North Carolina Music Educator Summer 2023

N O R T H C A R O L I N A 

MUSIC EDUCATOR 

Inclusive Vision for 

Music Education 

Committee 

by Lillie Allmond Harris & 

Heidi Sue Ross 

And The Award 

Goes To . . . 

Margaret Maurice 

by Joseph Girgenti 

by Angela Ammerman 

Advocacy is 

Like Music 

by Nate McGaha 

Starting a New 

High School Music 

Director Position 

by Zachary Thompson 

Violins for Hope 


Volume 74 Number 1 Summer 2023 

NORTH CAROLINA MUSIC EDUCATOR | 1

East Carolina University ® 

School of Music Announces the 

Chauncey Scholarship Endowment 

MOUNTAINEER 

Audition Required • Auditions in November, January and February 

55th Season of Cannon Music Camp • June 24–July 15, 2023 

PERSPECTIVE 

Apply and Audition for 

Scholarship Consideration 

Email for more information: 

musicadmissions@ecu.edu 

Visit us online: 

music.ecu.edu 

• Saturday, Dec. 2, 2023 

• Saturday, Jan. 20, 2024 

• Saturday, Feb. 10, 2024 

• Saturday, Feb. 17, 2024* 

• Saturday, March 16, 2024 

*Feb. 17, 2024: Last audition day for 

scholarship consideration 

ECU is located in Greenville, North Carolina 

An equal opportunity/affirmative action university 

C.S. 23-0941 

music.appstate.edu 

2 | NORTH CAROLINA MUSIC EDUCATOR NORTH CAROLINA MUSIC EDUCATOR | 1

N O R T H C A R O L I N A 

MUSIC EDUCATOR 

NCMEA Board Directory 

NCMEA Executive Director’s Message 

Susan Heiserman 

NCMEA President’s Message 

Johnathan Hamiel 

Band Section 

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A special thank you to all our advertisers who 

support music educators and music education in 

North Carolina. 

East Carolina University Inside Front Cover 

Hayes School of Music 

1 

Advocacy is Like Music 

by Nate McGaha 

Inclusive Vision for Music Education Committee 

Our identity and mission 

by Lillie Allmond Harris & Heidi Sue Ross 

Elementary Choral Section 

Middle School Choral Section 

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12 

14 

16 

NAfME 

UNC Charlotte 

UNC Greensboro 

UNC Pembroke 

UNC Wilmington 

19, Back Cover 

21 

9 

15 

3, 17 

SEAHAWK 

And The Award Goes To . . . Margaret Maurice 


High School Choral Section 

MIOSM 

Starting a New High School Music Director 

Position 


Across the Districts 



NCMEA Receives CMA Foundation Grant 

Changed Schools? New Email Address? 

New Mailing Address? 

Stay in touch with NCMEA/NAfME 

Log in to the NAfME Member Portal and make 

your updates. 

www.nafme.org LOGIN then MEMBER PORTAL 

If you need assistance, call NAfME Member 

Services 800-336-3768 

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Postmaster: Send address changes to: NC Music Educator, c/o 

NCMEA, 883-C Washington Street, Raleigh, NC 27605. 

Non-Profit 501(c)(3) Organization U.S. Postage Paid at Lubbock, 

Texas. ISSN Number 0400-3332 EIN number 

20-3325550 

Editorial: All editorial content should be sent to: Kimberly 

Justen, Editor-in-Chief, at journal_editor@ncmea.net. 

Advertising: Information requests and ad orders should 

be directed to Kimberly Justen, Editor-in-Chief, at 

journal_editor@ncmea.net. 

North Carolina Music Educator is copyrighted. Reproduction 

in any form is illegal without the express permission of the 

editor. 

MUSICIAN 

FOR A DAY 

OPPORTUNITIES TO... 

Attend Classes 

Tour the Department 

Lunch and Student Q & A 

Meet the Professors 

Watch or Participate in Rehearsals 

REGISTRATION 

& 

LUNCH 

9 AM – 5 PM 

w/ additional options 

NOVEMBER 8, 2023 

UNCW CULTURAL 

ARTS BUILDING 

INFO 

WWW.UNCW.EDU/MUSIC 

UNCWMUS@UNCW.EDU 


Board of Directors 

EXECUTIVE OFFICERS 

SECTION CHAIRS 

COMMISSION & COMMITTEE CHAIRS 

President: Johnathan Hamiel* 

Orange County 

jhamiel@ncmea.net 

Immediate Past President: Carol 

Earnhardt* 

Forsyth County 

cearnhardt@ncmea.net 

President-Elect: Catherine Butler* 

Guilford County 

cbutler@ncmea.net 

Recording Secretary: 

Carolina Perez* 

Durham County 

secretary@ncmea.net 

Member-at-Large: 

Jordan Lee* 


member-at-large1@ncmea.net 

Member-at-Large: Lorena Schakel* 

Stokes County 


Band: Jim Kirkpatrick* 

Burke County 

band_chair@ncmea.net 

Band Section Delegate: 

O’Shae Best* 

Mecklenburg County 

band_delegate@ncmea.net 

Collegiate NAfME: Sabina Blue* 

Wayne County 

collegiate_president@ncmea.net 

Elementary: Joseph Girgenti* 

Union County 

elementary_section@ncmea.net 

High School Choral: Aleisa Baker* 

Buncombe County 

hschoral_chair@ncmea.net 

Higher Education: Jose Rivera* 

Robeson County 

higher_education@ncmea.net 

Jazz Education: Tina Robinett* 


jazz_chair@ncmea.net 

Jazz Section Delegate: Luke Meade* 

Johnston County 

jazz_delegate@ncmea.net 

Middle School Choral: Emily Turner* 

Wake County 

mschoral_chair@ncmea.net 

Orchestra: Joseph Walker* 

Durham County 

orchestra_chair@ncmea.net 

Orchestra Section Delegate: 

Matthew Holt* 

Durham County 

orchestra_delegate@ncmea.net 

Exceptional Children & General 

Music: Rue S. Lee-Holmes 

Sampson County 

exeptionalchildren_generalmusic@ncmea.net 

Conference Chair: Barbara Geer 


conference_chair@ncmea.net 

Asst. Conference Chair: Adam Joiner 


conference_assistant@ncmea.net 

Mentoring: Carol Earnhardt 


mentoring_program@ncmea.net 

Music In Our Schools Month: 

Tonya Allison & Lindsay Williams 

Forsyth and Onslow Counties 

miosm_chair1@ncmea.net (Tonya) 

miosm_chair2@ncmea.net (Lindsay) 

AWARDS, GRANTS 

& SCHOLARSHIP CHAIRS 

Music Program Leaders: 

Eugene Mabry 


music_program_leader@ncmea.net 

Popular Music: Jonathan Kladder 

New Hanover County 

popular_music@ncmea.net 

Research: Tim Nowak 

Pitt County 

research_chair@ncmea.net 

Retired Membership: Libby Brown & 

Heidi Sue Ross 

Watauga & Wake Counties 

retired_membership@ncmea.net 

retired_cochair@ncmea.net 

Student Activities: 

Catherine Butler 



STANDING COMMITTEE CHAIRS 

Teacher Education: Jose Rivera 

Robeson County 

teacher_education@ncmea.net 

Technology Chair: Howell “Howie” 

Ledford & Julian Wilson 

Guilford and Gaston Counties 

technology_chair@ncmea.net 

Tri-M: Riley Lopez 

New Hanover County 

tri-m@ncmea.net 

Young Professionals: Emily AsKew 

Davidson County 

young_professionals@ncmea.net 

Webmaster: Mark Healy 

Wake County 

mhealy@ncmea.net 

EX-OFFICIO MEMBERS 

District 1: Lisa Murray* 

Pitt County 

district1@ncmea.net 

District 2: Bob Norem* 

Pender County 


DISTRICT PRESIDENTS 

District 4: Roosevelt Pratt* 

Cumberland County 


District 5: Ronald Forsh* 



District 7: Janet Berry* 

Burke County 


District 8: Anna Morris* 



Awards: Jordan Lee 



Grants: Jordan Lee & Lorena Schakel 

Guilford and Wake Counties 

member-at-large1@ncmea.net (Jordan) 

member-at-large2@ncmea.net (Lorena) 

Scholarships: Lorena Schakel 

Wake County 


NCMEA OFFICE 

883-C Washington Street 

Raleigh, NC 27605 

919-424-7008 

www.ncmea.net 

Executive Director: Susan Heiserman 

Wake County 

sheiserman@ncmea.net 

Advocacy: James Daugherty 

Davidson County 

jdaugherty@ncmea.net 

Constitution: Maribeth Yoder-White 

Watauga County 

constitution_committee@ncmea.net 

Finance: Carol Earnhardt 


cearnhardt@ncmea.net 

IVfME: Lillie Allmond Harris & 

Tim Nowak 

Guilford & Pitt County 

ivfme@ncmea.net 

Membership: Catherine Butler 



Publications: Kim Justen 

journal_editor@ncmea.net 

Collegiate NAfME Advisor: 

Lisa Runner 

Watauga County 

collegiate_advisor@ncmea.net 

Editor: Kim Justen 

journal_editor@ncmea.net 

Executive Director: Susan Heiserman 

Wake County 

sheiserman@ncmea.net 

Historian: Dr. John Henry, Jr. 


historian@ncmea.net 

Music Industry Rep.: Adam Frank 


music_industry_rep@ncmea.net 

Parlimentarian: Dave Albert 

Wake County 

parlimentarian@ncmea.net 

District 3: Andrew Childers* 

Wilson County 


District 6: Julia Winegardner* 



* Voting Member 

Counties listed reflect the county taught in 

Communications Manager: 

Mark Healy 

Wake County 

mhealy@ncmea.net 

NCDPI Rep.: Brandon Roeder 

Wake County 

brandon.roeder@dpi.nc.gov 

advancing music education by promoting 

the understanding and making of music by all 


Notes from the Executive Director 

Susan Heiserman 

President’s Message 

Johnathan Hamiel 

Warm summer greetings from Raleigh! Whether you’re 

working a summer job or side gig, pursuing continued 

learning, or taking a vacation, I hope you’re finding 

time to do the things you enjoy, and taking some time to reflect. 

