NC Music Educator Conference 2025

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

M US I C E D U CAT O R

Volume 76 Number 2 Conference 2025

Audition

Dates

Saturday, December 13, 2025

Saturday, January 17, 2026

Sunday, February 1, 2026*

Saturday, February 14, 2026

Saturday, February 21, 2026**

Saturday, March 28, 2026

BOARD DIRECTORY

EXECUTIVE DIRECTOR’S MESSAGE

Band Today 13

Dynamic Music Products 22

East Carolina University

Hayes School of Music 45

JW Pepper 40

PRESIDENT’S MESSAGE

FEATURES

SECTION UPDATES

Inside front cover

2

4

6

5

8

10

11

14

18

25

33

43

52

53

24

26

28

30

32

34

42

46

47

48

Conference Information

Past Presidents & Honorary Life Members

Awards, Grants & Scholarships

Thanks

Part-Singing in the Elementary Classroom

Seth McKnight

NCMEA Board Elections

Exhibit Hall

Sound Off

NC American Choral Director’s Luncheon

Profiles in Practice: Jana Winders

Cindy Wagoner

Conference Sessions

Jazz Section

Orchestra Section

Technology Section

Tri-M Section

Across the Districts

Band Section

Collegiate Section

Elementary Section

Middle School Choral Section

High School Choral Section

Advertisers

A special thank you to all our advertisers who support music educators and music education in North Carolina.

Lung Trainers 39

NAfME

Messiah University 7

UNC Chapel Hill 9

UNC Charlotte 17

Back cover

Editorial Board

UNC Greensboro 29

UNC Pembroke 23

UNC School of the Arts 37

UNC Wilmington 51

Western Carolina University 41

Editorial: All editorial content should be

Catherine Butler

Tracy Humphries

sent to: Cynthia Wagoner, editorial board

cbutler@ncmea.net

tracy.humphries@ucps.k12.nc.us

chair, at editorial_chair@ncmea.net.

Andrew Dancy

Kimberly Justen

dancya@gcsnc.com

journal_editor@ncmea.net

Advertising: Information requests and ad

James Daugherty

Carolina Perez

orders should be directed to Kimberly

jdaugherty@ncmea.net

cperez@ncmea.net

Justen, editor-in-chief, at

*Satellite Audition at Northwest School of the Arts journal_editor@ncmea.net.

Joseph Girgenti

José Rivera

j.girgenti@wingate.edu

jose.rivera@uncp.edu

**Last day for scholarship consideration

North Carolina Music Educator is copyrighted.

Reproduction in any form is illegal

jhamiel@ncmea.net

editorial_chair@ncmea.net

Johnathan Hamiel

Cynthia Wagoner

music.ecu.edu

without the express permission of the editor.

Susan Heiserman

Lindsey Bruner Woodcock

sheiserman@ncmea.net

lbrunerwoodcock@meredith.edu

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

NCMEA Board of Directors

Executive Officers

Section Chairs

Commission & Committee Chairs

Standing Committee Chairs

President: Catherine Butler*

cbutler@ncmea.net

Immediate Past President: Johnathan Hamiel*

jhamiel@ncmea.net

President-Elect: Carolina Perez*

cperez@ncmea.net

Recording Secretary: Cynthia Wagoner*

secretary@ncmea.net

Member-at-Large: Michael Henderson*

member-at-large1@ncmea.net

Member-at-Large: Demeka Kimpson*


District Presidents

District 1: Molly Griffin-Brown*

district1@ncmea.net

District 2: Michael Palmer*

district2@ncmea.net

District 3: Shearon Miller*

district3@ncmea.net

District 4: Vacant*

district4@ncmea.net

District 5: Ronald Forsh*

district5@ncmea.net

District 6: Douglas Rowe*

district6@ncmea.net

District 7: Andrea Evans*

district7@ncmea.net

District 8: Anna Morris*

district8@ncmea.net

Band: Chris White*

band_chair@ncmea.net

Band Section Delegate: Steven Kelly*

band_delegate@ncmea.net

Collegiate NAfME: Cris Lim*

collegiate_president@ncmea.net

Elementary: Jeannine DuMond*

elementary_section@ncmea.net

High School Choral: Jenny Patchett*

hschoral_chair@ncmea.net

Higher Education: Fred Spano*

higher_education@ncmea.net

Jazz Education: Matt Howard*

jazz_chair@ncmea.net

Jazz Section Delegate: TBD*

jazz_delegate@ncmea.net

Middle School Choral: Angel Rudd Cuddeback*

mschoral_chair@ncmea.net

Orchestra: Veronica Biscocho*

orchestra_chair@ncmea.net

Orchestra Section Delegate: Corrie Tew*

orchestra_delegate@ncmea.net

Awards, Grants & Scholarship Chairs

Awards: Michael Henderson


Grants Co-Chairs:

Michael Henderson


Demeka Kimpson


Scholarships: Demeka Kimpson


* Voting Member

Conference Chair: Barbara Geer

conference_chair@ncmea.net

Asst. Conference Chair: Adam Joiner

conference_assistant@ncmea.net

Exceptional Children & General Music:

Rue Lee-Holmes

exeptionalchildren_generalmusic@ncmea.net

Guitar: Jonathan Todd

guitar@ncmea.net

Mentoring: Carol Earnhardt

mentoring_program@ncmea.net

Music In Our Schools Month Co-Chairs:

Tonya Allison

miosm_chair1@ncmea.net

Lindsay Williams

miosm_chair2@ncmea.net

Music Program Leaders: Christy White

music_program_leader@ncmea.net

Piano: AmyBith Gardner Harlee

piano@ncmea.net

Popular Music Education Co-Chairs:

Jonathan Kladder

popular_music@ncmea.net

Andrew Beach

popular_music2@ncmea.net

Research: Jonathan Poquette

research_chair@ncmea.net

Retired Membership: Heidi Sue Ross

retired_membership@ncmea.net

Student Activities: Carolina Perez

cperez@ncmea.net

Technology Chair: Mindy Cook

technology_chair@ncmea.net

Tri-M: Andrew Dancy

tri-m@ncmea.net

Young Professionals: Riley Paulson

young_professionals@ncmea.net

Advocacy Co-Chairs:

James Daugherty

jdaugherty@ncmea.net

Jeremy Tucker

advocacy@ncmea.net

Constitution: Maribeth Yoder-White

constitution_committee@ncmea.net

Finance: Johnathan Hamiel

jhamiel@ncmea.net

IVfME Co-Chairs:

Lillie Allmond Harris

ivfme@ncmea.net

Markiss Barnes

ivfme2@ncmea.net

Membership: Carolina Perez

cperez@ncmea.net

Editorial: Cynthia Wagoner

editorial_chair@ncmea.net

Ex-Officio Members

Collegiate NAfME Advisor: Christie Lynch Ebert

collegiate_advisor@ncmea.net

Journal Editor: Kim Justen

journal_editor@ncmea.net

Historian: Dr. John Henry, Jr.

historian@ncmea.net

Music Industry Rep.: Adam Frank

music_industry_rep@ncmea.net

Parlimentarian: Dave Albert

parlimentarian@ncmea.net

NCDPI Rep.: Brandon Roeder

brandon.roeder@dpi.nc.gov

NCMEA Office

Executive Director: Susan Heiserman

sheiserman@ncmea.net

Webmaster: Mark Healy

mhealy@ncmea.net


Susan Heiserman

NOTES FROM THE EXECUTIVE DIRECTOR

Conference Information

Conference To-Do List

□

Make sure your NCMEA/NAfME membership is

up-to-date. We will ask for your membership number

and expiration date at the time you register.

To check your membership status: visit the NAfME

website (www.nafme.org), log in, and go to My

Account. Select Memberships on the left and you’ll see

your paid-through date listed. You can also renew your

membership here if needed!

2025 Conference – Beyond the Notes: Shaping Our Future

You strive every day to provide the highest quality

instruction of musical skills, concepts, and techniques to

students at all levels. But we also know there are many

other things happening in music classrooms that

contribute to learners’ success in school and in life. At this

year’s conference, we’ll look at not only what makes for

quality musical instruction, but also what happens when

we go beyond the notes. How does our work support and

teach durable skills? And how are we shaping the future of

music education to address changing needs and make

music accessible to all learners? Let’s explore and celebrate

all the ways North Carolina music educators positively

impact students and communities on a daily basis.

We hope you will join us November 8 – 11 at the Benton

Convention Center in Winston-Salem. With over 200

sessions, workshops, and performances, the NCMEA

conference is the best place to earn content-specific CEUs

and connect with peers from around the state – people who

know exactly what you’re going through.

In addition to amazing clinicians for the Honors Choruses

and Honors Orchestra, and the return of the North

Carolina Intercollegiate Honor Band, we will welcome

several notable guest presenters, including Dr. Tim

Lautzenheiser and NAfME Southern Division President

Susan Smith. Check out the online schedule to see what’s in

store, and visit the

NCMEA website for full details and to register!

education and is known for founding and developing

creative opportunities to make music accessible to students

of all demographics.

