Vicki Murphy and Susan Vaughan
Accompanist: 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 Carter
Soloist: 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!”
Friday, January 27
1:15-2:15 pm
Orchestra Performance | CC-403/404
The Pro Arte Ensemble of Thompson Middle School
Conductors: 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 Orchestra
Conductor: 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 pm
SLO Support Panel
MED Open Meeting | CC-200 and 201
Presider: 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.
Blackhawk Middle School Jazz Ensemble
Conductor: 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 pm
International Baccalaureate (IB) Music: A Crash Course
JSGM Clinic | CC-134
Clinician: 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, emotionally 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 specifically. 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
1:15–3:00 pm
Mock Interview Panel
MED Open Meeting | CC-202 and 203
Presider: Justin Sisul, MED Division President
Are you looking for that first job or considering a change in the near future? 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 pm
Jazz Performance | CC-405/406
Coolidge Junior High School Jazz Band
Conductor: Charles Noud
Guest Artist: Garrett Schmidt
2:30–3:30 pm
Band Performance | CC-135/136
University of Illinois Double Reed Performance
Conductors: John Dee and Timothy McGovern
Radetsky March .............................. Johann Strauss, Sr., arr. Dominik Schulz
Green Dolphin Street ............................. Bronisław Kaper, arr. Garrett Jones
Le Phenix ............................................................................... Michel Corrette
2. Adagio
3. Allegro
Trio ....................................................................................... Franz Krommer
Terzetto ....................................................................................... James Hook
Tambourin ........................................... Francois Gossec, arr. Rachel Pointon
Sevilla ................................................... Isaac Albeniz, Trans. Loren Flickman
Likely Suspect ................................................................................. Jeff Jarvis
Carmen Suite .......................................... Georges Bizet, arr. Chris Raymond
1. Prelude
2. Aragonaise
3. Intermezzo
Maximum Velocity ................................................................... Russ Michaels
New Reed Blues ........................................................................ Garrett Jones
On Green Dolphin Street .................... Bronislau Kaper, arr. Frank Mantooth
Tasty Tango .......................................................................... David Burndrett
Big Noise from Winnetka ........... Bob Haggart and Ray Bauduc, arr. P. Lavender
The Magic Oboe! (or Magic Flute?) ............................................ W.A. Mozart
Manteca ............................................. Dizzy Gillespie, arr. Michael Sweeney
Hungarian Dance No.5 ........................... Johannes Brahms, arr. Marc Vallon
April In Paris ..................................................... Vernon Duke, arr. Rick Stitzel
Hey, That’s Mine! .......................................................................... Paul Baker
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CONFERENCE SCHEDULE
Friday, January 27
2:30–3:30 pm
2:30–3:30 pm
Orchestra Clinic | CC-210/211
Clinicians: Rhona Reagen and Jessie Reagen Mann
EGM Clinic | CC-222
Clinicians: Catie Alls and Maureen Orawiec
60 Seconds to Excellence:
A Fast and Easy Approach To Shaping the Left Hand
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 instruments to play along with the demonstration.
Standards: Performing 2, Performing 4
Preventing Behaviors: How to Prepare Students with
Exceptionalities to Succeed In Music
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 transferring 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 pm
Becoming the Bridge: Connecting With Our Students
Using Rich Instrumental Music
Band Clinic | CC-212/213
Clinicians: Robert Buckley and William Rank
Ensemble: 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 pm
Shapes and Shadows: An Approach to Choreography
EGM Clinic | CC-220/221
Clinician: Beth Nelson
Sponsor: 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 pm
Solfege Is Not Just For Teaching Sight-Reading
Chorus Clinic | WHS-Ballroom
Clinician: 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 intonation 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 pm
Mindfulness in Music
JSGM Clinic | CC-135/136
Clinicians: Brandon Stover and Emily Stover
This session will include ways to incorporate mindfulness (maintaining 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 pm
Incorporating Content-Area Literacy Into
Pre-service Music Education
2:30–3:30 pm
MTE Clinic | CC-210/211
Clinician: Brian N. Weidner
JSGM Clinic | CC-408
Clinician: Alex Ruthmann
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
Special Guest Lecture 3
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Friday, January 27
mismatch is not necessary. Literacy today parallels instructional 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 pm
Mission: iPad – Launching Active
Music-Making into the 21st Century
EGM Clinic | CC-220/221
Clinicians: 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 participate 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 differentiated instruction and student choice.