My reflection: throughout the past year, I’ve been bowled over by 

incredible music making at all-states, honors events, and MPAs; 

amazed by the number of music educators receiving awards and 

honors from their schools, districts, and statewide; and grateful for 

the strong leadership demonstrated by colleagues in each section, 

and the seriousness with which they take their responsibilities. 

It’s an honor to work with a group of people who are making a 

difference in the lives of students daily! 

We’re always growing and evolving, and NCMEA leadership 

wants to make sure we are serving the profession in ways that 

are responsive, practical, and helpful to you. We always welcome 

feedback from members and want to stay informed about your 

experiences as music educators from the mountains to the coast. 

If you ever have a question, request, or want to let us know how 

NCMEA could better serve you, please email me (sheiserman@ 

ncmea.net) or use the “Member Suggestion Box” form at 

www.ncmea.net, under Member Resources. 

2023 Conference: Inspire Harmony 

As you begin planning for fall, make sure the NCMEA 

Professional Development Conference is on your calendar! 

We’ll meet in Winston-Salem, November 4 – 7, where you can 

enjoy over one hundred inspiring sessions, workshops, and 

performances. 

In addition to focusing on skills in each teaching area, there 

will be sessions dedicated to DEIA, literacy, wellness and selfcare, 

music technology, guitar, and piano, as well as a whole new 

popular music track. You can visit a wide variety of industry 

vendors and representatives in the exhibit hall. Encourage your 

students to participate in Tri-M/Young Professionals Day or to 

audition for an honors ensemble. 

This year, we are thrilled to introduce the launch of the 

North Carolina Intercollegiate Honor Band (NCIHB)! The 

NCIHB seeks to provide a collaborative and musically artistic 

experience for students at the collegiate level from all North 

Carolina public and private colleges and universities offering 

band. The NCIHB will exist to promote music education at the 

middle and high school levels, encourage continuing musicmaking 

at the university level regardless of program of study, 

connect with current and future music educators, and promote 

the creation of new music through commissioning projects. 

Each applying North Carolina college or university with a band 

program is guaranteed at least two students to participate; 

approximately 80 students will be selected. The 2023 clinician is 

Michael Haithcock, and the performance will take place in the 

Stevens Center on Monday, November 6 at 8 p.m. 

Keynote Speaker and Feature Performers 

The John Brown Big Band, headline performer at this year’s conference 

The headline conference performance on November 5 will 

feature the John Brown Big Band, a professional large jazz 

ensemble made up of top North Carolina musicians specializing 

in traditional compositions from the Great American Songbook 

and today’s cutting-edge arrangements. They will be joined 

by Grammy-nominated jazz vocalist Nnenna Freelon. Brown, 

currently director of the jazz program and associate professor 

of the practice of music at Duke University, will be coming full 

circle at the NCMEA conference, having attended as an Honors 

Orchestra student, then as a music educator, and now as a 

featured performer! 

Our keynote speaker, Mickey Smith, 

Jr., is a seven-time Teacher of the Year and 

recipient of the 2020 GRAMMY Music 

Educator Award, who has inspired both 

children and adults alike through his unique 

motivational mixture of music and message. 

Smith is not only an international keynote 

speaker and presenter, but he also continues 

to serve as a full-time teacher at The King’s 

Academy in West Palm Beach, Florida. 

Through his love for music, Smith blends the roles of 

educator and entertainer to create a dynamic experience that 

entertains, educates, and elevates everyone to excellence. He is 

dedicated to helping educators discover their sound. No matter 

what the classroom challenge may be, he strives to encourage 

others to keep on going. 

Conference registration will open in August, so stay tuned 

for more information and keep an eye on the Conference 

section of the NCMEA website for updates. Enjoy the rest of 

your summer! 

Happy summer to the music educators of the great state of 

North Carolina! When you receive this journal, several 

of you will be on summer vacations, participating in 

summer music camps or spending much-needed time with family 

and friends. I hope we all find the time to do the things we want to 

do. While we are spending this time relaxing, I hope we can find 

a moment to reflect and reimagine what went well this academic 

school year as well as some challenging items. 

The most precious gems in this world are created with pressure. 

Diamonds and other precious gemstones are formed through 

taxing circumstances. I understand the future can be filled with 

uncertainty – and at times even be somber – when we think 

about the state of our schools, our administration, and our beliefs 

about the direction we feel education should go. However, I am 

convinced this too shall pass. I believe this pressure will bring 

about a jewel we can share with the world. And as we look back 

on the road we’ve traveled, we will find the methods to assist 

friends and cohorts on how to face adversity by being consistent, 

remaining student centered and keeping music education at the 

nucleus of our existence. 

Through these methods, I encourage you all to: 

• Inspire students through the joy music brings; 

• Inspire your fellow co-workers with the comradery we share 

to reach our common goal of high-quality music education 

programs throughout the state; and, 

• Inspire yourself to continue to push forward in spite of the 

circumstances. 

Through these methods we can change the world by Inspiring 

Harmony as we encompass a culture of belonging, inclusion, 

togetherness and unity in music education. 

NCMEA Elementary Mini Conference 

This year, the Elementary Music Mini-Conference was held 

at UNC Wilmington. I cannot express the amount of joy being 

around the elementary music educators can bring. Every year I 

attend, I always leave with a wealth of knowledge and resources I 

can use immediately in the elementary music classroom. 

Music educators came from near and far to participate, and 

everyone walked away energized and equipped with tools to finish 

the school year. I find it remarkable that regardless of the level we 

teach, (elementary, secondary, or collegiate), there are strategies 

present in all levels that can be applied to our current situations. 

I realize our jobs are busy, and there is minimal time to complete 

daily obligations, but I encourage all of us to attend professional 

development outside of our content area. I promise you will be 

exposed to something extraordinary! 

Thank you to the Elementary Section and Joseph Girgenti for 

your leadership and dedication to our music educators for being 

the harmonic connection we all need. And a huge THANK YOU to 

UNC Wilmington for being our gracious host. 

Student Events 

I am proud to say our student events are back to pre-COVID 

participation. Our state MPA’s were a huge success. It was a 

pleasant surprise to see schools that normally do not participate 

in MPA do so this year. This is great! I encourage all of us to use 

MPA as a means of growth and reflection. I encourage every 

music educator to participate in our state festivals, MPA, Solo 

and Ensemble, All-Districts, All-Regions, All-Counties etc. It is 

our job as music educators to expose our students to new musical 

experiences. 

I understand the thought of a less than perfect performance 

can be frightening, but please, do not be afraid. Your students will 

surprise you and rise to the occasion. Also, if going for a rating is 

not an attainable goal, everyone is more than welcome to go for 

“comments only.” Several times, I received my best adjudication 

when I took my groups for “comments only.” 

If money is an issue, I encourage you to ask your local districts 

if there are funds available to assist with substitutes, buses, 

clinic fees, or even funds to assist in bringing an experienced or 

retired music educator into your classroom to assist with MPA 

preparations. Congratulations to every program and music 

educator who participated in our district MPA and SEMPA events. 

Regardless of the outcome, if your ensemble improved and learned 

more about the importance of performances and music education, 

I would consider that a successful performance. 

Also, this spring we were fortunate to attend the All- 

State Honor Band, All-State Chorus, and All-State Jazz Band 

performance. I would like to thank Jim Kirkpatrick, Band 

president; Aleisa Baker, High School Choral president; Emily 

Turner, Middle School Choral president; and Tina Robinett, Jazz 

president, for their countless hours of work and dedication to 

ensure our students had the opportunity to perform at All-State. 

Our music students are amongst the best in the country. 

The ensembles were able to produce the highest quality of 

performances and continued to impress our clinicians from 

throughout the United States with their musical maturity. The 

dexterity and musical capability were extremely distinguished, and 

the behaviors and maturity of our students were professional and 

well mannered. 

Attributes like these don’t happen overnight. This comes from 

highly motivated teachers giving their all, every day, to ensure our 

students have the needed skills and techniques to be successful. 


Band 

Jim Kirkpatrick, Chair 

Audition Dates for 2023–24 

December 2, 2023 February 10, 2024 

January 27, 2024 February 24, 2024* 

I 

hope this edition of the North Carolina Music Educator 

finds you enjoying a nice summer, and you’ve had a chance 

to sleep in, spend time with family, maybe travel, and most 

of all, recharge your batteries. Many of you are already busy with 

marching band and getting prepared for another school year. I 

personally will be starting my 26th year of teaching high school 

band, and I still love what I do and enjoy the energy of wondering 

what great musical experiences I will share with my students and 

their families. 

My good friend, and NCBA past-president, Jason Barclift, 

stated it perfectly, “I believe we all entered this career of music 

education because something about it sparked joy. If you struggle 

sometimes with the stress our job can bring, pause for a moment, 

and remember why you chose this path. As you approach the start 

of a new school year, I challenge you to look for the positives. 