Her establishment of the Fairfax Arts Coalition for

Education Parent Orchestra annually teaches about 225

caregivers in FCPS to learn to play their child’s instrument

and provides mentorship to upcoming music teachers. Ray

also founded the Crescendo Orchestra program to make

Orchestra curriculum accessible to students with

significant developmental or intellectual disabilities. In

April 2020, TEDx invited Ray to give the talk, The Sounds

of Success, based on her approach in the classroom and

what it means to meet all students where they are at.

Ray is a highly sought after keynote speaker and

headliner at music and general education conferences,

regular guest lecturer and artist-in-residence at the

collegiate level, and an impactful performing arts advocate

at the state and national level. Her accolades include being

named the 2024 GRAMMY Music Educator Award winner,

Yamaha 40 Under 40 class of 2025, recipient of the Dr.

Alice M. Hammel Inclusion in Music Education Award, and

a four time Teacher of the Year winner including the 2023

FCPS Outstanding Secondary Teacher of the Year for her

work with historically resilient communities and equity in

education. Ray is the co-founder of Motherhood and Music

Education and is a member of the StringRise professional

development team.

Conference Registration & Information Center

Benton Convention Center – Upper Level Lobby

Saturday, November 8

7 a.m. – 5 p.m.

Sunday, November 9

Monday, November 10

Future Conference Dates

November 7 – 10, 2026

November 6 – 9, 2027

7 a.m. – 5 p.m.

7 a.m. – 1 p.m.

Registration Rates

Aug 1 – Oct 18 Oct 19 – Nov 10

Active Member $150 $175

Introductory $75 $85

Collegiate $50 $60

Non-Member $200 $250

Retired No fee No fee

CEU Credits

Attendees will be able to track CEU credits on the

mobile app. Pending approval from your school

district or LEA, conference attendance hours may be

used for credit toward your license renewal. Session

length 50 min = 1 hour; 80 min = 1.5 hours

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□

□

□

If you haven’t already done so, REGISTER! Register

online by October 19 for the best price. If you

procrastinate, register online before you arrive; it will

save you time standing in line.

Get familiar with the NCMEA Conference dropdown

menu at www.ncmea.net. This is where you will find upto-date

information about the conference schedule,

speakers, exhibitors, hotels, and more. All of this

information will also be uploaded to the conference

mobile app to help you navigate the event on-site.

Remember to book your hotel room as soon as

possible. Check the Hotel Reservations page on the

NCMEA website for group rates.

Pack your bags and get ready for an inspirational

professional development experience and celebration of

music education!

Scan the QR code to register

This year’s keynote speaker is

Annie Ray. She currently serves

as both the orchestra director

and performing arts department

chair at Annandale High School

(AHS) in the Fairfax County

Public School (FCPS) system.

Ray is an advocate for providing

universal access to quality music

Her mentors include Dennis Langevin, Brian Coatney, Dr.

Elizabeth Chappell, Dr. Jaymee Haefner, and Naoko

Nakamura. She is an active professional harpist, proud

University of North Texas alumna, and currently resides in

Arlington, Virginia with her husband, Dr. Irving Ray, and

their daughters, Eloise and Millie. Annie is an adventurer

at heart, and her biggest bucket list item is to one day win

The Amazing Race.


conference year and after year.

Catherine Butler

NOTES FROM THE PRESIDENT

I would be remiss in this final article if I didn’t thank

Susan Heiserman, Johnathan Hamiel, and Carolina Perez

for their support, pep talks, advice, post-meeting phone

calls, funny texts, and ideas. It’s truly been so much fun

working with all of them. Our individual strengths are all

different and I think that’s what made us such a great team.

I could not have gotten through the past two years without

them.

Congratulations

Time is so weird. How is Tuesday so long, but the week so

short? Why does October take for-eh-ver, but we blink and

it’s winter break. This is exactly how I’m feeling as I barrel

toward the end of my term as president of NCMEA. It has

truly been an honor to represent our organization across the

state at various events and at NAfME’s National Assembly.

Like any other service to our profession, there have been

moments of stress, but overall, the positives far outweighed

the negatives. In this role, I’ve gotten to know teachers from

the far reaches of our state that I never would have

interacted with otherwise. I’ve been consulted on policy

changes, asked to make a statement on a major initiative,

and attended workshops and conferences I never would

have considered as “just” a high school choral director.

In reflecting on the past two years, there are two events/

changes for NCMEA that stick out to me – establishing the

Piano and Guitar committees and assisting in the recovery

after Hurricane Helene. I was president-elect when

Johnathan Hamiel formally named the Popular Music

committee. We both believe strongly in providing a place

for all students to create and make music, and the way that

students are doing that is changing.

We want to make sure NCMEA provides opportunities for

teachers, and therefore their students, in whatever way they

are making music in their school. The Popular Music

committee was the first step in expanding our areas of focus

for members. During my time as president, we took that a

step further and created the Piano and Guitar committees

so those educators could find content-specific sessions at

our conference, and a community of other teachers who

were doing the same things in their classrooms. Both are

flourishing now under the leadership of Jonathan Todd

(Guitar) and AmyBith Gardner Harlee (Piano).

When Hurricane Helene devastated the western

communities in our state, I was in a unique position. I

coordinate Honors Chorus audition sites for both middle

and high choral sections and those were happening the

weekend of the storm. It was those roles that occupied most

of my time and energy immediately. I worked with both

Honors Chorus coordinators, Ross Broadway (High School)

and Ben McKinnon (Middle School), to reschedule the

audition locations and the audition times and devise

alternative ways for impacted students to audition.

At the same time, we were having conversations among

the NCMEA leadership about how we were going to support

the rebuilding of music programs at impacted schools and

the students who lost everything. We reached out to other

states who had unfortunately had to navigate natural

disasters of this magnitude.

I’d like to thank Jason Locker, the president of Florida

Music Educators Association, for his guidance and advice in

those early days. NAfME leadership also reached out to us

almost immediately as news of the devastation was starting

to be released. They wanted to make sure we knew we had

the full support of the entire NAfME organization and their

partners as we made our recovery plan. It was through them

we were connected with Mr. Holland’s Opus Foundation.

Our own Phillip and Carol Riggs reached out to provide

support through their American Music Educators Network

(AMEN). AMEN agreed to collect the monetary donations

that were pouring in, and NCMEA developed a collection

tool so the needs of teachers were compiled in one place.

Through our partnership with both organizations, we were

able to assist in rebuilding multiple classrooms and

replacing lost personal instruments. Moving forward, we are

developing an ongoing needs page on our website. We know

that, unfortunately, major natural disasters will continue to

impact our state, teachers, and students. We want to be

prepared next time so we can assist as quickly as possible.

I’m excited about my final NCMEA Professional

Development Conference as president in November. I know

teachers are going to leave inspired by our keynote speaker

Annie Ray, more connected after casual meals with new and

old friends, and pumped to try out all the new tricks and

tips they learn in sessions across the four days of the

conference. If you come across a Section chair, Committee

chair, or one of our Conference chairs, please thank them

for all of their hard work in making sure we have a stellar

If you’re contemplating stepping into a leadership role in

NCMEA, please do it! Is it more time? Yes! Is it one more

thing to add to your To Do list? Yes! Is it a chance to meet

new people? Yes! Is it an opportunity to learn how to

advocate for yourself, your students and your program?

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NCMEA PAST PRESIDENTS

NCMEA resulted from a merger that occurred in 1970 between two professional organizations: the North Carolina Music

Educators Conference (NCMEC) and the North Carolina State Music Teachers Association (NCSMTA). The list of presidents

which follows represents those who have served since the inception of NCMEA.