Standards: Creating 2, Creating 3
3:45–4:45 pm
Control Your Classroom
EGM Clinic | CC-222
Clinician: Judy Hays
There’s an art to great classroom management, and great classroom 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 pm
Introduction to the Illinois Fine Arts
Learning Standards in Music
*Repeat Presentation
MED Clinic | CC-401
Clinicians: 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 significant change in the music education landscape!
Note: This session will be presented four times throughout the conference with identical content.
3:45–4:45 pm
In Their Own Write: Transforming Young
Musicians Through the Power of Composing
Orchestra Clinic | CC-212/213
Clinician: 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 Composers’ Guild.” What began as a small group of students that would
sight-read each other’s sketches has grown into a small community 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 implement similar programs in their schools.
Standards: Creating 3, Performing 3
3:45–4:45 pm
New Band Music Reading Session
Band Clinic | CC-403/404
Conductor: 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 pm
ACDA Reading Session
Chorus Clinic | WHS-Ballroom
Presider: Dennis Morrissey, President, IL-ACDA
Sponsor: 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 Resources chairpersons for these areas.
Standards: Performing 1, Performing 3
@ILMEA1
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CONFERENCE SCHEDULE
Friday, January 27
3:45-4:45 pm
5:00–6:00 pm
MTE/Collegiate Clinic | CC-209
Clinicians: Matthew Fiorentino and Catherine Savino
CC-403/404
Presider: Kris Cox, ILMEA Band Division President
Spotlight on Research
The Spotlight on Research will include presentations of two research 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.
Band Division Open Meeting
5:00–6:00 pm
Chorus Division Open Meeting
WHS-Ballroom
Presider: Curtis Fischer-Oelschlaeger, ILMEA Chorus Division President
5:00–6:00 pm
EGM Division Open Meeting
CC-220/221
Presider: Rachel Aupperle, ILMEA EGM Division President
5:00–6:00 pm
JSGM Division Open Meeting
CC-408
Presider: Caitlin McGovern, ILMEA JSGM Division President
4:00–5:00 pm
Jazz Performance | CC-405/406
5:00–6:00 pm
Conductors: Yuko Asada and Cliff Alexis
CC-401
Presider: Justin Sisul, ILMEA MED Division President
MED Division Open Meeting
NIU Steelband
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 Gibson
Dajhumbay Russell, soloist
String Quartet in D minor, Op.76, No. 3 .... Joseph Haydn, adap. Sam Doran
5:00–6:00 pm
Orchestra Division Open Meeting
CC-209
Presider: Jeremy Marino, ILMEA Orchestra Division President
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 pm
ILMEA Retired Members &
Former Board Member Reception
7:30 pm
All-State Jazz Night Concert
Ticketed Admission | CC-Theater
Complimentary ticket given at registration for conference
registrants; $5 General Admission Ticket at the door for all others.
MPM - LaSalle Ballroom
10:30 pm–12:00 midnight
Districts 1, 3 and 6 Director Jazz Jam Session
Jazz Event | MPM - Great Room
Professional Development Booth Hours
Terrazzo Convention Lobby – Peoria Civic Center
Thursday, January 26, 2017 ........................................ 4:00 pm – 5:00 pm
Friday, January 27, 2017 ............................................. 7:30 am – 6:45 pm
Saturday, January 28, 2017 ......................................... 7:30 am – 3:45 pm
44 | 2017 I llinois M usic E ducation C onference
RESE ARCH POSTER SESSIONS
Research Abstracts
*Spotlight on Research Selection
Middle School Students’ Attitudes, Motivations and Music
Self-Concept as Related to Solo/Ensemble Contest Participation
Cathrine Savino
DePaul University
Adaptive Music Curriculum for Students on
the Autism Spectrum and Cognitive Disorders
Katherine Bush
DePaul University
Woodland Elementary West School
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/ensemble contests motivate students to work for success? Using a survey,
students reported on their music self-concepts, attitudes, and motivations about solo/ensemble contests. The findings illustrated that 8th
graders’ attitudes (p < .01) and music self-concept (p < .05) were significantly 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.
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 provides a tool to develop and plan a year long curriculum beyond simple
modifications and lesson specific adaptations. By using currently available 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.