Surround yourself with master teachers in your school who love 

teaching and embrace their friendship and avoid negativity.” This 

is great advice that is timeless and universal to all teachers. 

We were thrilled to host our summer fundamentals clinic, 

In the Beginning Band, organized by longtime North Carolina 

band director, Phillip Riggs, and sponsored by NCMEA and 

NCBA. Two one-day, free clinics were held on the campuses of 

Barton College and North Carolina School of Science and Math 

– Morganton. Clinics on the basics of embouchure development, 

tone, hand position, tuning, student motivation, pacing, 

assessment, and classroom management were provided by many 

of our top band directors in the state, including Mary Kate Choat, 

Jim Kirkpatrick, Matt Liner, Kristina McRaney, Charlene Outland, 

Erik Riggs, Phillip Riggs, Dave Stroud, Renee Todd, and Rodney 

Workman. This clinic served as a very useful reminder of the 

basics we should address every day while teaching students in our 

band rooms. A good time was had by all. 

A great opportunity NCMEA provides to inspire and motivate 

is at our annual Professional Development Conference in 

Winston-Salem on November 4 – 7. It is the most important –and 

biggest – opportunity you have for staff development in the state 

each year. We are offering fantastic band-specific clinics, sessions 

and concerts this year, and I can say without hesitation, this is the 

best staff development you can attend in North Carolina for band 

directors. 

If this is your first year as a band director in North Carolina, 

be sure to take full advantage of the resources surrounding you in 

the experienced teachers in your area. Networking is invaluable to 

your success as a new director. Start the year off right by planning 

to attend county, district, and state events. Most of our districts 

have a fall meeting and offer a new teacher orientation. The state 

has a mentoring program available to our membership as well; 

email me if you need more information. 

As always, please be prompt in meeting your deadlines, which 

are firm. All information about state events can be found at 

www.ncbandmasters.org. Do not ask for an exception. Observe 

them carefully to protect your students and do not schedule 

other activities during district or state events. All events require 

directors to attend and be responsible for their students. 

Please be professional and model the type of responsibility you 

expect from your students. All-State Honor Band auditions will be 

on March 2, 2024 (snow make-up March 9) held on the campus 

of Atkins High School in Winston-Salem. The All-State Honors 

Band Clinic will be April 26 – 28, 2024, held on the campus of the 

University of North Carolina Greensboro. Book your hotel rooms 

early due to the furniture market happening the same weekend. 

Please do not hesitate to contact any of the NCBA officers or 

your respective district chair with questions or concerns. Their 

contact information can be found on the webpage. We are here to 

serve you and your students. Best wishes on a successful school 

year, and I look forward to seeing all of you in November at the 

NCMEA conference. 

*priority deadline for scholarship/assistantship consideration 

Degree Programs 

Bachelor of Arts 

Bachelor of Music 

Music Minor 

Master of Music 

Doctor of Musical Arts 

Doctor of Philosophy 

Post-Baccalaureate Certificate 

Post-Masters Certificate 

2023 CONFERENCE 

REGISTRATION RATES 

Early 

through Oct 14 

Regular /Onsite 

Oct 15 – Nov 6 

Active $150 $175 

Introductory $75 $85 

Collegiate $50 $60 

Non-Member $200 $250 

Non-Member Guest $50 $60 

Retired $0 $0 


Advocacy is Like 

Music 

by Nate McGaha, executive director, Arts NC 

There are a host of similarities between music and advocacy, 

not the least of which being that both tap into something 

essential inside us, leaving us more fulfilled. Simply put, 

advocacy is communication in support of a person, cause, or idea. 

While it is often used to describe engagement with government 

officials, it applies to any situation in which a group or an 

individual speaks up for themselves, others, or an idea in which 

they believe. 

So many think that they can’t, until they try. 

I imagine that thousands of music and other 

arts educators each year convince a student to 

try an instrument, or some other medium, even 

though they doubt they could ever master it. I 

also have no doubt that most of those students 

find themselves in awe of their own progress 

several months later, and some spend a lifetime 

honing the craft. Advocacy is the same, with so 

many scared to try talking to elected officials, or 

others in authority. But those who try, get better. 

Those who prepare excel even more. And those 

who commit to the task can achieve something 

astounding, just like musicians. 

Know the score, the instruments, and the 

players. 

Regardless of your purpose, you need to be 

sure you understand what you are advocating 

for, to whom you are advocating, and why, before you begin to 

make your case. You need to know who makes the decision you 

want to influence, then be sure to understand the structure of the 

system in which they operate. If you do not learn how to read 

music before you learn to play an instrument, you may be able to 

make music, but you’ll find it hard to communicate with other 

musicians and even harder to work in harmony. Also, the more you 

know about the decision maker, the more effective you can be, just 

as understanding other musicians, composers, or conductors one 

works with will develop a more refined performance. 

Humanity set to rhythm transcends. 

Advocacy is the 

same, with so 

many scared to try 

talking to elected 

officials, or others 

in authority. But 

those who try, 

get better... And 

those who commit 

to the task can 

achieve something 

astounding, just 

like musicians. 

Music, in a way, is human emotion set within a melodic 

structure of tone and timing to connect with other humans on a 

deeper level. Good advocacy is no different. Decision makers are 

human, so when making a case, it is best to share a story or fact 

that connects to that person on an emotional level to connect them 

more deeply to your cause. However, an advocate must appeal to 

one’s logic and reasoning as well, to put the narrative into context 

and solidify one’s case. For example, you 

can tell a moving story about a child from a 

low-income family whose life was changed 

by being in chorus to illustrate the value of 

arts in schools. However, if you then say that 

students from the poorest 25% of households 

are five times less likely to drop out of school 

and twice as like to obtain a college degree, 

then you have not only made your case, but 

your “performance” has transcended what the 

story, or the data, could have accomplished 

separately. 

Different arrangements for different 

engagements. 

A soloist singing a cappella is very different 

than a chorus. A violin solo and a symphony 

are not the same at all. There is no one way 

to make music, just as there is no one way 

to advocate. Sometimes a single advocate 

making a case to a lone decision maker is all 

that is required. Other times the situation may call for coordinated 

communications across large groups of advocates and multiple 

decision makers, incorporating not only conversation but 

coordinated messaging and public awareness campaigns. Good 

advocacy allows the method to fit the moment, just as the right 

arrangement of a composition underscoring a certain moment of 

a movie can elevate a scene beyond the sum of its parts to become 

something that speaks to us all on a new level. Both in music, as in 

advocacy, this takes thoughtful planning and practice, and possibly 

collaboration, but in the end the results are undeniable. And just 

as a singer with a guitar can prepare and perform alone, while a 

marching band needs a leader to coordinate elements, advocacy 

leadership is dependent upon each situation. You can prepare and 

present the case for a salary increase to your boss as a soloist, but 

advocating for raises for all educators would require a chorus of 

advocates with a good director and a plan to make sure everyone 

performs in harmony. 

Practice, practice, practice. 

The more you do anything, the easier it becomes and the better 

you are at doing it. A good musician never misses an opportunity 

to practice or perform, constantly evaluating to hone the craft and 

perfect the delivery. Advocacy is no different. There are countless 

opportunities in any given day to discuss the things we care about, 

and the more we speak up for whatever cause that may be, the 

easier it becomes, the better we become, and the more comfortable 

we can become with any given audience. 

You can feel it when it is right. 

So many people choose not to speak up for things that they feel 

are important. They assume someone else will do it and are likely 

to do it better. But if we all thought that way, nothing would ever 

happen. The thing that is so hard to explain about both music and 

advocacy to someone who has never tried, is just how good it feels 

once you start, how incredible it feels when you find your groove, 

and invigorating it feels when you can tell you have truly reached 

someone. Taking the time to learn an instrument can change the 

trajectory of an entire life. Taking the time to speak up for what is 

important, like arts education in your community, can change the 

course of countless young lives. 

What is Arts North Carolina? 

We are a nonprofit organization that works to advance public 

funding and policy that supports the arts and comprehensive arts 

education. To connect North Carolina arts advocates with their 

local, state, and federal elected officials, we provide resources and 

training for the entire state, and host our annual conference and 

advocacy event, ARTS Day, in Raleigh each year. We also help 

nonprofits and others learn how they can engage with candidates 

in elections, and with already elected officials. We also engage 

a professional lobbying firm to support our message at the NC 

General Assembly and our staff works year-round to provide our 

constituents with information and analysis of both state and federal 

funding and legislation. You can find out more about our work at 

ArtsNC.org. 

Arts NC’s most significant recent arts education 

accomplishment was the passage of the NC Arts Education High 

School Graduation requirement. In 2023, we are working on 

legislation to create an Arts Proficiency High School Diploma 

Endorsement and a bill that would require every K – 5 public 

school student to have access to both visual art and music 

instruction by a licensed visual art/music educator once every five 

instructional days. Both these bills would mean more students in 

more arts classes and more educators needed to teach them. 

Arts NC is also a proud member of the NC Arts Education 

Leadership Coalition (AELC), along with NC Music Educators 

Association and eight other music and arts educator professional 

organizations. We collaborate on advocacy efforts and discuss 

arts education policy moderated by our partners at the NC 

Department of Public Instruction. Arts NC also hosts the website 

ArtsEdNC.org which is the home of the NC AELC and is packed 

with information, training, and resources such as the Arts 

Education Data Project. Through this collaboration we can more 

effectively advance arts education at both the state and local level. 

Have your local school board pass an Arts ARE Education 

Resolution. 