1970-1971 James R. Hall

1971-1973 Hortense N. Reid

1973-1975 Homer Haworth

1975-1977 William G. Spencer

1977-1979 Robert B. Gaskins

1979-1981 Billiegene Garner

1981-1983 Mary Jane Crawford

1983-1985 Ralph B. Shumaker

1985-1987 Reta R. Phifer

1987-1989 Charles H. Gilchrist

1989-1991 Barbara B. Bair

1991-1993 John R. Locke

1993-1995 Frank E. Williams

1995-1997 Barbara L. Geer

David S. Albert

Bob Alexander

Teresa Allred

Katherine Almond

Renee Anders

Chrystal Bachtel

*Barbara B. Bair

Lucy M. Banner

*Earl E. Beach

*Julius A. (Sandy) Beam

*Louis V. Bean

Edward D. Benson

*Mary Earl Berger

Treda Berry

Duane Best

*Maxine Blackwell

Diane Brooks

*Rebecca B. Carnes

*Herbert L. Carter

Elizabeth Chance

*Richard G. Cox

*Mary Jane Crawford

Jerry Cribbs

Carol Crocker

*Carl Cronstedt

William S. (Bill) Crowder

James Daugherty

*Joe DiNardo

*Katherine Detmold

*James A. Dillard

NCMEA HONORARY LIFE MEMBERS

James E. Dooley

Carol Earnhardt

*Joe Fields

*Bernard Foy

*Judith Freeman

*Paul B. Fry

Billiegene Garner

Patricia Garren

*Robert B. Gaskins

Barbara Geer

*Charles Gilchrist

*James R. Hall

Johnathan Hamiel

Dorothy Hampton

*Captain James Harper

*J. Kimball Harriman

Myriam C. Harris

Lawrence Hart

*Homer Haworth

*Herbert Hazelman

*Samuel Hill

*Bernard Hirsch

*Arnold E. Hoffman

*Lara Hoggard

*Birdie Holloway

Richard Holmes

Karen Huey

*Charles Isley

*Ruth Jewell

Evelyn Johnson

1997-1999 Fran Page

1999-2001 William Crowder

2001-2003 Earl Taylor

2003-2005 Maribeth Yoder-White

2005-2007 Constance L. McKoy

2007-2009 Jerry Cribbs

2009-2011 David S. Albert

2011-2013 Sonja Z.M.Williams

2013-2015 Richard Holmes

2015-2017 James Daugherty

2017-2019 Jazzmone Sutton

2019-2021 Carol Earnhardt

2021-2023 Johnathan Hamiel

2023-2025 Catherine Butler

*Thor Johnson

*Mrs. Eugene Johnston

*Richard E. Keasler

Genevra Kelly

*Doris Kimel

*Robert Klepfer

Barbara Koesjan

John Locke

*C.D. Kutchinski

*Adeline McCall

*L.O. McCollum

*Thane McDonald

Constance L. McKoy

*Harold McNeely

*Florine W. Marren

*Margaret Marsh

Nollie Mitchell

James D. Morgan

*Madeline H. Mullis

*Gordon Nash

*Josephine Osborne

Fran Page

*Paul Peterson

Reta R. Phifer

Mary E. Phillips

Walter E. Phillips

Walter Plemmer

*Bessie Ray

*Hortense N. Reid

*Blonza Rich

Lee Rigsby

*Edgar Q. Rooker

Tammy Shook

Ralph B. Shumaker

Elaine Sills

*Katherine Siphers

*Earl Slocum

*Richard Southwick

*Zelma G. Spears

*William G. Spencer

*Glen Starnes

Jazzmone Sutton

Earl Taylor

Lue Taylor

Marie Teague

Martha Thomasson

Virginia Tull

*Eula Tuttle

*Walter L. Wehner

Frank E. Williams

Sonja Z.M. Williams

Susan Williams

*Margaret Wilson

*Louise Winstead

*Eva Wiseman

Ruby Woolf

Maribeth

Yoder-White

*Deceased

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Pat Hall Music Educator Advocate Award

The Pat Hall Music Educator Advocate Award recognizes a

person who has demonstrated exceptional visible support

and advocacy for music and the arts in North Carolina.

Stephanie Cain is recently retired

from the position of fine arts

coordinator at Greene County Schools.

She accepted this huge responsibility, on

top of her full-time work as an EL

coordinator and teacher, with grace and

understanding. During her time at

Greene County Schools, her personal

attitude towards every arts educator was positive,

supportive and enthusiastic and her actions advocated for

each teacher and student in the county on a daily basis.

These actions included attending all performances, stopping

by to check in with teachers often, helping run each arts

event, communicating with the district about arts programs,

being a liaison between the North Carolina Department of

Public Instruction and the county, helping secure funding

for individual schools, and much more.

Cain’s philosophy and dream for all students are that they

can be positively impacted by arts education. She

encourages all teachers to make a difference and help raise

well rounded, knowledgeable students who have a deep

appreciation for the arts. To that end, she is always looking

for ways to improve teachers’ knowledge, skill level, and

teaching abilities and to offer support and encouragement.

Cain is a true leader and has led the district arts program

like it is her only job. She was always the first and last

person at every single arts event. You could regularly find

her at performances serving the students pizza, moving

equipment, getting chairs out for audience members, or

passing out programs. Her dedication has allowed students

to benefit from the arts in life-changing ways and she has

had an irreplaceable influence on the entire community.

NCMEA Honor Administrator Award

The NCMEA Honor Administrator Award recognizes

school administrators who are exceptionally skillful in their

respective units and are uniquely aware of the cultural arts

(particularly music) as an indispensable part of the school

curriculum, as indicated by their personal attitude and

philosophy, opportunities for teacher growth, and financial

support for the arts.

AWARDS, GRANTS & SCHOLARSHIPS

Scott Laird has served on the

faculty of the North Carolina School of

Science and Mathematics since 2001

where he is chair of fine arts for both

the Durham and Morganton

campuses. He is a visionary leader

whose unwavering commitment to

music education has profoundly

enriched the lives of students,

educators, and the broader community.

One of Laird’s most inspiring qualities is his dedication to

ensuring all students have access to music education,

regardless of their prior experience. He actively promotes

instructional pathways that allow beginners in their junior

and senior year of high school to explore music in a

supportive, high-quality learning environment. This culture

of inclusivity has led to a significant increase in student

participation in music programs across grade levels and

ability levels.

Laird understands the unique needs of music education –

dedicated space, specialized equipment, and appropriate

scheduling – and he consistently works to ensure these

needs are met. He has also been instrumental in securing

financial resources for the arts, including funding for

instruments, program expansion, and facility

improvements, as well as a private donation of over one

million dollars to renovate the Durham auditorium.

He strongly encourages professional growth among his

arts faculty, providing meaningful opportunities for them to

attend conferences, collaborate with peers, and engage in

continuous learning. His support empowers teachers to

innovate and inspire, leading to richer educational

experiences for students.

Laird’s advocacy extends beyond school walls. He has built

robust support for the arts among parents, community

stakeholders, and the NCSSM administration. His ability to

clearly communicate the educational and developmental

value of the arts has fostered a culture of widespread

respect and enthusiasm for music programs. His legacy is

one of opportunity, empowerment, and excellence.

NCMEA Hall of Fame Award

The NCMEA Hall of Fame Award honors those NCMEA

members who have made an extraordinary contribution to

our organization through at least 30 years of membership.

Awardees demonstrate a record of excellence in teaching

and/or administration, a record of betterment to the

profession, and of professional ideals and academic

integrity.

James Daugherty served as the arts

education and digital learning program

specialist for the Davidson County

Schools for nine years. Prior to his

appointment to this role in 2015, he

served for 21 years as band director at

Central Davidson High School, assisting

daily with the instruction at Central

Davidson Middle School. During his

time at Central Davidson High School the band quadrupled

in size and received many superior ratings at NCBA’s

District MPA as well as regional concert festivals. The band

program at CDHS flourished under his leadership and

included the first Grade VI bands in the school’s history.

After transitioning to be the arts administrator in DCS he

continued to make his mark for all programs in the county

through a marked increase in funding and staff

development for all arts teachers K – 12. Daugherty also

serves as the director of Cannon Music Camp at

Appalachian State University; July 2025 marked his thirtyfifth

year of involvement with the camp.

In addition to his teaching, he has been an amazing leader

of many organizations. Daugherty served as president of the

NC Bandmasters Association from 2012–14, president of

NCMEA WISHES TO EXTEND SINCERE THANKS

It takes numerous wonderful people to plan and present this outstanding

professional development conference. This is just a small list of those who

spent many hours planning this year’s event. We thank all of you!

Barbara L. Geer, Professional Development Conference chair

Adam Joiner, Professional Development Conference co-chair

Catherine Butler, NCMEA president

Susan Heiserman, NCMEA executive director

Mark Healy, communications manager

Kim Justen, Journal editor

NCMEA Section and Committee chairs

Music Industry and College and University exhibitors

Benton Convention Center and staff

R. J. Reynolds Auditorium and staff

Twin City Quarter and staff

Visit Winston-Salem and staff

Winston-Salem Embassy Suites and staff

Winston-Salem Marriott and staff

Winston-Salem/Forsyth County Schools, music teachers and staff

NCMEA from 2015–17, and is currently the immediate past

president for the Southern Division of NAfME. When he

was president of NCMEA, he was instrumental in lobbying

to preserve the jobs of elementary music teachers statewide

when we were facing cuts due to class size changes from the

legislature. He also oversaw the addition of NCMEA’s first

contract lobbyist to help with issues impacting music

education in North Carolina, underscoring the

organization’s commitment to advocacy. His passion for

music education is framed through a passion for music

advocacy, and he continues to serve NCMEA as co-chair of

the Advocacy committee.

Above all of his accolades and accomplishments, the most

impressive part of James Daugherty is that he has

maintained a kind and professional persona in our

organization for more than three decades. There are few

who have been around as long and are as universally

respected among all sections of NCMEA as he is. His

professionalism and integrity personally and in the

profession are beyond reproach, and his exemplary service,

contributions, and dedication to music education in North

Carolina have created an enduring legacy.

Dr. Lisa Adkins Runner Future

Music Educator Award

The Dr. Lisa Adkins Runner Future Music Educator

Award is presented annually to one exceptional college

senior pursuing a career in music education. This


award honors the legacy of Dr. Lisa Adkins Runner

by recognizing individuals who exemplify

excellence, leadership, and dedication to the future

of music education.

As a student at Appalachian State

University now entering her student

teaching semester, Kylienne Basco

has distinguished herself as someone

who cultivates respect, works easily

with other people, and takes her

teacher preparation seriously. She is

hardworking, reflective, and a

supportive friend and mentor to her

peers. Not only did she shine in her academic pursuits, she

sang the lead role in the spring 2025 university opera,

earning standing ovations and rave reviews.

Basco’s leadership positions extend beyond the classroom

and into the Hayes School of Music and greater community.