*Spotlight on Research Selection
Welcoming Every Student:
Making Our Ensembles and Classrooms Safe Spaces for All
Matthew Fiorentino
University of Illinois
This literature review examines research focused on cultural responsiveness as it pertains to the social exchange between people in a professional and academic setting, with a special focus on cultural competence (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 perceptions of students, potential barriers, and the teacher-student relationship; (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.
Contemporary research on the experiences of LGBTQ students show
these populations are at significantly higher risk than their heterosexual peers for harassment and bullying. Teachers interested in establishing a more inclusive and socially-just schooling environment can employ simple means to affect great change in their students’ daily lives.
To that end, this project intends to provide teachers with five guideposts 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 Music
Instruction Program for Children with Disabilities
Sarah J. Bartolome and Amanda D. McClintock
Northwestern 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 student-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, volunteers 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.
46 | 2017 I llinois M usic E ducation C onference
Cultural Responsiveness in Music Education:
A Review of the Literature
Diondria Woodhouse
Benedictine University
The Effect of Focused Instruction on
Young Children’s Singing Accuracy
Steven M. Demorest
Northwestern 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 experimental 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 matching, 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
Defining Musical Independence in
the Large Ensemble Classroom
Brian N. Weidner
Northwestern University
Exploring Applications of Alexander Technique in
the String Orchestra Classroom: A Graduate Research Proposal
Nathan M. Rhodes
Lake Forest College
Musical independence has been discussed in many ways, but little
focus has been placed on how ensemble teachers define and experience the term. This multiple case study focused on 3 experienced high
school band directors regarding two guiding research questions:
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 motivation, and reduced performance anxiety. Through interviews and lessons from certified Alexander Technique teachers, this research aims to
develop strategies to effectively incorporate the Technique into string
orchestra classrooms.
•
•
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 philosophies, 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 experiences within large ensembles and making students aware of their own
musical sensitivities.
Active Unionism in the Music Classroom
Amy Lewis
Michigan 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 involvement, activity, and cohesion within its local association affiliates.
In addition to collective bargaining access and professional development 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 empowered 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 relationship 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.
The Hometown Band Director: An Autoethnographic Study
on the Needs of Rural High School Music Educators
Jonathan Schaller
University 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 support, rural music education support networks, unique program culture,
and advocacy of rural instrumental music programs.
Influences of Teaching Background on Evaluation of Music Teacher
Effectiveness in the Large Ensemble: A Pilot Study
Erica J. Desaulniers
Northwestern University
The purpose of this pilot study is to determine if the teaching background of an evaluator influences their scoring of the effectiveness of
teachers in large performing music ensembles. Eight secondary education 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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RESE ARCH POSTER SESSIONS
Research Abstracts
Music Education is Related to Achievement in Reading:
Research Evidence
James L. Reifinger, Jr.
Southern Illinois University Carbondale
This study investigated the relationships among beginning sight-singing 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 Academic 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 Consciousness
Christina Farley
Eastern Illinois University
The primary research question in this study investigated how positive/
negative body postures affect the way students perceive their performance 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’ Beliefs
Rebecca Warfel
Eastern Illinois University
When learning to play any wind instrument, forming a functional embouchure is one of a student’s first and most important tasks. Problems
may arise when physical facial characteristics impede ideal embouchure 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 undergraduate research study will investigate Illinois band directors’ beliefs
about matching ‘appropriate’ facial characteristics to instruments.
Directors will be surveyed electronically about their beliefs. Instrumental 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 instrument may affect their motivation to learn.
Degree Programs
Bachelor of Music in:
• Performance
• Contemporary Musicianship
• Composition
• String Performance and Pedagogy
• Classical Guitar Performance
Bachelor of Music Education
Bachelor of Arts in Music
Four-year double major option
Five-year dual – degree option
Concentration in Composition
Renewable Scholarships
$10,000-$25,000 Talent Awards
$40,000 Director’s Scholarships
Contact Us!