So, what can you do locally to support arts education? One of 

the easiest and most effective ways is to work with your district 

leadership and superintendent to have your local school board pass 

an Arts ARE Education Resolution, which is part of a national arts 

education advocacy movement. Arts NC partnered with NCMEA 

to create an easy-to-use step-by-step toolkit to show you how. 

You can even include a student performance at the school 

board meeting when it is voted on to help mark the occasion. The 

text of the resolution states that your school system will maintain 

and grow arts education programs in the current school year and 

beyond. And while it does not bind them legally to do so, it is a 

good thing for them to think about. Especially if you have them 

pass it for Arts in Our Schools Month in March, right before they 

begin work on the following year’s budget. 

Advocacy and music are not all that different. Whether it is 

done solo or in collaboration with others, it has the potential to 

enrich the soul and change the world. But you can’t make music, or 

a difference, if you do not step up and get started. 

Opposite page: Past Southern Division president Sonja McLean Williams, NAFME state advocacy engagement manager Jazzmone Sutton, NCMEA executive 

director Susan Heiserman, NCMEA president Johnathan Hamiel, Rep. Deborah Ross, NAFME NEB equity representative Dr. Lenora Helm Hammonds, 

NAFME Southern Division president James Daugherty, NCMEA collegiate president Sabina Blue 

Above, left: Rep. Virginia Fox’s legislative assistant R.J. Martin, James Daugherty, and Dr. Lenora Helm Hammonds. 

Above, right: Johnathan Hamiel discussing the importance of Title 1 funding in Music Education to Rep. Virginia Fox’s legislative assistant R.J. Martin. 


Inclusive Vision for 

Music Education 

Committee 

Our identity and mission 

by Lillie Allmond Harris & Heidi Sue Ross 

As our society continues to evolve, many people are 

endeavoring to learn more about the commonalities among 

our diverse cultures and intersections, focusing more on 

what unites us and less on what separates us. NCMEA consists 

of professionals at all levels with a variety of life experiences that 

inform our instructional practices. 

NCMEA’s Inclusive Vision for Music Education committee is 

committed to examining and offering guidance from our collective 

experience that influences our instructional practices as music 

educators and as a statewide organization. Furthermore, it is 

our desire to align not only our instructional practices, but also 

our business practices, our choices for conference presentations, 

professional training, audition processes, and choice of repertoire 

for music programs and performances with the National 

Association for Music Education. 

Our committee, formerly known as the Multicultural 

Awareness committee, has worked to include music that reflects 

cultures beyond the Western European art music tradition. A 

formal music education at a traditional institution of higher 

learning often affirms perspectives from Western classical cultures 

as to what is valid and proper music, which in turn becomes the 

norm in music education practices at our primary, secondary and 

post-secondary schools. We are aware that efforts have been made 

in recent years to be inclusive through offering varied learning 

opportunities 

that expand 

student musical 

knowledge 

and experience 

beyond what 

has typically 

been considered 

valid. However, 

the practice 

of teaching 

music from a 

“multicultural” 

perspective seems 

to be viewed 

by some as an educational trend that subsequently produced 

approaches that are disingenuous or inaccurate. 

For example, surface level inclusions of a spiritual or folk song 

from Latin America without researching the genre and cultural 

significance of that piece and presenting that information is shortchanging 

our students because that information is just as important 

as teaching the notes, rhythms, text, and movements of a song. It 

is our position that we should earnestly and intentionally move 

beyond surface level approaches to our instruction and modes of 

operation by intentionally seeking information that surpasses our 

current knowledge and understanding about inclusive educational 

and business practices. 

Thanks to changes within our society, schools, and teacher 

education programs, many of us strive to cultivate programs 

that foster a sense of belonging through establishing norms of 

inclusivity, diversity, equity and accessibility for all learners and 

educators. However, there is still much work to be done. 

To facilitate understanding, it seems appropriate to review the 

NAfME Position Statement regarding Equity and Access: 

“All students deserve access to and equity in the delivery 

of music education, one of the subjects deemed necessary 

in federal law for a well-rounded education, which is at 

the heart of NAfME’s stated mission: to advance music 

education by promoting the understanding and making of 

music by all.” 

NAfME explains this position further: 

“This position statement addresses equitable access 

to music education for all students, so that students, 

regardless of race, ethnicity, disability, economic status, 

religious background, sexual orientation and identity, 

socioeconomic status, academic standing, exceptionalities, 

or musical abilities, can participate in the making of music 

within their schools” (National Association for Music 

Education, n.d.). 

We understand that this deeper, more authentic approach to 

inclusion calls for a change in our patterns of thought, reflection 

upon our own music education experiences, an unflinching 

honesty with ourselves, and a commitment – initial or renewed 

– to continue the often difficult work to provide a more inclusive 

music education to our students. This approach calls for us as 

educators to understand this is not just an educational trend, 

but something that should become constant in our educational 

practice. 

We are reminded of the shifting trends of whole word vs. 

phonics in reading instruction and the never ending debate 

between teachers as to which is the better or necessary method of 

instruction for our youngest readers. Inclusivity in music education 

should not be up for debate between teachers, but rather an 

imperative that cannot be separated from the student experience 

of a comprehensive music education. As a reminder of NAfME’s 

position, here is the organization’s 2017 position statement on 

Inclusivity and Diversity in Music Education: 

“A well‐rounded and comprehensive music education 

program, as envisioned in the 2014 National Music 

Standards, should exist in every American school; 

should be built on a curricular framework that promotes 

awareness of, respect for, and responsiveness to the variety 

and diversity of cultures; and should be delivered by 

teachers whose culturally responsive pedagogy enables 

them to successfully design and implement such an 

inclusive curricular framework” (Salvador, 2023, p. 3).” 

Again, we recognize that this is indeed challenging work; 

therefore, our committee’s mission is to provide NCMEA 

members and fellow music educators with quality resources such 

as webinar information sessions, literature recommendations, 

and other support materials to assist in providing students with a 

comprehensive, inclusive music education. We also understand that 

there are barriers to instruction that are not of our own making. 

Therefore, we urge you to stay current with information provided 

by NAfME regarding pending state and national legislation. Again, 

a word from NAfME regarding the unique challenges of providing 

comprehensive instruction in these troubling times: 

“While music educators in affected states and districts 

must follow laws and policies, we urge music educators 

to know exactly what the laws are that affect them and 

proactively communicate with students, families, and 

administrators about how excellent music education that 

includes diverse musics presented within cultural context, 

attention to social and emotional learning, equitable 

treatment for students with a variety of identities, and 

culturally responsive pedagogy is not in violation of these 

laws” (Salvador, 2023, p. 4). 

As we move forward into the next school year, we are working 

to schedule more webinars for professional development, continue 

collaborative relationships with other arts organizations and 

NAfME, and to compile more resources for our members and 

fellow colleagues. We hope you will reach out to our committee 

if you have recommendations for resources that would further 

support our membership or if you need direct support in a 

particular area. The IVfME Committee looks forward to working 

with, and for, you as we grow together in knowledge and practice. 

References 

National Association for Music Education. (n.d.) Equity and access 

in music education. Retrieved May 23, 2023 from https://nafme.org/ 

about/position-statements/equity-access/ 

Salvador, K. (2023). Divisive concepts laws and music education: A 

report for the National Association for Music Education. Retrieved May 

23, 2023 from https://nafme.org/divisive-concepts-laws-and-musiceducation/ 

Lillie Allmond Harris, IVfME co-chair & Heidi Sue Ross, Retired 

Membership co-chair 

IVfME Webinars 

If you’re looking for an inclusive presentation for bringing 

multicultural education to your classroom, watch one of these 

NCMEA-sponsored webinars, originally presented during 

COVID. 

Evolution of Contemporary Gospel Drumming 

Presented by Dr. Lamon Lawhorn, assistant band director at 

NC A&T State University 

https://www.youTube.com/watch?v=sAHeHePbBak 

Have No Fear: Hip Hop is Here – The History of Hip 

Hop and Its Place In the Music Education Classroom 

Presented by Thomas E. Taylor, Jr., percussion professor North 

Carolina Central University 

https://www.youTube.com/watch?v=jVQfqUIBVJ0 

Culturally Responsive Teaching: What It Is and Why 

It’s Important In Music Education 

Presented by Dr. Connie McKoy, UNC Greensboro 

https://www.youTube.com/watch?v=S8GFGwDi3rs 


Elementary 

Joseph Girgenti, Chair 

uncp.edu/music • music@uncp.edu • 910.521.6230 

Happy summer, everyone! I am reminded of these lyrics 

from George Gershwin’s “Summertime” – “One of these 

mornings, you gonna rise up 

singin’. Yes, you’ll spread your wings, 

and you’ll take to the sky.” Now that the 

school year is over, it’s time to recharge 

and rejuvenate, so we can take to the 

sky as the new school year rolls in. 

Your Elementary board has 

been busy the last few months with 

our Mini-Conference in April, fall 

conference planning, constitution and 

bylaws revision, and Teacher of the 

Year nomination and selection. 

Mini-Conference was a huge 

success! We had almost 50 virtual 

and in-person participants, and our 

presenters were fabulous. If you did not 

attend this year, we plan on holding 

this event annually across various 

locations throughout the state to serve 

as many music educators as possible. 

The date and location for 2024 will be 

determined in the coming months and 

announced in January. 

As for the 2023 NCMEA 

Professional Development Conference, 

Inspire Harmony, session proposals 

have been reviewed, a preliminary 

schedule has been created, and we are 

gearing up for an exciting conference. 