She has provided support to the performance facilities as

stage manager and has served as president of Appalachian

State’s ACDA chapter. She also sings in several choral

ensembles and serves as a community music school voice

instructor and provides support to the Appalachian Chorale

and Appalachian Youth Chorale, among other things.

While teaching, Basco is a positive influence in the

classroom. She prepares detailed lesson plans, seeks and

applies feedback, and works with other teachers in the

building to provide a successful classroom environment.

Students feel comfortable asking questions, seeking her

advice, and they genuinely enjoy their interactions with her.

It is clear that Basco truly loves teaching and is on her way

to a distinguished career as a music teacher.

Music Program Materials

and/or Project Grant

Clockwise from upper left: Aislinn

Ramos, Carly Kanzler, Hollie Hendricks,

and Melanie Watson

The Music

Program Materials

and/or Project

Grant program is

intended to afford

music teachers an

opportunity to

purchase materials

and supplies

(including

consumables) or to

develop special

projects to increase

the existing

potential for a

quality music

education program.

Aislinn Ramos,

W.B. Beam

Intermediate School, was awarded $1,000 to establish a

classroom set of ukuleles.

Carly Kanzler, Belville Elementary School, was

awarded $953.36 to expand the music program through the

purchase of Orff instruments.

Hollie Hendricks, R-S Middle School, was awarded

$907.37 to purchase a Make Music Cloud subscription.

Melanie Watson, Starmount Middle School, was

awarded $750 to support a project with guest composer

Darryl Johnson.

Professional Development Grant

The Professional Development Grant is intended to

provide funding to NCMEA members seeking to offer

professional development activities specific to music

education via an organized event for several teachers.

Rodney Workman, Asheville

High School, was awarded $2,039.27

to support the 2025 Building Better

Bands Summer Professional

Development initiative. The program

was designed to provide targeted

support to help band directors thrive in

the classroom and stay in the

profession. Key areas of focus included

fundamental playing skills, work-life balance, mentorship,

recruitment and retention, scheduling and enrollment, and

more.

Laura Black, Rocky Point

Elementary School, was awarded

$2,350 for the “Learning Music

Through Literacy” professional

development project serving general

music teachers in southeast North

Carolina. Led by nationally recognized

educator Matthew Stensrud, the

workshop will strengthen the connection between music

and literacy while empowering educators to enhance

student learning in both fields.

NCMEA Scholarship Program

NCMEA awards four $2,000 scholarships annually to

music education majors attending North Carolina colleges

and universities.

Barbara Bair Scholarship

The 2025 Barbara Bair

Scholarship was awarded to

West Carteret High School

senior Dylan Livingston-

Keeter to attend East Carolina

University. Dylan’s experience in

band class changed him in ways he never thought possible.

He served as drum major and was a member of the Student

Leadership Academy at West Carteret and participated in

the NCMEA Young Professionals Symposium and the

Governor’s School East for instrumental music. He looks

forward to helping students find themselves through art and

cultivate a community filled with love, compassion, and joy.

Bill McCloud Scholarship

The 2025 Bill McCloud Scholarship

was awarded to Mallory Young of

Campbell University. Young’s

experience in high school choir helped

her find her true passion for teaching

music. Through multiple opportunities

in and outside of school, she witnessed

how music can foster community. She

looks forward to providing a warm,

inviting classroom to inspire students and share her love of

music with others.

Ruth Jewell Scholarship

The 2025 Ruth Jewell Scholarship

was awarded to Kofi Boakye of

Gardner-Webb University. Music has

provided opportunities and

experiences for Boakye that he may not

have otherwise had access to. His

interest was sparked in eighth grade

band, and ever since then he has been driven to pursue a

career where he can give back to others who also have an

interest in music. He looks forward to leaving a positive

impact on future generations and inspiring them to be the

best people they can be.

Hortense N. Reid-Kerr Scholarship

The 2025 Hortense N. Reid-Kerr Scholarship was awarded

to Bre Ford of Western Carolina

University. She finds teaching to be

extremely rewarding, and loves seeing

the light bulb go off in a student’s

head when they finally understand

something. She has a particular

interest in teaching elementary school

since it is the stepping stone for all

music education. Ford looks forward

to helping students see how music is everywhere and

helping them unlock their creativity.

Professional Development Conference

Scholarship

In 2024, members Abby Carothers, Hannah James, and

Adeena Stading each received Professional

Development Conference scholarships providing funding

assistance for registration and lodging, allowing them to

attend the conference for the first time.

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by Seth McKnight

Part-Singing in the Elementary

Classroom

G“Good singing is one of the major goals of an elementary general music teacher,

and developing students’ performing skills in singing continues to be a hallmark

of general music” (Abril, 2016, p. 11). Zolton Kodály believed the most accessible

means of a music education was through singing (Houlahan & Tacka, 2008). As

elementary-aged students matriculate through the grades, their singing tasks

become more difficult. Part-singing is one of those tasks. Teaching students to

sing in parts takes not only time, but patience from both the teacher and students.

If students are given a too difficult task, they will grow frustrated and give up. The

same is true if they are given a too simple task. So then, what must music teachers

do starting in kindergarten to prepare them for part-singing in the fifth grade?

Music teachers must start with teaching students to be musically independent.

Teaching for Musical Independence

Teaching for music independence requires the music teacher to carefully think

about what needs to be taught first. In other words, to scaffold learning. The

process of scaffolding requires the music teacher to think “about what needs to be

done to enable learners to figure out the concepts and processes to be taught”

(Wiggins, 2016, p. 56). Campbell and Scott-Kassner (2014) write that to sing in

parts, children must be able to sing in tune and that fourth grade students can

sing “canons, descants, and partner songs, and countermelodies” (p. 99). They

stop short of the process, however, to get students to perform in those ways. To

sing in parts requires the children to be independent – to be able to sing their part

while hearing a completely different part. In the following paragraphs, I will share

a three-part lesson plan on teaching kindergartners to be musically independent.

The First Lesson

One of the first musical activities to begin teaching for musical independence is

teaching a simple, four-measure spoken chant that contains hand motions. I


choose a chant because there is no melody. I begin by

asking kindergartners to listen to me perform the chant.

Children want to join with us in the beginning, but as

someone said before, “if children are chanting/singing with

us, they are not listening. And, if they are not listening, they

are not learning” (unknown). If children start to chant with

me, I kindly ask them to listen. A trick I use is, “Who can

listen the best?” That simple question will always yield a

quiet learning environment. Then, I proceed with teaching

them the chant aurally. After they have learned the chant, I

add hand motions that correspond to the lyrics of the chant.

By the end of this first lesson, the students will be able to

perform the chant with the hand motions without me.

The Second Lesson

In the previous lesson, I taught a four-measure chant with

hand motions. I review the chant by asking them to recall

the chant and to perform it along with me, to build their

confidence, then without me. Afterward, I tell the students,

“If everyone can perform the chant with the hand motions

with their eyes shut, I will add something else.” The

students eagerly shut their eyes and perform the chant, and

they usually perform it correctly after one try.

Then, I tell them they are going to start the chant, and I

will start after them. This will confuse some of the students,

which is normal. I give the breath gesture so the students

start performing the chant. After one measure, I start the

chant, which causes the students to stop with confused

facial expressions. I simply tell them, “You start, and I will

come in after you. You say your part and I will say my part.”

So we begin again, and the second time results in success.

I ask, “What did I do?” They answer and then I ask, “Can

we do it again?” So, we do. Then, “How about I go first, and

you go second.” The first try always fails, which is okay

because the goal is to start teaching musical independence.

The students are always anxious to try again but remember,

they are kindergartners and are eager to learn. I start the

chant again, and they start second, and after a few tries,

they are successful. In the next lesson, the students will

learn how to turn the chant into a four-part round.

The Third Lesson

The third lesson begins with a review of the chant with the

hand motions, asking the students to perform it in two parts

(they are collectively one part, and I am my own part). They

start the chant first, then I come in second. Then we switch;

I start first, and they go second. This review is crucial to

building their confidence. Then I ask, “Can we split into

three groups?” Their faces light up as they are ready for the

challenge. At this stage, I am still my own part. I split the

class into halves. One half starts, then the second half,

followed by me. Next, the two halves switch parts and I still

go third. At this stage, the students are successful with

minimal effort. The next step is I start second (one half of

the class, me, the other half), which asks the students to

think a little harder about when it is their turn. Again, they

are successful with minimal effort. Both halves get a turn

starting the chant first.

Finally, I ask, “Can we turn this into four parts?” By now,

the students know they can perform this four-measure

chant in four parts. Each group of students will have an

opportunity to start the chant. An extension of the activity is

to have the students perform the round using only the hand

signs, which is a wonderful challenge for them. Some

classes will be able to do that, and some will not, and that is

perfectly acceptable.

Summary

I have shared the first step in teaching elementary-aged

students to be musically independent. To summarize my

method: students learn a chant with hand motions; create a

round where the students become part one and I become

part two, then switch parts; the class is split in half and I am

still one part; and finally, the class is split into quarters. I

use three lessons to introduce this teaching method. Once

students learn to chant in a four-part round, the next time I

teach a chant, the students will want to perform it in a

round. The process of scaffolding learning continues with

each musical activity by adding difficulty.