Laura Dolan, Music Admissions Coordinator
(309) 556-3063 • fax: (309) 556-3121
e-mail: [email protected]
iwu.edu/music
CONFERENCE SCHEDULE
Saturday, January 28
8:00–9:00 am
Jazz Division Open Meeting
CC-200
Presider: Craig Roselieb, ILMEA Jazz Division President
8:15–9:30 am
Orchestra Performance | CC-403/404
Hawthorn Middle South 7th & 8th Grade Orchestra
Conductor: 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 Orchestra
Conductor: 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 am
Band Performance | CC-Theater
Clarendon Hills Middle School Concert Band
Conductors: 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 Symphony
Conductor: Joshua Chodoroff
Bells Across the Atlantic ....................................... Adam Gorb (StudioMusic)
8:30–9:30 am
Yes, Uke Can! Teach the Ukulele with a
Song-Based Curriculum
JSGM Clinic | CC-408
Clinician: 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 excellent tool for teaching harmonic function and accompaniment. In
addition, they are great for little hands and easy to play. Giebelhausen 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 information 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 am
Our Product Is a Certain Kind of Kid: A Comprehensive
Musicianship Through Performance Overview
Chorus 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 performances as a tool to highlight student learning while inspiring and
honoring all students’ voices throughout the process.
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 am
There Are Only 12 Notes:
A Guide To Getting Started at Improvising
Jazz Clinic | CC-405/406
Clinician: Jarrard Harris
The proposed clinic will be geared towards instruction in jazz improvisation 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 appropriate for both small and large ensembles.
50 | 2017 I llinois M usic E ducation C onference
8:30–9:30 am
Using Literacy Strategies to Enhance Musical Learning
EGM Clinic | CC-222
Clinician: Brian N. Weidner
We’ve all heard “everyone is a reading teacher,” but including literacy in your daily teaching practice does not need to be at the expense 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, recordings 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 administrative calls for literacy across the curriculum.
Standards: Responding 1, Responding 2
Saturday, January 28
8:30–9:30 am
Click, Tap, Pass
EGM Clinic | CC-220/221
Clinician: 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 am
Collegiate Business Meeting
MTE, Collegiate Meeting | CC-401
Presider: Jacqueline Kelly-McHale, ILMEA MTE Division President
8:30-9:30 am
Crossing Over: Contemporary, Accessible Voice
Techniques for Solo and Ensemble Singing
Chorus Clinic | WHS-Ballroom
Clinician: 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 differences 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 pm
Exhibits Open
CC-Exhibit Halls B/D
9:45-11:00 am
Composition Contest Awards Ceremony & Recital
JSGM Special Event | MPM - LaSalle Ballroom
Presider: Caitlin McGovern, ILMEA JSGM Division President
9:45–10:45 am
Yoga and Stretching for the Music Classroom
Orchestra Clinic | CC-134
Clinician: 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 am
I Don’t Know Anything About Popular Music!
How (Why) Can I Teach It?
JSGM Clinic | CC-212/213
Clinicians: 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 proliferation 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 am
Mirror, Mirror, on the Wall: Using Reflection to Cultivate
Intrinsic Motivation
Band Demonstration | CC-135/136
Clinician: Michael Kasper and Beth Mazur Wood
Ensemble: 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 ensemble 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 am
The First Four Weeks:
Successfully Starting Your Beginners
Band Clinic | CC-210/211
Clinician: 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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W ell -R ounded E ducation | 51
CONFERENCE SCHEDULE
Saturday, January 28
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 am
Singing: The Cornerstone of the General Music Class
EGM Clinic | CC-220/221
Clinician: 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 interactive 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!
9:45–10:45 am
The New Teacher Survival Guide
MTE, Collegiate Clinic | CC-401
Clinician: 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 classroom 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. budgeting, 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 am
Rehearsal Strategies for Beginning Jazz Bands
Standards: Creating 2, Connecting 2
Jazz Clinic | CC-405/406
Clinician: Mike Steinel
Sponsor: Hal Leonard and Yamaha
9:45–10:45 am
Mike Steinel, author of the Essential Elements for Jazz Ensemble, will
demonstrate the most effective strategies for developing a comprehensive 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.
Recorders: Not Weapons Of Mass Destruction
EGM Clinic | CC-222
Clinician: Dale Schubert
Sponsor: 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 solutions 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 identifying 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 motivates 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 illustrations and animations, 50 embedded audio accompaniments to encourage 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
52 | 2017 I llinois M usic E ducation C onference
Standards: Performing 2, Creating 2
9:45–10:45 am
Introduction to the Illinois Fine Arts
Learning Standards in Music
* Repeat Session
MED Clinic | CC-408
Clinician: 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 significant change in the music education landscape!
Note: This session will be presented four times throughout the conference with identical content.