All summer, we will be posting clinician 

highlights and showcase the wonderful 

things they will be presenting. 

Student performances are also back 

this year! We had several fantastic 

applicants and the board chose four 

groups to participate: Union and 

Marshville Elementary Schools, Northern 

Elementary School, Wesleyan Christian Academy, and Balls Creek 

Elementary School. 

Everyone got into the act at the Spring Mini-Conference 

We are so close to sharing the much-needed updates and 

revisions to our governing documents. The last update was in 2012. 

Be on the lookout for the updated 

documents in the fall so you can make 

an informed decision when voting 

takes place at the conference. 

I am pleased to report we had 

over 20 educators nominated for 

our Elementary Teacher of the 

Year Award. The decision will be 

announced at the Elementary Honors 

Chorus Concert on November 5. 

Honors Chorus audition 

information has been posted to 

the NCMEA website. The audition 

piece for 2023 is the Henry Leck 

arrangement of Vivaldi’s “Et 

Exultavit.” More on the timeline and 

clinic can be found on the Elementary 

Honors Chorus FAQs tab. 

Do you receive our quarterly 

newsletter, Elementary Music Matters? 

Our most recent issue included 

district updates, summer learning 

opportunities, grants, and so much 

more. If you have not been receiving 

our newsletters, please contact myself 

or your district representative. You 

can find our most recent newsletter 

here. 

As we continue to build our 

network across the state, we are still 

looking for teachers to volunteer as 

county contacts. County contacts 

are some of our biggest assets, 

communicating with the teachers 

in your area and our board. If 

communication is one of your 

strengths, we want you for these positions! 

As always, please feel free to contact me with any questions, 

comments, or concerns at elementary_section@ncmea.net. 

UNCP is one of the most affordable universities in 

North Carolina. With NC Promise, undergraduate tuition 

at UNCP is $500 per semester for in-state students and 

$2,500 per semester for out-of-state students. 

MUSIC EDUCATION 

MUSICAL THEATRE 

BACHELOR OF ARTS 

MUSIC INDUSTRY EMPHASIS 

SCAN THE 

QR CODE TO 

APPLY NOW! 

Accredited by the National Association of Schools of Music 

This publication is available in alternative formats upon request. Please contact the Accessibility Resource Center, Oxendine Administrative Building, Room 110, or call 910.521.6695. 


Middle School Choral 

In the summer of 2022, I returned home from an incredible 

choir tour in Germany and Austria with my community choir 

and unknowingly brought home an extra souvenir – COVID! 

As I sat on the couch, trying to think of something productive to 

do instead of binge watching yet another show, I was inspired by a 

choral concert I found on YouTube. 

Craig Hella Johnson’s professional ensemble, Conspirare, 

performs their concerts in sets or long sections without audience 

applause. The pieces seemingly flow one into the next through a 

continued piano line, an extended introduction, and sometimes 

through – gasp – inserting pop solos, duets, or trios in between 

choral pieces. For example, in their Christmas Tour 2022, 

Conspirare Sings Remembrance and Joy Concert, the opening piece 

was treble voices singing “Edge of Seventeen” by Stevie Nicks, 

which led directly into a traditional SATB arrangement of “Veni, 

Veni Emmanuel.” I was immediately engaged and tried to make 

sense of what I was experiencing from the very beginning. 

As I viewed the performance, even on my small computer 

screen, I noticed that this through-line allowed me to feel 

significantly more connected to the singers and the pieces, and I 

found myself excitedly anticipating what might come next as the 

connecting thread. I set a goal for myself to try to provide a similar 

experience for my students and our audience for our spring 2023 

concert. 

Emily Turner, Chair 

For Craig Hella Johnson and Conspirare, the overarching 

themes of their concerts give space for each audience member 

to form their own connection to the texts and quotes. In this 

particular concert, the idea of remembrance for a young singer 

or audience member may take them back to a fond childhood 

memory or friendship. An adult may recall a lost loved one or even 

a moment in time which they would like to replay differently. 

Taking all this into consideration, I chose From Darkness to 

Light. The pieces I selected began with texts or themes that felt 

darker or heavier, ending with hope and inspiration in pieces that 

utilized light. After months of selecting texts and spending hours 

with my incredible pianist, Linda Velto, we found a concert order 

we felt took the singers and audience members through a journey 

in which the music never stopped. 

Velto played through the entire concert, creating melodies that 

would help us transition from one piece to the next, or extending 

the opening to one of our pop arrangements that would help 

our young singers know when to come in on time. I even asked 

her to play Debussy’s “Clair de Lune” and the first movement of 

Beethoven’s “Piano Sonata Opus 27, No. 2” (Moonlight Sonata) to 

help with stage transitions. It was glorious! I made a ridiculously 

long digital program for the audience to access, just like 

Conspirare’s, which included all the texts and an image related to 

the piece to spark their journey. We asked the audience to refrain 

from clapping for the entire 65-minute performance, and while we 

had a few rule breakers during the first few numbers, eventually 

they all caught on. Even the students remarked how wonderful it 

was to experience the full line of the concert without interruption! 

So, here during your summer break, while you’re trying to be 

productive, and considering next year’s concerts, I encourage you 

to switch it up on your students, yourself, your audience, and even 

your pianist! Steal ideas from those who are already doing it well 

and from choirs you admire! You don’t have to incorporate every 

element I did, but here are a few ideas to try: 

Theme it – Choose a theme for your performance. It can be 

strict or loose depending on the repertoire you’re using. Ask your 

students what they think the theme is after they’ve been working 

on all the pieces for a while. 

Talk less – Let your students welcome the audience and 

introduce the pieces. This is a valuable lesson for your students to 

12TH ANNUAL 

UNCW 

learn about sharing the most important information and in their 

stage presence and public speaking skills. For my long transitions, 

I had students choose quotes relevant to where we were on our 

journey from darkness to light to read at the mic. 

Find imagery – Find free images on the Internet or take your 

students on a walk around campus with their phones and ask 

them to capture photos that remind them of a particular piece 

and display them in your program and/or on the screen in your 

performance space. 

Fewer transitions – The key to keeping the momentum of your 

performance is less wait time and transition time. For this concert, 

all my students sat on the stage together, on performance risers and 

I moved back and forth between the choirs when it was their turn. 

Happy planning! And let me know if I can provide resources 

for you or help in any way! Most of all, let me know how it goes for 

you! 

Honor Band Festival 

NOMINATIONS & AUDITION 

RECORDINGS DUE OCTOBER 15 

DECEMBER 7–9, 2023 

PERFORMANCES & MASTERCLASSES 

AUDITION FOR UNCW SCHOLARSHIPS 

WWW.TINYURL.COM/UNCWHBF | CONTACT: DOMINIC TALANCA (TALANCAD@UNCW.EDU) 


And The Award 

Goes To . . . 

Margaret Maurice 


NCMEA member Margaret Maurice of Charlotte- 

Mecklenburg Schools was named the 2023 Fine Arts 

Educator of the Year at this year’s North Carolina 

Showcase on May 13! This event is sponsored by the North 

Carolina Association for Scholastic Activities and celebrates 

excellence in education throughout the state. 

She demonstrates educational excellence, leadership, and 

collaboration, and serves as an inspiration to her students and 

those around her on a daily basis. We are proud to have her 

represent NCMEA and music education 

in our state. 

We asked Maurice some questions 

about her award-winning career: 

What made you choose elementary 

music? 

I was fortunate enough to go to a 

public high school that required a 360 

contact hour project called extended 

“graduation challenge” for each senior. I 

chose a K – 8 teaching internship in the 

Title I music department I grew up in. We 

had group piano, band, choral music and 

general music. I was able to rotate and 

support each K – 8 music teacher. This 

provided me with experience, motivation 

and valuable classroom culture skills to fuel my passion for music 

education before embarking on my own path as a college student 

and future music teaching journey. 

Can you share your experience as an educator and what you 

have done to find success in your career? 

I believe in listening to students and letting them tell their 

stories. Self-expression through the arts is powerful. I can create 

a nurturing classroom environment, facilitate the discovery of 

musical and academic tools or skill development through an 

2023 Fine Arts Educator of the Year, Margaret 

Maurice, with the U.S. Secretary of Education, Dr. 

Miguel Cardona 

inquiry-based approach, collaborate with students on rubrics for 

performances or projects… but ultimately, my job is to get out 

of the way! I have found the most success when I make space for 

students to create and fully express their musical artistic vision. I 

also love modeling the skills of how to authentically support and 

encourage fellow musicians. I feel immense pride when I see a 

student trying a difficult new concept getting sincere and specific 

compliments on their process from a peer. 

What is one piece of advice you can give to new music 

educators? 

Dig in and dig deep! 

Be authentically YOU! You are 

precisely the music teacher your students 

were meant to have at this time. Speaking 

from the self-proclaimed professional 

development, workshop, conference going 

and certification addict (haha) – you have 

everything you need inside of you! March 

to the beat of YOUR drum while actively 

listening to the tune of your school. 

The more you are open to learning 

from your students, the culture of the 

school you teach in, the surrounding area, 

state, etc., the more you will be immersed 

in what matters to them and it will matter 

to you. True culturally responsive teaching 

in a musical setting is so rich and rewarding. 

Tell us about the recent awards you have received, and what 

it felt like to win them. 

During the 2022 – 2023 school year, I was awarded several 

recognitions including the A. Craig Phillips Honored Educator 

Scholar, from the NC Center for the Advancement of Teaching. 