Once students reach first grade, they will learn how to add

a spoken ostinato to a chant, then to a song. Second and

third graders will sing a short melodic ostinato over a

melody. These activities are all precursors to singing in

canons/rounds and partner songs. The way one teaches

these activities is the same as the process I laid out before:

whole group; whole class is one part, and I am the second

part; and so on. Finally, students will be able to sing twopart

songs in fifth grade because we have slowly taught

them to be musically independent.

Seth N. McKnight, Ph.D., is an assistant

professor of music education at Texas

A&M University – Corpus Christi, where

he teaches courses in the music education

track, world music, and music

appreciation. He is from Lexington, N.C.,

and taught in the North Carolina public

schools before transitioning to higher

education. He graduated high school from

UNCSA, earned his music education degree from UNC

Charlotte, and his graduate degrees from UNC Greensboro.

References

Abril, C. (2016). Untangling general music education: Concept,

aims, and practice. In C. R. Abril & B. M. Gualt (Eds.), Teaching

general music: Approaches, issues, and viewpoints (pp. 1-22).

Oxford.

Campbell, P. S. & Scott-Kassner, C. (2014). Music in childhood:

From preschool through the elementary grades. Schirmer.

Houlahan, M. & Tacka P. (2008). Kodály today: A cognitive

approach to elementary music education. Oxford University Press.

Wiggins, J. (2016). Teaching music with a social constructivist

vision of learning. In C. R. Abril & B. M. Gualt (Eds.), Teaching

general music: Approaches, issues, and viewpoints (pp. 49-72).

Oxford University Press.

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NCMEA Board Elections

Per Article V, Section 1 of the NCMEA bylaws, “The President, the President-Elect, the

Recording Secretary and both Members-at-Large shall be elected by electronic ballot the

2 weeks prior to the close of voting during Conference in odd-numbered years.

Installation shall be held in conjunction with the annual Conference.” The NCMEA

nominating committee aspires to present an election ballot of highly qualified music

educators representative of the NCMEA membership. The following individuals willingly

answered the call to serve as a nominee and potentially be elected to serve a two-year

term on the NCMEA board. For this, the nominating committee extends a note of

gratitude to the following nominees. Also, in an effort to have candidates considered only

on the basis of their biography and skills, photos have intentionally been excluded from

this article. Bios are presented as submitted, corrected only for misspelling, grammatical

errors, or to meet style guidelines.

President-Elect

Ryan Ellefsen

Ryan Ellefsen is the director of bands and orchestras at East Chapel Hill High

School (ECHHS) where he directs two concert bands, two orchestras, and two jazz

combos. He is the advisor for two large extracurricular clubs: the East Chapel Hill

Chamber Music Society and the ECHHS Mentoring Program, which pairs high

school and middle school students to create a bridge from the middle to high

school.

Ellefsen has served as the site host for the Eastern Regional Orchestra MPA,

Junior Eastern Regional Honors Orchestra, Central District Middle School and

High School Honors Bands, and the Eastern Regional Honors Orchestra. He has

also served as chairperson for the All-State Orchestra, the North Carolina

Orchestra Section and is currently the chairperson for the East Chapel Hill Fine

Arts Department.

In an effort to bring quality music into the canon, Ellefsen has commissioned

works by Shawn Okpebolo, Allison Loggins-Hull, Brian Balmages, Stephanie

Boyd, Mat Campbell and Kaitlin Bove. Ellefsen was elected the Eastern Regional

Orchestra Director of the Year in 2015, was awarded the Jackson Parkhurst

Award for Special Achievement from the North Carolina Symphony in 2021 and

the East Chapel Hill Teacher of the Year for the 2024–25 school year.


Demeka Kimpson

With over two decades of experience in music education,

Demeka Kimpson is a passionate and dedicated educator

and mentor. Since 2005, she has served as the director of

bands at Sedgefield Middle School in Charlotte, where she

has cultivated a thriving band program that fosters musical

excellence and personal growth in her students. Her groups

have consistently earned high ratings at various concert

band adjudicated festivals, and many of her students have

achieved county, regional, state, and national honors.

Kimpson’s diverse teaching background includes roles in

Cabarrus County, and York County, S.C., spanning general

music, band, and orchestra instruction. She has also

contributed to higher education as an adjunct music

instructor and pianist at Clinton Junior College.

Kimpson holds degrees from Claflin University and

Winthrop University. Her leadership extends beyond the

classroom through her work as a clinician, mentor, and

professional development presenter. She gives instructional

contributions to programs such as Charlotte Symphony’s

Project Harmony, Arts+ Summer Music Camp, and York

County Area Middle School Bands Summer Music Camp,

while also maintaining a private piano and woodwind

studio.

Kimpson is deeply involved in the professional music

education community. She is a charter member of the Theta

Omega Chapter of Tau Beta Sigma National Honorary Band

Sorority, enjoys membership in NAfME, NCMEA, the North

Carolina Bandmasters Association, the South Central

District Bandmasters Association, Women Band Directors

International, and the Minority Band Directors Association.

She currently serves as a NAfME new teacher mentor,

member-at-large for the North Carolina South Central

District Bandmasters Association executive board, and

member-at-large as well as the awards committee chair for

NCMEA.

Her leadership within Charlotte-Mecklenburg Schools

includes having served on the Superintendent’s Teacher

Advisory Council, the CMS Music Teachers Professional

Development Cohort, the N.C. Southwest Teacher Leader

Council, and as chair for the Charlotte-Mecklenburg

Schools Middle School All-County Honors Band Clinic.

Kimpson’s dedication to music education has earned her

numerous accolades, including recognition as a GRAMMY

Music Educator Award quarterfinalist, Sedgefield Middle

School Teacher of the Year, Charlotte Mecklenburg Schools

2021 District Teacher of the Year, Charlotte Hometown

Hero, and an honoree for the Charlotte Business Ledger’s

Forty Over Forty.

Through her unwavering commitment to her students,

school, and the greater music education community,

Kimpson continues to be a fierce advocate for music

education with a desire to inspire and shape the next

generation of musicians and music lovers.

In her free time, Kimpson enjoys performing with various

community musical groups, sewing, making jewelry, and

spending time with family and friends.

Recording Secretary

Josh Cvĳanovic

Josh Cvĳanovic is the director of bands and orchestra at

Leesville Road High School in Raleigh, where he conducts

the orchestra, concert band, symphonic band, and jazz

band. Prior to joining Leesville, he led programs at Cedar

Ridge High School (2014–22) and Eastern Randolph High

School (2009–14). His ensembles consistently earn

superior ratings at concert, jazz, and orchestra Music

Performance Adjudications, and his students perform with

regional, state, and national honor groups, including the

Grammy Jazz Band and Macy’s Great American Marching

Band.

Cvĳanovic is an active member of the NC Bandmasters

Association and NCMEA, currently serving as high school

member-at-large for ECDBA. He has held several leadership

roles, including Jazz Section chair, CDBA Clinic chair, and

MPA Site host. He is also a frequent adjudicator and

clinician across North Carolina for concert, jazz, and

marching events.

A summa cum laude graduate of UNC Greensboro, he

holds degrees in music education and percussion

performance. His professional affiliations include the

American School Band Directors Association, Phi Mu

Alpha, Pi Kappa Lambda, American String Teachers

Association, and the Vic Firth Education Team. He lives in

Raleigh with his wife, Amanda, and their sons, Henry and

Benjamin.

Pam Day

Currently beginning her eighteenth year, Pam Day began

her teaching career in Onslow County, where she taught for

13 years. She has spent the last four years at Wintergreen

Intermediate in Pitt County. Day has won numerous awards

including Arts Educator of the Year for Onslow County

Schools (2017), North Carolina State Music Educator of the

Year (2021), been recognized in Marquis Who’s Who in

America Top 100 Educators (2022), Marquis Educator of

the Year (2023), and Teacher of the Year for Wintergreen

Intermediate (2023). Day currently resides in Ayden, with

her husband Kevin, their three children, Tommy, Michael,

and Joey, and their dog, Lucas.

Member-at-Large #1

Aj Calpo

Aj Calpo is the chorus director and piano instructor at Sun

Valley High School. He serves as technology chair for the

NCMEA High School Choral Section and the education

coordinator for the Charlotte Master Chorale. He obtained

his Bachelor of Music Education at Wingate University

under the direction of Drs. Kenney Potter and Nana Wolfe-

Hill, and is currently pursuing his Master in Music

Education at Florida State University. Aj resides in

Matthews, North Carolina.

Ron Forsh

Ron Forsh is more than a skilled band director – he’s a

passionate educator, lifelong learner, and community

advocate. A native of Myrtle Beach, he was raised in a

musical family and has spent his career shaping lives

through the transformative power of music education.

As the current band director at Clemmons Middle School

(CMS) in Winston-Salem, Forsh has doubled enrollment in

the band program since his arrival,

inspiring countless students to

strive for excellence. Under his

leadership, CMS bands consistently

earn superior and excellent ratings

at contests and festivals, and his

students frequently qualify for

county, district, and state honor

bands.

Forsh graduated with honors from

Winston-Salem State University

(WSSU) and went on to earn a

master’s degree in music education

and flute performance from UNC

Greensboro (UNCG). His excellence

as an educator was nationally

recognized when he became a

National Board Certified Teacher in

2024, specializing in early

adolescent to young adulthood

music.