Saturday, January 28
9:45-11:00 am
Chorus Performance | WHS-Ballroom
Carlyle Junior High School Mixed Chorus
Conductor: Erika Register
Accompanist: Barb Roberts
11:00 am-1:00 pm
Exhibits Open to the Public (Free)
11:00 am –12:00 pm
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 Chorus
Backwards Curriculum Design:
A Framework for Mindful Music Education
MTE, Collegiate Clinic | CC-210/211
Clinician: 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.
Conductor: 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
11:00 am-12:00 pm
All-Conference Drum Circle
General Session | CC-Triangle Lobby
Facilitator: Laura Miller
Sponsor: West Music
Free and Open to the Public
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 pm
Band Performance | CC-Theater
Lincoln Park High School Wind Symphony
Conductor: Chad Smith
Fanfare of Wakakusa Hill ................... Itaru Sakai (Hal Leonard Corporation)
Grace Praeludium ............... Francis W. McBeth (Southern Music Company)
11:00 am –12:00 pm
Left Hand Technique, Everyone All Together
Orchestra Clinic | CC-212/213
Clinician: 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 fingertips, 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.
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 Band
Conductor: Trent Hollinger
Guest 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 –12:00 pm
Teaching Music History Through Rounds
Chorus Clinic | WHS-Ballroom
Clinician: Ronald Korbitz
This clinic will focus on introducing music history using rounds,
canons and catches written by significant and influential composers 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 composers include: Praetorius, Haydn, Mozart, Tallis, Beethoven, Hilton,
Cherubini, Palestrina, Purcell, Schubert.
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CONFERENCE SCHEDULE
Saturday, January 28
11:00 am –12:00 pm
2017 ILMEA Vocal Jazz Audition Music
Jazz Clinic | CC-405/406
Clinician: 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.
questions, asked in an environment of wonder and openness, can
ignite students’ curiosity and cultivate attitudes of self-improvement. 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!
11:00 am –12:00 pm
Standards: Performing 2, Responding 1
EGM Clinic | CC-220/221
Clinician: Beth Nelson
Sponsor: West Music
12:15 pm
Arches and Bridges
Join us to explore dances and music games for a variety of ages that
use arches or bridges.
Standards: Performing 2, Connecting 2
All-State Elementary Concert
Ticketed Admission | CC-400
Complimentary ticket given at registration for conference
registrants; $5 General Admission Ticket at the door for all others.
11:00 am –12:00 pm
Wisdom Begins in Wonder: Asking Thoughtful Questions, Creating Meaningful Conversations
EGM, MTE, Collegiate Clinic | CC-222
Clinicians: 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
1:00 pm
All-State Concert
Ticketed Admission | CC-Carver Arena
Complimentary ticket given at registration for conference
registrants; $5 General Admission Ticket at the door for all others.
Saturday, January 28
1:00–2:00 pm
Standards: Performing 1, Responding 1
* Repeat Session
EGM Clinic | CC-220/221
Clinician: Robin Giebelhausen
Piecing Together the Pedagogy Puzzle: Kodály and Orff
Meet QuaverMusic Interactive Technology
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.
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. Experience the new Orff and Kodály tools that guide students as they sing,
play, improvise, compose, read and notate music.
Do You Hear What I Hear? Audiation, MLT, the
Elementary Music Classroom
2:15–3:15 pm
EGM Clinic | CC-220/221
Clinicians: Alyssa Hunsucker Avenatti and Otto Gross
Standards: Creating 1, Creating 2
Standards: Performing 2, Responding 2
2:15–3:15 pm
Beatboxing 101
1:00–2:00 pm
Oh, the Places You’ll Go: Making the Most of Repertoire
* Repeat Session
EGM Clinic | CC-222
Clinicians: Chris Moan, Kris Monn and Andrew Toniolo
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 connected 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 layered, 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.
Discover vocal percussion through history, demonstration and participation! 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!
EGM Clinic | CC-222
Clinician: Crystal Henricks
Standards: Performing 2, Connecting 2
3:15 pm
Honors Concert
Ticketed Admission | CC-Carver Arena
Complimentary ticket given at registration for conference
registrants; $5 General Admission Ticket at the door for all others.
Order your Illinois Music Education Association
All-State CDs and DVDs!
Visit Booths 143-145
or download your order form at
www.markcustom.com
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