The A. Craig Phillips Honored Educator Scholarship pays tribute 

to the legacy of an outstanding North Carolinian who spent his 

life finding ways to strengthen administrators, empower teachers, 

and motivate parents to support education for all children. 

Other awards I’ve received include: 

• 2023 GRAMMY Music Educator Quarterfinalist, honoring 

teachers who have made a significant and lasting contribution to 

the field of music education and demonstrate a commitment to 

the broader cause of maintaining music education in the schools. 

• 2022 Maxine Swalin Award for Outstanding Music Educator, 

by the North Carolina Symphony, recognizing outstanding 

teachers who make a lasting difference in the lives of students 

of all abilities and backgrounds; serve the community in an 

it's time 

TO START A 

Tri-M MUSIC 

honor 

SOCIETY CHAPTER 

exemplary manner as a role model in music education; inspire 

students to reach high musical standards; and instill a love for 

music in children. 

• Music Teacher of Excellence Award, from the Country Music 

Foundation, selected based on dedication to bringing a highquality 

music education to students and their school community 

through music. 

• 2022 Council Scholar Award, from the World Affairs 

Council of Charlotte, for a selected educator who has shown 

outstanding commitment to promoting international education in 

their schools, communities, and the greater Charlotte region. 

• Full Scholarship, Global Education Teacher Leader Institute 

2023 for K-12 Teacher Leaders, awarded by The Rizzo Center, 

UNC Chapel Hill. UNC World View equips educators with global 

knowledge, best practices and resources to prepare students to 

engage in our interconnected and diverse world. 

I was completely honored and surprised with each of these 

awards. I’m always a student first, teacher second. I apply for most 

opportunities that come across my desk because I never want to 

stop learning and growing. Throughout my career these types of 

opportunities keep me sharp so I can serve my students to the best 

of my ability. 

Strengthen your school’s 

Music. Honor. And Society. 

Starting a Tri-M ® Music Honor 

Society chapter will help show the 

value of your music program to 

the school. It will also benefit your 

students by allowing them to: 

• Build an impressive record for 

college 

• Grow as leaders in music 

• Serve their community 

Ready to start a chapter? 

Visit MusicHonors.com 

® 

Tri-M@nafme.org | 1-800-336-3768 

Start 

3 


High School Choral 

Aleisa Baker, Chair 

Congratulations! You’ve made it 

to the glorious summer! Whether 

you are a retired or veteran 

teacher, or in the throes of beginning 

your teaching career, this time is a 

well-deserved respite for every single 

one of us. While you sip your summer 

smoothie, let me take a moment to brag 

about the High School Choral section’s newest venture – All-West 

and All-East Choral Festivals! 

In an effort to update the All-State model to allow more 

students and schools to participate in a large choir format, the 

executive board created a regional “All-State” type format for more 

logistical access. Now, several years and (many zoom classes) 

later, spring 2023 delivered the debut of the All-West and All-East 

Regional Choirs with a rousing success! 

Here are a few statistics: 

All-West Regional Choir, April 21 – 22 

Bonclarken Conference Center, Hendersonville, NC 

• 232 singers representing 27 schools 

• Clinicians: Dr. Stephen Futrell, Elon University, and Dr. 

Ginger Wyrick, UNC Charlotte 

All-East Regional Choir, April 28 – 29 

East Carolina University 

• 259 singers representing 32 schools 

All-East 

Regional 

Choir 

All-West 

Regional Choir 

• Clinicians: Dr. Shannon Gravelle, University of Wisconsin, 

Oshkosh, and Dr. Jason Dungee, UNC Charlotte 

Both events were huge successes and the High School executive 

board is thrilled to see this dream come to fruition. A special 

shout out to Sarah Fulton, All-West Regional Choir chair and Luke 

Hancock, All-East Regional Choir chair. Without their immense 

time and dedication to this endeavor, it would not have been 

possible! 

Each event was set up to be unique, different from the other. 

All-West had a fire pit, basketball and games and was housed in 

cabins on the conference center grounds. All-East was held in the 

student center at East Carolina University and featured a short 

performance by Drastic Measures – a student a cappella group at 

ECU. Students were housed in nearby hotels. 

Needless to say, we know these are events that will continue 

to be a big success for years to come! Mark your calendars for the 

2024 events: All-West Regional Choir will be held April 19 – 20 at 

Bonclarken Conference Center; All-East Regional Choir will be 

April 26 – 27 at East Carolina University. I highly encourage you to 

include this amazing event in your student event calendar for the 

2023 – 2024 school year. 

I hope you have a restful, yet exciting, summer 

– one that refuels your tank to full once again, 

leaving you ready to pick up the torch of music 

education to teach even more young people to love 

to sing! 

Music at Charlotte 

UPTOWN PERFORMANCES EXCITING GUEST ARTISTS 

Charlie Parker at The Jazz Room Composer/Performer Pamela Z 

Backstage at the Eagles concert 

@clt_coaa 

BOLD IDEAS. 

BIG CITY. 

COMMUNITY COLLABORATIONS 

Carlisle Floyd’s opera, Susannah 

Holocaust Remembrance Day Concert 

At UNC Charlotte, studies go beyond the 

university and into Charlotte's creative community. 

With bold ideas and broad connections, our talented 

faculty, students, and alumni are shaping the civic 

imagination of this fast-growing city. 

Renowned saxophonist Branford Marsalis 

music.charlotte.edu 


Clockwise from top left: NCMEA president Johnathan Hamiel with Gov. Roy Cooper; Walter 

Williams High School Orchestra; WB Wicker Elementary School; NC Senator Amy S.Galey, K-12 

dance and visual arts consultant Sayward Grindley, Walter Williams HS orchestra director Veronica 

Biscocho, NCMEA executive director Susan Heiserman, NCMEA president Johnathan Hamiel, 

and NC Representative Stephen M. Ross; WJ Gurganus Elementary Chorus; Scotland High 

School Symphonic Band; Fox Road Elementary School; Martin Magnet Middle School Honors 

Chorus performing for Gov. Roy Cooper 


Starting a New 

High School Music 

Director Position 

A four-year guide to long-term success 

you cast vision and challenge people to cut through tension and 

achieve something greater, they will tend to fall into three groups. 

Typically, 25% of the people will support you, 50% of the people 

will remain uncommitted or uncertain, and 25% of the people will 

resist. Your job as a leader is to get the people in that 50% group to 

join the 25% that are all-in.” 3 

I recommend creating some form of student leadership group 

in order to present new ideas to a smaller group and receive 

student input. Having the student leadership comprising the 25% 

of supporters will help to create opportunities to help win over the 

50% in the middle. 


Starting a new high school music director position often 

comes with great excitement. Being able to build your own 

program at a new school is a wonderful experience that if 

done in a thoughtful manner can lead to long-term success there. 

However, starting a new position can also bring with it challenges 

and unknown circumstances that you will have to overcome. It is 

through my experiences teaching at three different schools that 

I have come to realize the importance of having a four-year plan 

in order to set a firm foundation for your new high school music 

director position. This serves as a guide for new high school music 

directors to adapt and create their own four-year plan for long 

term success. 

Year One 

The first year of directing your music program is often the 

most difficult. In addition to learning about your new students and 

colleagues, you will have to learn a new culture, new systems, 

and new traditions. It is critical that you do as much as you can to 

learn about, and understand, the things your new students are used 

to doing in your ensemble. The Stockdale Principle states, “You 

must never confuse faith that you will prevail in the end – which 

you can never afford to lose – with the discipline to confront the 

most brutal facts of your current reality, whatever they might be.” 1 

You will quickly have to come to terms with the facts of your 

music program and plan for the program that you have, not the 

program you think you should have. You will inevitably need to 

adapt your rehearsal style, repertoire choices, and many other 

aspects of your teaching in order to make the transition as smooth 

as possible for the students. 

This is not the year to come in and change everything. Try 

to keep most of the traditions the same such as performing a 

certain song every year at a concert or going on a performance 

trip. There will be enough changes and challenges for the students 

from the simple fact that you are not the same person as the 

previous director. You will have your own unique set of skills and 

personality traits that may differ drastically from those of the 

previous director. You should not feel like you have to become 

another person, or try to act in a way that is not authentically you. 

Matthew Pollard says in his book, The Introvert’s Edge, “Trying 

to copy extroverts is a recipe for failure. To achieve success, 

introverts must embrace their own unique and powerful abilities.” 2 

As an introvert replacing two different extroverted directors 

throughout my career, I learned through experience to embrace 

and leverage my unique strengths and abilities. I also learned to 

find help in others that possess other strengths and abilities I do 

not have. It is important to remember, your goal throughout your 

first year is to build professional relationships with your students 

and colleagues in order for them to know that you are there not 

only to teach music, but to better their lives. 

Year Two 

Your second year at your school moves you one step closer 

to creating your vision for the music program. You will have one 

brand new grade that did not experience the previous director in 

addition to the new students who join your music program for 

the first time. This will create a mix of brand new students and 

students who have chosen to stay in your program. 

In order for all students to get to know the director better, I 

recommend you create an About Me presentation. I include things 

such as: where I grew up, how many years I have been teaching, 

family, hobbies, and activities I was involved in during high 

school. While it may seem a little strange to give a semi-formal 

presentation about yourself, I have witnessed the powerful impact 

it has on building professional relationships with my students. I 

have even had students reference this presentation in a positive 

way throughout the school year. 

It is during the second year I recommend you start making 

minor changes and adjustments to aspects such as traditions, 

repertoire, and trips. Do not totally abandon everything the 

previous director used to do. You still might have a majority of 

students who experienced the “old way” of doing things. When 

you start to make changes it is important to explain the reasons 

behind your decisions and get input from others before making 

them final. 