His influence extends beyond the

classroom. Forsh has mentored

future educators as a student

teacher supervisor for both WSSU

and UNCG, led professional

learning teams for band directors in

Winston-Salem/Forsyth County Schools, and currently

serves as a district president for NCMEA. He regularly

writes for the state’s music education journal, and he’s in

high demand across the Carolinas as a clinician and

adjudicator, guiding students and programs at honor bands

and competitions.

One of Forsh’s proudest achievements was starting an

instrumental music program from scratch in one of the

most challenging middle schools in the Bronx. That

experience solidified his belief that music education can

create opportunity, build confidence, and change lives,

especially when students are empowered by dedicated,

visionary teachers. Forsh is not just teaching music; he’s

building a legacy of excellence, equity, and empowerment.

Recognized as Band Director of the Year in Forsyth

County and honored as Teacher of the Year by the United

Way, Forsh’s leadership represents the kind of integrity,

advocacy, and innovation our schools and communities

need. He resides in Winston-Salem with his three sons,

Turner, Cassius, and Winston. In his free time, he enjoys

composing, exercising, coaching basketball, and reading.

He is a proud member of Phi Mu Alpha Sinfonia and

Alpha Phi Alpha Fraternity, Incorporated. With so many

dedicated educators in the field, what sets Forsh apart is his

ability to lead with both experience and vision. He doesn’t

just teach; he uplifts, inspires, and advocates. Forsh

represents the kind of leadership education needs: rooted in

the classroom, driven by

excellence, and committed to the

growth of every student and

teacher.

Member-at-Large #2

Michael T. Sanders

Originally from Pineville,

Michael T. Sanders currently

serves as the director of

instrumental music, choral music,

and AP music theory at John

Taylor Williams Secondary

Montessori in Charlotte. Now in

his eighth year at Williams and

his 22 nd year in public school

music education, Sanders has

built a thriving music program

with over 45% of the school’s

student population enrolled in

one or more music classes.

Sanders holds a Bachelor of

Music Education from the UNC

Greensboro (UNCG), where he

specialized in music education

and French horn. His prior

teaching experience includes

positions at Lexington Middle

School, Durham School of the Arts in Durham, and both

Northwest School of the Arts and Winterfield Elementary in

Charlotte. A passionate advocate for community-based

music education, Sanders has served as a teaching artist for

the Charlotte Symphony Orchestra’s Project Harmony since

2011. He is also the co-founder of the Greater Charlotte

Summer Arts Camp, now in its sixth year, which provides

comprehensive visual and performing arts instruction to

students ages 6 – 12. For the past two decades, he has

worked as a counselor and camp band conductor at the

UNCG Summer Music Camp. As a performer, he plays

French horn with the Catawba River Winds in Fort Mill,

South Carolina.

Sanders remains deeply engaged in the broader music

education community. He is a member of the North


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

Carolina Bandmasters Association, NCMEA, NAfME, and

Phi Mu Alpha Sinfonia. He currently serves on the NCMEA

Popular Music Education Committee, a group dedicated to

recognizing, embracing, and advocating for the inclusion of

popular music within music education at the state level. His

additional leadership roles include co-chair of the

Charlotte-Mecklenburg Schools Middle School Honors

Band, PAAC-A middle representative on the CMS

Superintendent’s Teacher Advisory Council, and member of

the community advisory board for Charlotte’s classical

music station, WDAV.

A frequent guest clinician for honor bands across North

and South Carolina, Sanders also mentors students in

middle and high school programs, including those in the

Charlotte Symphony Youth Orchestras. In 2025, he was

honored as the Teacher of the Year at John Taylor Williams

Secondary Montessori and named a finalist for Charlotte-

Mecklenburg Schools Teacher of the Year.

Carrie Andrews

Originally from Casar, North Carolina, Carrie Andrews is

currently in her twelfth year of teaching. She attended

Meredith College in Raleigh, where she received her

bachelor’s degree in K – 12 music and directly after, she

began her career in Pitt County at E.B

Aycock Middle School. For the past 10

years, Andrews has taught in Durham, at

Sherwood Githens Middle School and

now at Charles E. Jordan High School.

Under her direction, the Githens

Orchestra received a first place trophy at

Music in the Parks Six Flags New

England, five superior rating plaques at

Music Performance Adjudication, and

performed with the world renowned

electric violinist, Mark Wood.

regardless of their financial status and advocates for

funding to make that possible.

In addition to her teaching duties, Andrews has served as

the chair of the Eastern Regional MPA , lead orchestra

director of Durham and is currently the Eastern Regional

Orchestra Clinic Chair. She has also adjudicated the Fourth

District of Virginia Assessments, and conducted All-County

and All-District Orchestras in both N.C. and Virginia. She

looks forward to continuing to grow as both a teacher and a

leader in the orchestra realm. Outside of teaching, Andrews

enjoys any outdoor activities, cooking, and spending time

with her four children and wife, Katie.

Guadalupe De La Rosa Gonzalez

Guadalupe De La Rosa Gonzalez is the current band

director at West Lake Middle School in Apex. Gonzalez

holds a Bachelor of Music in music education from

Meredith College. She has worked with a variety of music

ensembles and takes pride in the inclusive and positive

learning environment she builds in the band room.

Gonzalez’s students have successfully placed in All-County,

All-District and All-State Honor Bands, and her ensembles

have recently received an excellent rating at MPA, and a

superior rating at Music in The Parks.

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Music Industry Emphasis

In her three years at Charles E. Jordan

High School, the orchestra has more than

tripled in size, received two superior

ratings at MPA, and won Best Student Pit

Orchestra for the musical, Bright Star.

Andrews is fortunate to work in a district

where the arts are placed as a top

priority. She strongly believes that all

students should have access to the arts,

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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.


Matt Howard, Chair

Charles E. Jordan High School Jazz Combo

Charles E. Jordan High School in Durham, opened in 1963

and has a thriving band program that includes two concert

ensembles, two jazz combos, a marching band, a big band,

and an indoor percussion ensemble.

The Jazz Combo program meets daily and welcomes

musicians of all levels, from beginners to advanced players.

Students are regularly chosen for All-Region and All-State

Jazz Bands, and the ensembles consistently earn superior

ratings at MPA. Beyond competitions, the combos are active

in the Durham community, performing at venues such as

the Sharp 9 Gallery, Durham Public Schools’ Teacher of the

Year Banquet, the UNC Basnight Cancer Hospital, and even

more high-key gigs like Ace Hardware.

Instruction emphasizes peer mentorship, arranging and

composition, listening, and collaboration with guest artists.

Recent clinicians have included Al Strong, Michael

Shekwoaga Ode, Dan Davis, Butler Knowles, Jason

Foureman, and Shaquim Muldrow, among others, offering

students exposure to a wide range of professional

perspectives.

JAZZ SECTION

Cameron Garris has served as

director of bands at C.E. Jordan High

School since May 2022. During his

tenure, the marching band, wind

ensemble, and jazz combo programs

have all achieved success. The Jordan

Regiment has received numerous

caption awards and first place

finishes in their class at state

competition. The wind ensemble has

regularly received superior ratings at

adjudication and has been recognized nationally in

competition in Orlando and Atlanta. Jazz Combo I was

recognized in 2024 as the Most Outstanding High School

Jazz Combo at the Carolina Jazz Festival, sponsored by

Essentially Ellington.

Garris previously served as director of bands at Person

High School from 2019 to 2022. At Person, the band

received superior ratings at adjudication in both jazz and

concert band settings, and his students were consistently

named to honor bands across the state.

He is an active member of NCMEA and also holds

professional affiliations with the North Carolina

Bandmasters Association and Phi Mu Alpha Sinfonia. He

currently serves on the Central District Bandmasters

Association Executive Board as secretary and All-District

Clinic chair, and Jazz MPA chair for the NCMEA Central

Region.

ECU Jazz Ensemble A

The ECU Jazz Ensemble A is a collaboration of music

education and performance majors as well as other

university musicians. The Jazz Ensemble is an energetic

entity, providing both entertainment and education to our

community. The East Carolina Jazz Ensemble has a unique

history throughout the state of North Carolina, providing

service and support of our immediate and extended

community. Today, we endeavor to continue our role as an

exciting and inspirational ensemble. We look forward to

performing past, modern, and contemporary jazz music and

culturally conscious sounds for all.

Kobie Watkins, director

Kobie Watkins is a world-renowned

drummer, composer, and educator. A

native of Chicago, he began his unique

musicianship as a small child listening

to and watching his father (Alious C.

Watkins) play drums in church. He

developed a personal system of

discipline and structure for both music

and life skills, which he models as an

educator and professional musician.

Watkins has recorded, toured and taught extensively with

the world’s greatest musicians, in Africa, Europe, Asia,

Canada, South America and the United States, playing with

Sonny Rollins, Kurt Elling, Brandford Marsalis, Bobby

Broom, Ryan Cohan, Joe Lovano, John Scofield, Sean

Jones, Roy Hargrove, Roy Haynes (2010), Arturo Sandoval,

José James, and Kim Burrell, to name just a few.

Watkins has cultivated dynamic relationships with his

peers in and out of the jazz, Latin, and gospel music

communities as a drummer, percussionist, and a mentor.