John C. Maxwell writes in his book, Leadershift, “Whenever 

Year Three 

It is during year three of your new school that it will start 

to feel, sound, and look like your music program. People in the 

school and community will start to identify the program with 

you instead of the previous director. The majority of students in 

your program at this point will only have had you as their high 

school music director. The students who did have the previous 

director are now choosing to stay because they support you and 

the direction you are trying to take the program. By only making 

minor changes when necessary and building a community based 

on professional relationships and overall excellence during the 

first two years, you are now ready to transition to making some 

major changes. 

William Bridges, author of Managing Transitions, says the 

following about transition: “Transition is not just a nice way to 

say change. It is the inner process through which people come 

to terms with a change, as they let go of how things used to be 

and reorient themselves to the way that things are now. In an 

organization, managing transition means helping people to make 

that difficult process less painful and disruptive.” 4 

It is important to understand it takes people different amounts 

of time to process and accept change. If the director is able to 

empathize with those students who take longer to accept change 

while explaining the positive reasons for the changes, they will 

be more likely to successfully transition the program to the new 

director’s long-term vision. 

Year Four 

You have put in a lot of time and hard work over three years 

at your new school, and it is during year four that you will really 

see it pay off. Similar to investing or planting a tree, it can take a 

long time for your efforts to compound and pay off exponentially. 

Darren Hardy, author of The Compound Effect, gives us the 

following equation for our long-term program growth, “Small, 

Smart Choices + Consistency + Time = Radical Difference.” 5 

It has been through my experience that at times it feels as 

if nothing I do makes any difference and I begin to question 

my efforts. However, these moments are not the reality of the 

trajectory of your program. Given enough time and consistency, 

your efforts will produce a “radical difference” with your students, 

music program, and school community. 

The students who were in ninth grade when you first started 

the new position are now your leaders in twelfth grade. Over the 

past three years you have slowly made changes while respecting 

the traditions that have been set in place before you started 

working at that school. You have created your own student 

leadership program and have leveraged this group of students in 

order to make a positive impact on your entire music program. 

You have managed the transition of students entering and exiting 

your program with dignity and respect. Through all of these 

efforts you have slowly laid the firm foundation for your music 

program that you will be able to build on top of for years to come. 

References 

1 

Collins, J. (2001). Good to great: Why some companies make 

the leap ... and others don’t. Random House. 

2 

Pollard, M. O., & Lewis, D. (2018). The introvert’s edge: how 

the quiet and shy can outsell anyone. AMACOM Books. 

3 

Maxwell, J. (2019, February 26). The 25-50-25 principle of 

change. John Maxwell. Retrieved January 1, 2023, from https:// 

www.johnmaxwell.com/blog/the-25-50-25-principle-of-change/. 

4 

Transition as ‘the way through’. William Bridges Associates. 

(2017, January 4). Retrieved January 1, 2023, from https:// 

wmbridges.com/resources/transition-management-articles/ 

transition-as-the-way-through/ 

5 

Hardy, D. (2020). The compound effect: Jumpstart your income, 

your life, your success. Hachette Go, an imprint of Harchette 

Books. 

Zachary Thompson is the middle school and high school choir 

director and worship band teacher at Covenant Day School in 

Matthews, and the director of music ministry at Dilworth United 

Methodist Church in Charlotte. He holds a Master of Music in 

choral conducting from Austin Peay State University and a Bachelor 

of Music Education from Slippery Rock University. He has been 

selected for several international choral conducting symposiums and 

apprenticeship programs, including the Toronto Mendelssohn Choir 

Choral Conductors’ Symposium in Canada and the Berkshire Choral 

Festival Conductor Apprentice Program in Ireland. 


Across the Districts 


District 5 

There’s been some great work done by the music educators in 

District 5 this past year. We celebrated many Teachers of the Year 

awards, and grants received to support school and community 

performances. We’re also fortunate to have successful summer 

music camps that have endured and flourished post-pandemic. 

Brent Davis, Anna Griffith, and Theresa Kennedy were 

recognized as Teachers of the Year at their respective middle 

schools: Mendenhall, Northwest and Meadowlark. Austin Beasley, 

Ashley Hayes and Emily Hermanson were Teachers of the Year at 

Whitaker, Union Cross and Sedge Garden Elementary Schools, 

respectively. Chris Garmon was Teacher of the Year at the Career 

Center, while Hillary Bellinger was the Teacher of the Year at 

Parkland High School. 

Oakwood Elementary School received grant funds from the 

Caswell Council for the Arts for their production of Lion King Jr. 

Julia Fair, also in Caswell County, received a Bright Ideas Grant for 

a production of Lion King Jr. at North Elementary. The Arts Council 

of Winston-Salem surpassed the previous year’s goal of funds 

designated to the Arts-In-Education Grant, which is awarded for 

visiting artists and performers in Forsyth County schools. 

MPA events trended toward pre-pandemic participation and 

quality. Several bands, choruses and orchestras are back to attending 

contests and students are continuing to grow as members of 

performing ensembles. Community performances also increased 

with ensembles performing at local feeder schools to recruit new 

students and retain those currently enrolled in music programs. 

School board performances became a trend. 

Summer music camps continue to thrive, providing students 

with outstanding instruction and performance opportunities. 

The Cannon Music Camp at Appalachian State University offers 

individual and group instruction in a variety of settings. The 

summer of 2022 was Cannon’s first return to an in-person camp 

since 2019, with enrollment 99% higher than the number of 

returning students they enrolled pre-pandemic. 

Lenoir-Rhyne University’s Summer Youth (Band) Camp is open 

to students from beginning band to rising college freshmen. In 

2022, they accepted 44 middle schoolers and 28 high schoolers who 

were both day campers and overnight campers as well. This year the 

camp is July 10-14. 

Summer Music Camp at UNC Greensboro is considered 

“America’s Most Popular”, long recognized as a national leader in 

musical excellence. Their enrollment is up almost 200 students 

compared to last year, serving over 2,040 musicians. UNCG’s 

Summer Music Camp takes place July 9 – 14 and 16 – 21. 

We extend heartfelt gratitude and congratulations to our recently 

retired music educators, including NCMEA past president Dr. Carol 

Earnhardt. We wish you the best on your future endeavors! 

District 6 

Ron Forsh 

District 5 President 

District5@ncmea.net 

The music programs across District 6 have been active during 

the spring semester. Chorus, band, and orchestra programs 

participated in MPA events and county based festivals. Many 

schools also participated in adjudicated events or workshops at 

Carowinds, Universal Studios, Broadway, and Walt Disney World. 

In March, the Ardrey Kell High School Chamber Orchestra 

performed at the National Orchestra Festival in Orlando, directed 

by Amanda Turner. Two ensembles marched in the National 

Memorial Day Parade in Washington, D.C.: Cox Mill High School, 

led by Adam Singer, and David W. Butler High School, led by 

Andrew Francis. 

The Northwest School of the Arts music department performed 

Karl Jenkins’ “The Peacemakers” on April 27, and featured students 

from seventh/eighth grade chorus, mixed chamber choir, wind 

ensemble, chamber orchestra, symphonic orchestra, handbells, and 

advanced piano. This collaboration was rehearsed and directed by 

Ashleigh Cook (band), Erica Hefner (orchestra), Aaron Lafreniere 

(MS chorus/handbells), Stephanie Madsen (HS chorus) and Kristin 

Stonnell (piano). 

Several teachers also won regional and national awards. Crystal 

Briley (University Park Creative Arts School) is one of 30 teachers 

nationwide recognized in 2023 by the CMA Foundation as Music 

Teacher of Excellence. Jan Lauro (Community House Middle 

School) received a Cato Lifetime Achievement in Teaching Award 

and O’Shae Best (Crestdale Middle School) and Crystal Briley 

were given Excellence in Teaching awards by the Arts and Science 

Council. 

Julia Winegardner 

District 6 President 

District6@ncmea.net 


The children didn’t speak English and they did not own any 

instruments, but they understood a smile, the tilt of your 

head, the open hand toward the violin case. They knew I 

was there to teach songs, and they were captivated by the gift of 

music. 

Mayuree, who had witnessed the beheading of her own mother, 

caught on to playing the violin like wildfire. Her passion for music 

extended far into the wee hours of the night until she had to be told 

to pack up over and over again. At last, she would say sweetly in 

Thai, “Just one more song?” 

Anurak, who had been living in a 

makeshift dog house before coming 

to Hope House, loved dancing so 

much he would break into the biggest 

smile and immediately run to get 

his best friend the minute the music 

started. In 2018, I traveled to the 

Hope House Children’s Home in 

Chiang Mai, Thailand, to teach songs, 

dances, and violin to prepare the 

children for their Cowboy Christmas 

Festival. Going in with the mindset 

that I was there to teach them, I 

had no idea how much they would 

actually teach me. 

A Hope House Children’s Home class with their violins. 

The children of Hope House are 

mostly from the mountainous regions of Chiang Mai where they 

often have been abandoned and neglected with no means for an 

education, for love, and even for survival. Children are sometimes 

dropped off at the orphanage; other times, they are brought in 

by tribal elders. Sometimes, the parents themselves will throw 

the children into the Hope House truck and run away, knowing 

that the child will be cared for and protected. Hope House takes 

in these children and provides them with a home, an education, 

and a family. Many of the kids don’t speak Thai when they first 

arrive. Rather, they speak a tribal language that few understand. 