Watkins is currently the director of the East Carolina

University Jazz Ensemble A and the Triangle Youth Jazz

Band with the Triangle Youth Music Organization in

Raleigh, as well as a jazz coach at the Durham Workshop.

TOP 10 REASONS TO

VISIT THE EXHIBIT HALL

Benton Convention Center Piedmont Hall, Lower Level

Sunday, November 9 10 a.m. – 6 p.m.

Monday, November 10 9 a.m. – 5 p.m.

Plan a minimum of 1 - 2 hours for the exhibit hall!

10. Plan your program’s trips

9. Design your spirit wear

8. See new technology in action

7. Connect with college and university

music programs

6. Free samples and swag

5. Try out instruments and equipment

4. Select music literature

3. Pick your fundraisers

For this conference performance, the Jordan Jazz Combo

is honored to feature North Carolina jazz legend Jim Ketch,

emeritus director of jazz studies at UNC Chapel Hill. The

group will premiere his commissioned work “Last Trane to

Hamlet”, a contrafact of NC-native John Coltrane’s

Impressions.

2. Make purchases for the school year

1. Visit with colleagues and friends!

Cameron Garris, director


Veronica Biscocho, Chair

ORCHESTRA SECTION

In the 1980 International

Conducting Competition hosted by

the Mozarteum and Austrian National

Radio, Amundson placed first earning

the Hans Häring Prize. In 1992, the

Minnesota Music Education

Association named him Minnesota

Orchestra Educator of the Year. In the

fall of 1995, Amundson received the

Carlo A. Sperati Award from Luther

College in recognition of meritorious

achievement in the field of music.

Harger’s scholarly and creative activity centers on

recontextualizing the role of the conductor as a producer.

Additionally, his work in expanding conducting pedagogy,

facilitating international new music premieres, and

recontextualizing established standard repertoire

contributes to his work in reimagining the profession of 21 st

century orchestral education. He holds his DMA in

orchestral conducting from Michigan State University.

White Oak High School Orchestra

I’m writing this on the first day of school and hope you are

just as excited as (and maybe more caffeinated than) I am

as we start making music with students!

For those of us who have been in the

profession a long time, we understand firstday

energy isn’t always sustainable and

there are times in the year when it’s hard to

carry forward that momentum and keep

things fresh and creative.

The good news is there is something that

helps! I find connecting with colleagues,

specifically those who teach orchestra, gives

me new ideas for the classroom and also

allows me to not feel so isolated as the only

strings teacher in my school building.

What’s the best way to get together with all

your orchestra teacher buddies? Come to

the NCMEA Professional Development

Conference in November!

The Orchestra Section has a great lineup

of presenters and performances this year,

including a session led by Annie Ray, the

2024 Grammy Music Education Award

Winner. The other highlighted orchestra

presenter this year is Raine Hollingsworth,

a director from Florida, who will help us

keep students accountable by teaching

them about error detection and ownership

of the sight reading process.

We’re also fortunate to have some

wonderful collegiate colleagues in North Carolina. Tim

Nowak (East Carolina University), Lindsay Fulcher

(Appalachian State University), and Scott Glasser (UNC

Greensboro) are all presenting. It will also be a good chance

to welcome Drs. Fulcher and Glasser, who are new to their

roles in North Carolina.

My favorite parts of conference are whenever I get to be a

participant by playing my violin! Joey Walker (Durham

School of the Arts) and Dr. LaSaundra Belcher (Wake

Forest Community Youth Orchestra) will

both lead sessions in which you can become

the “student” and play your instruments.

The NC-ASTA Chapter will also host a

reading session, sponsored by JW Pepper,

on Saturday afternoon. You don’t want to

miss that or the Sunday night social at

Broad Branch Distillery.

If you want the audience perspective,

there are lots of great performances

scheduled throughout the conference. The

2025 North Carolina Honors Orchestra will

perform at Reynolds Auditorium on

Sunday, November 9 at 4:30 p.m. The UNC

Chapel Hill Symphony Orchestra, under the

direction of Dr. Evan Harger, will perform

Monday, November 10 at 5 p.m. in the

Gallery of the Benton Convention Center.

The next morning, the White Oak High

School OAKestra, under the direction of

Gregory Dundore, will perform in that

space at 10 a.m. You don’t want to miss the

music making that is happening within

those programs!

I hope to see all of you at conference in

Winston-Salem in November and look

forward to the mid-year professional boost

that it will bring!

Performance Orchestras

NC Honors Orchestra Conductor

Steven Amundson

Award-winning conductor and composer Steven

Amundson spent 41 years building the St. Olaf Orchestra at

St. Olaf College into one of the premiere college/university

orchestras in the United States. Known for his inspiring and

passionate presence on the podium, Amundson is a highly

sought-after conductor, clinician and adjudicator.

A commissioned composer and arranger, Amundson is

published by the Lauren Keiser Music Company, Neil A.

Kjos Music Company and Boosey and Hawkes. Tempo

Music Resource distributes his self-published works.

Amundson was a finalist for the 2014 American Prize in

Orchestral Composition for his “Handprints,” which was

commissioned by the Bloomington (MN) Symphony in 2012

in honor of their 50 th anniversary celebration.

He is the founding conductor of the Metropolitan

Symphony Orchestra, which he led from 1982–87. He

returned as their fifth music director in the fall of 2024.

UNC Symphony Orchestra

Dr. Evan Harger, director

Dr. Evan Harger (assistant professor)

is honored to be the music director and

conductor of the UNC Symphony

Orchestra at UNC Chapel Hill.

An advocate for new music and living

composers, Harger serves as a staff

conductor for Global Arts United and

has guest conducted and taught at

festivals held variously in Sofia,

Bulgaria; Vienna, Austria; São Paulo,

Brazil; and Brasília, Brazil. He also holds the position of

associate conductor and producer of the Newfound

Chamber Winds, an ensemble made up of professional

musicians from around the United States and Canada.

Additionally, in 2026, he will serve as a teaching artist for

Harmony Honors Festival in New York City and at Carnegie

Hall.

Greg Dundore, director

Greg Dundore serves as orchestra

director at White Oak High School

and Hunters Creek Middle School in

Jacksonville, N.C. At White Oak, he

leads the OAKestra and also conducts

the school’s annual musical

productions. A dedicated music

educator in Onslow County since

2015, he has directed the growing

string programs at both schools, with

Hunters Creek Middle serving as the

primary feeder to White Oak High.

Originally from Mechanicsburg, Penn., Dundore earned

his Bachelor of Music in music education from West

Chester University, where he was a euphonium major.

Beyond teaching, he is an active performer, playing violin

and electric guitar with the Coastal Carolina Community

Orchestra and euphonium with the Wilmington Symphonic

Winds and Onslow Winds.


Mindy Cook, Chair

TECHNOLOGY COMMITTEE

TRANSFORM. EXPLORE. INSPIRE.

The UNCG School of Music is

pleased to welcome to the faculty:

As the NCMEA Technology chair, I am excited about our

2025 conference theme: Beyond the Notes: Shaping Our

Future. This year is not just about what we teach. It is about

how we prepare students to create, collaborate, and

innovate in a world that is constantly changing. The

technology sessions this year reflect that shift, moving us

from traditional note reading to immersive experiences and

digital creativity.

My own county has challenged teachers to take a step back

from using technology and encouraged us to

find a balance between digital tools and

paper-and-pencil work. The goal is to reduce

screen time for students. This initiative has

pushed me to look at technology through a

different lens. I think it was best said by

Justin Dickson, a member of the Technology

Committee, in his session description last

year, “Technology should only be used when

there is a meaningful and compelling reason.”

Here are a few of the sessions I am excited

about at this year’s conference:

Beginning Tech for School

Elementary Teachers will be especially helpful for those

teachers who may not feel tech savvy. The presenter will

introduce practical tools like Google Drive, Forms, Slides,

Classroom, Seesaw, and Boom Cards. No advanced skills

are required. Attendees can expect to walk away with ideas

they can put into practice immediately.

Harnessing Artificial Intelligence: Top AI

Platforms Revolutionizing Music Production and

Education will be a highlight, especially for music

educators who are curious about how AI fits into our work.

AI is here to stay, and it is not going to replace us as music

educators. Instead, we must learn how to adapt and adjust

with the times. This session explores how AI can be used to

compose, arrange, and teach music, while also raising

important questions about copyright, ethics, and artistry.

Organization and stress reduction are also key themes in

many of our technology sessions. Automating the Music

Classroom Part II (You Still Shouldn’t Be Stressed

Y’all) will feature Technology Committee members Isaiah

Cornelius and Katie Copeland collaborating and building on

their separate sessions from last year. They will take a

deeper look at tools like ClassroomScreen, Canva, ChatGPT,

MagicSchool, and GarageBand to streamline planning and

save valuable time.

Another session focused on organization

and stress reduction is So You Just

Installed the ForScore App on Your

iPad. Now What? This hands-on clinic

will provide step-by-step guidance on

scanning and organizing scores so

conducting digitally becomes smooth and

efficient. To make the most of this session,

participants are encouraged to bring an

iPad and a piece of music to scan.

The Technology Committee is also

sponsoring something different this year

with Creating a Harmony from

Within: Working with Impostor

Phenomenon in Music Education. While not centered

on technology, this session addresses the self-doubt many

educators face and reminds us that shaping the future of

music education also means supporting the well-being of

teachers.