The children take it upon themselves to look after one another, the 

older kids teaching the younger, protecting their “siblings,” and 

embracing each other regardless of language, or skin color, or tribe. 

On the first day of my visit, the children were so excited, 

they arrived 30 minutes early! In that first lesson, I assigned 

instruments, taught them how to hold and play the violins, and 

reinforced posture and instrument care. The first time they opened 

the cases, many of the children were hesitant to even touch the 

instruments. When asked about this, the director said, “They 

believe the violin is for the rich. They are afraid to touch something 

so valuable.” I would imagine many of our students here in the U.S. 

may feel this very same way when they first join orchestra. 

Although I rarely spoke English during lessons and they rarely 

spoke Thai, there was no question 

that the students understood to 

lift their instruments when I did, 

to place their fingers upon the 

strings when I nodded, and to 

pluck the string after they heard 

me pluck. Direct eye contact and a 

smile indicated success and a quick 

individual demonstration indicated 

the need to fix something. Soon, 

we developed a kind of a language 

of our own, in which my students 

completely understood my various 

facial expressions, gestures, and 

sound effects. 

In spite of the language barriers, the 

students progressed remarkably quickly. By the end of day one, the 

students could pluck “Hot Cross Buns.” By the end of day two, they 

could play traditional Thai folk songs. On the third day, I happened 

upon Batira, who had been abandoned in the woods multiple times 

by her mother, until one day, exhausted by the constant rescue 

efforts, the tribal elders brought her to Hope House. Batira was 

not old enough for the violin just yet, but there she was, holding a 

violin. 

Next to her was Rattae, demonstrating where to put her fingers, 

speaking rapidly in a language I had never heard. By the end of 

that day, Batira (second grade), under the direction of fourth 

grader Rattae, had already caught up to all of the other fourth 

grade violinists. On the tenth day, the students had performed 


successfully in the Cowboy Christmas Carnival with near perfect 

posture, using their bows to play a variety of songs. The children 

were exploring the instrument and were teaching one another with 

a fervor never before seen. 

The lessons I learned from these young musicians have stuck 

with me ever since my visit. I have shared what I have learned with 

countless teachers all over the country and have found that so 

much of this is intuitive to so many of us. For those things who are 

not immediately intuitive, I have made a short list of strategies, tips, 

and even a little game that may help you overcome any language 

barriers you may be experiencing in your own class! Here are just a 

few of the strategies I found most helpful: 

Teaching Strategies for English Language 

Learners (ELLs) 

Non-Verbal Cues. Incorporate a series of non-verbal cues (see 

below) and visual aids such as charts and posters to reach all of 

your students. For our ELLs, music is often the one class where 

they can communicate WITHOUT speaking. The more we can 

model for our students, the more successful they can be. 

Modeling. If you are teaching beginners, model the desired 

behavior frequently, using short and concise terms and motions. 

I like to smile for “yes!” shake my head from left to right for “not 

quite,” and I say “Bravo!” once the entire class gets something right. 

When I was teaching violin in Chiang Mai, the students became so 

accustomed to my terms that one day, they convinced me to eat a 

super spicy dish. When I took the very first bite, they all smiled and 

clapped and broke into a chorus of: “Bravo! Bravo!” 

Li’l Angie’s Pitiful Posture Party. Consider even modeling a 

behavior that is not desirable. I often will model common posture 

mistakes for my beginning musicians to see if they can fix my 

problems. I tell my students that I become “Li’l Angie” and they 

LOVE it. Try this one tomorrow: 

• Pick a few common posture issues (collapsed wrist, clawshaped 

bow hold, and a right-hand thumb on a string instead 

of an index finger). 

• Stand at the door to greet your students with your instrument 

and your improper posture. 

• Look as pitiful as possible and simply say, “Help!” 

• If a student is able to fix a problem, say, “Thank You!” and look 

relieved. 

You will be amazed at the competence your students can model 

without even speaking! 

The Name Game. I have heard it said that our name is the most 

beautiful word in our language. If we hope to reach our students, 

we must learn their names, speak them properly, and use them 

regularly. In Thailand, I struggled to say the children’s names 

properly. Determined to say my musicians’ names properly, I 

taught them a song where we would each have to say one another’s 

name. At one point in the song, one individual is selected and they 

say “My name is Angela.” The other students then respond “Hello, 

Angela,” and then the song continues. I not only listened intently 

as my students one by one said their own name, but I recorded 

them singing it. I spent hours the first night I was there, practicing 

each child’s name. I can still remember how Naowarat lit up when 

I spoke her name correctly for the very first time. Practice your 

students’ names, say them properly, say them with a smile. Our 

name is the most beautiful word in our language. 

Culturally Inclusive Programming and Planning. As you 

are planning future concerts, recruiting tours, and your lessons in 

general, consider the students in your classroom. Select literature 

that is relevant, enjoyable, and culturally inclusive. If you teach 

in an area with a large Korean population, seek out Korean 

composers and performers. Better yet, encourage your students 

to find a composer or artist their family loves. Sometimes we can 

find recordings of music that our students would love to play but 

we struggle to find an arrangement. Consider asking your more 

creative students if they might be interested in partnering on an 

arrangement of a piece that may be popular with your students. 

Here are a few additional suggestions: 

• Provide a script for your advanced ELL students to read in 

both English and in their native language at your next concert. 

• Designate one or two students to speak at your next recruiting 

event in their home language. I often have them simply say 

“We want you to join orchestra!” 

• Create performer heritage days where your students can bring 

in recordings of performers from their home country. 

Thanks to this project, over 30 orphans can now play the 

violin. As I was leaving on my last day, the children came running 

up with the violins as if I had forgotten essential pieces of my 

luggage. “No, they are yours. You keep them!” Understanding 

gradually came over their faces as one by one, they were flooded 

with relief and then joy until at last, we all came together in an 

enormous bittersweet hug. 

There is something magical about playing a musical 

instrument. Suddenly, the world bursts with color, confidence 

soars, and the impossible seems within reach. That holiday season 

was truly magical for the children, and for me. Before I left, one of 

the teachers at the children’s home said to me, “Our children never 

dreamed of playing the violin. They have always believed that this 

was an instrument for the wealthy, the privileged. Thank you for 

helping our children see beyond.” 

If you would like to learn more about the Hope House 

Children’s Home or feel called to donate, please visit: 

www.hopehousechildrenshome.com/. If you would like more 

information about engaging English Language Learners, 

check out my book, The Music Teacher’s Guide to Engaging 

English Language Learners, or follow me on instagram @ 

musicteachersguide for regular tips! 

Angela Ammerman, referred to by the Washington Post as the first 

“music teacher prodigy,” is the author of The Music Teacher’s Guide 

Series and hostess of the podcast #MusicEdLove. Dedicating much 

of her career to providing access to music education for underserved 

populations of children, she has been recognized for founding a 

strings program for orphaned children in Thailand. She was named the 

2019 Outstanding Advisor of the Year at the University of Tennessee 

at Martin, and the 2016 Virginia Orchestra Director of the Year. 

Ammerman is a frequent All-State conductor, speaker, and clinician. 

Ammerman has a new book coming out this summer on Recruitment 

and Retention and is hard at work finishing the next in The Music 

Teacher’s Guide series on Classroom Management. 

NCMEA Receives CMA Foundation Grant 

Rural music educators face multiple challenges, even beyond 

those reported by their general education colleagues. The vision 

and opportunity of the CMA Foundation State Music Education 

Association Advocacy Grant is 

to better understand those music 

teachers’ obstacles and find practical 

solutions to their real-world problems. 

In the 2023 – 2024 school year, the 

State Music Education Association 

Advocacy Grant will support the 

launch of a virtual PLC for rural 

K – 12 teachers throughout the state 

of North Carolina. In the past few 

years, NAfME members in North 

Carolina and the southeast have 

piloted smaller PLCs for rural educators, after which participants 

reported their desire for a longer time frame and more sustained 

support. NCMEA is responding by refining and expanding the 

project design to include both in-person and virtual connections 

throughout the year. 

One central component of the project will be an online 

Canvas course providing asynchronous learning from September 

through April. We will also host a half-day seminar for PLC 

members at the NCMEA Professional Development Conference 

in November. In the spring, teacher cohorts will arrange site visits 

to one another’s schools to observe and practice problem-solving 

in real-world settings. Participants will also be invited to meet 

with legislators at Arts Day in Raleigh 

to share the value of professional 

development specifically designed 

for rural music teachers. Finally, 

the culminating experience will be 

a statewide virtual conference for 

rural music educators. Participants 

will reflect individually on their 

professional development while also 

reporting as cohorts on their learning 

through PLC activities. 

The project will be facilitated in 

partnership with Dr. Daniel Johnson (UNCW), Dr. Tim Nowak 

(ECU), Dr. Ann Marie Stanley (LSU), and Laura Black (Rocky 

Point Elementary School). We hope to be able to share this 

hybrid PLC with other state music education organizations as 

a replicable model. We will begin accepting enrollment in the 

PLC in mid-to-late August; keep your eye on your email and the 

NCMEA website for more information. 


883-C Washington Street 

Raleigh, NC 27605 

NAfME 

GRASSROOTS 

ACTION CENTER 

Add Your Voice to the Legislative Process 

On the NAfME Grassroots Action Center page, you can: 

• Support music education in federal education policy 

• Get involved with the legislative process 

• Engage your members of Congress 

Go to bit.ly/NAfMEgrassroots (case-sensitive) and 

take action today. 

30 | NORTH CAROLINA MUSIC EDUCATOR

North Carolina Music Educator Summer 2023

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