In addition to these highlights, the technology track

includes a wide range of organizational and creative

sessions. From Chad Cygan’s innovative vocoder clinic to

the practical applications of Songcraft, presenters are

offering ways to bring fresh energy into the classroom and

inspire new approaches. Collectively, these sessions remind

us that technology is not about adding more screen time. It

is about choosing the right tools for the right reasons so that

both teachers and students can thrive.

KARI ADAMS

choral music education

MICHAELA KELLY

voice

LAURELYN DOSSETT

songwriting

Audition Dates for 2025–26

December 6, 2025 February 14, 2026

January 31, 2026 February 28, 2026*

*priority deadline for scholarship/assistantship consideration

Degree Programs

Bachelor of Arts

Bachelor of Music

Music Minor

Master of Music

RYAN REYNOLDS

bassoon and chamber music

Doctor of Musical Arts

Doctor of Philosophy

Post-Baccalaureate Certificate

Post-Masters Certificate

ALESSANDRA FERIS

piano

ROBERT YOUNG

saxophone

SCOTT GLASSER

string music education

Post-Baccalaureate Certificate in

Music Teacher Licensure Prep

The Post-Baccalaureate Certificate in Music

Teacher Licensure Preparation is designed

to help current teachers without a teaching

license pursue a teaching license in North

Carolina. The certificate is offered as an

alternate pathway to licensure for music

teachers in North Carolina.


NCMEA member Doug Rowe is the

Tri-M advisor for Union Academy

Charter School in Monroe, which was

named the NAfME North Carolina

Tri-M Chapter of the Year for

2024–25. Since Rowe joined the

faculty at Union Academy, he has been

impressed with how frequently his

students participate in serving the

community. Union

Academy is a school

of challenge, character, and community,

and the students are constantly going

above and beyond to share their talents

and work ethic outside of the school. We

asked the Union Academy music students

to share their thoughts about being a part

of their Tri-M chapter. Sophomore Grace

Lennard, junior Bennett Mercurio, and

seniors Lauren Seaford and Brianna

Mason eagerly shared how they felt about

their club, activities, and what they would

want other music students and teachers

to know about what success means to

them as members of their Tri-M chapter.

All the students agreed their chapter

was recognized because of the unique

community service events they held during the school year,

such as the Veterans Coffee House and trips to the Senior

Living Center to perform. Their deep commitment to

community service not only gave members a chance to

share their musical gifts with others but also made a

meaningful impact on our community. About the Veterans

Coffee House performance, Mason said, “Sharing music and

joy with those who have served our country so selflessly was

a true honor.”

Lennard shared that their Tri-M chapter was special

because they were inclusive of all musical styles and

performances, where, for example, band students could

hear and appreciate the musical talents of their peers in

I would like other

music teachers to

know that Tri-M is

such an amazing

way to serve the

community whilst

improving your

students’

musicianship and

leadership skills.

– Lauren Seaford

choir. She felt her favorite part of being a club member was

“performing and listening to members play various solos

and music ensembles. I personally loved seeing people grow

in musical abilities throughout the year and become

comfortable performing. I know my personal skill set on

flute grew through performing in front of musicians and

listening to their feedback.”

Seaford shared that she felt the chapter was a close-knit

community where “we’re truly like a

family, supporting one another in every

way – whether it’s helping each other

improve musically or being there

through personal struggles.” Growing

from sharing their talents with likeminded

people wasn’t the only benefit of

being in Tri-M for these students.

Mercurio summed it up, “We recognize

we have talents that not everyone does,

so we use them as a force for good by

sharing our music with locals. It’s always

a heart-warming experience to see the

people we play for become immersed in

our music and appreciate what we do.”

These Tri-M students expressed what

Tri-M membership means to them.

Lennard said it was “serving my

community while sharing and expressing my love for music.

One of the best service projects we did last year, which was

also achievable for all members, was concert set-ups. I liked

doing roadside cleanups for the school as well because it

showed our entire school community that our musical

groups care for them.”

Mercurio felt being a part of Tri-M demonstrated he was

“a dedicated musician who actively seeks to serve my

community and the arts. I am a part of a special community

with a common talent and goal whose presence makes my

school and local community a better place.”

For Seaford , Tri-M provided an opportunity to “channel

my love for music and service into making a difference in

the lives of those around me. Through our chapter, we do

more than just perform; we grow as individuals, as

musicians, and as leaders. Tri-M allows us to serve our

community while developing the confidence, compassion,

and teamwork that extend beyond the music on the page.”

And Mason felt that being in “Tri-M means sharing your

musical talent and/or willingness to help others by yourself

and in a group to show the importance of music and the

positivity it can bring.”

The Union Academy students have some goals for their

club this year. They want to continue to lead through their

service, keeping the club organized and informed, while

increasing attendance in off-campus community events.

They want to continue to form new community service

opportunities so that everyone has an opportunity to give

back and find more opportunities for the band and choir to

collaborate on more activities and performances. The

students are ready to build on their success!

When asked what encouragement they would give other

Tri-M advisors, they were positive about how clubs might

open up opportunities for other musicians. Seaford said, “I

would like other music teachers to know that Tri-M is such

an amazing way to serve the community whilst improving

Start or renew your chapter today!

Join the only national music honor society

for students in grades 6–12.

“Tri-M taught me how to be a leader by planning fundraisers,

finding volunteers, and creating successful events.”

—Mari D., Tri-M Alumnus

Tri-M@nafme.org | nafme.org/Tri-M

your students’ musicianship and leadership skills.” She

believes that the investment in energy and time serves as

inspiration and impacts the students and the community.

Mason thinks the club should be driven by its student

members rather than the teacher-advisor, saying, “Things

like planning where to go, what we’re going to do, etc., is

done a lot by the students, especially the officers, and it

helps all the students exercise and grow responsibility and

inspires them to help others.”

Lennard agreed adding, “Being in Tri-M provides

leadership abilities that are critical for life beyond high

school. Performing for each other also raised confidence

and self-awareness.” Finally, Mercurio expressed many of

the same sentiments, saying, “A Tri-M chapter is a great

way to make students feel important and involved in their

community.”

If you would like to know more about building a Tri-M

chapter, you can contact Andrew Dancy at

tri-m@ncmea.net.


District 1

The 11 th Annual Panther Band Classic at Pasquotank

County High School is October 18, beginning at 1 p.m. This

event continues to be a highlight of the season, showcasing

outstanding band performances. Later in the year,

Pasquotank County High School will join with

Northeastern High School for the Fifth Annual A Blue and

Green Christmas concert. This combined holiday event will

take place on December 11 at 7 p.m. at the College of the

Albemarle Performing Arts Center.

In Beaufort County, exciting changes are on the horizon

as two schools prepare to merge next year into a brand-new

facility. This merger means all events and performances

will be combined between the two schools, with one serving

grades kindergarten through first grade and the other

covering second and third grades. There is a great deal of

enthusiasm about the opportunities this transition will

bring to the community.

Currituck County continues to celebrate the arts each

March with the annual Spring into the Arts event. Held on

a Saturday at a middle school auditorium, this district-wide

gathering features performances by ensembles from all

schools, art displays throughout the venue, and fundraising

food sales typically organized by the high school band. It is

a busy but rewarding day highlighting the vibrancy of the

district’s arts programs.

Additionally, the ECU Summer Band and Orchestra

Camp was well attended by students from across North

Carolina, reflecting a strong interest in music education in

the region. The Eastern District Band Association also held

its annual meeting in August, providing an opportunity for

collaboration and planning for upcoming events.

District 2

Molly Brown

District 1 President

District1@ncmea.net

There was plenty of excitement among teachers in our

district as schools were getting ready to start back! Lots of

school systems had professional development and are

working hard to navigate all the big changes ahead this

year. Best of luck to everyone on a great school year ahead!

ACROSS THE DISTRICTS

Please reach out and share your big programs and

successes throughout the year.

Joanne McGowan of Greene County Middle School was

recently selected to march in Pasadena, California with the

Saluting America's Band Directors Band in the

Tournament of Roses Parade this January!

The Morehead City Middle School Band will be

performing and presenting at the NCMEA Professional

Development Conference. Do not miss a chance to listen

and learn from one of our state’s most outstanding middle

school band directors, David Stroud!

Band directors within Districts 1 and 2, part of the NC

Bandmasters’ Eastern District, had awesome professional

development again at East Carolina University on August

16. Workshops during the day were presented by Kristina

McRamey, Chris Whitehurst, Jeff Warner, Rob Parker,

Karen Matthews, Victor Seanz, Katie Copeland, Dr. Bill

Haugeberg, Scott Sutherland, Perry Ditch, Lynn Dale, and

Dr. Cynthia Wagoner. Sessions ranged from pedagogy,

recruiting, technology, AI integration, and the Four Pillars

Initiative from Fuller’s Music to encourage regrowth of the

music teacher profession.

Michael Palmer


District2@ncmea.net

District 3

Greene Central High School Band earned a superior

rating at the spring Music Performance Adjudication, the

first in the school’s 38-year history. This remarkable

accomplishment sparked celebrations throughout the

school and district, and even gained national recognition

through major news outlets. Congratulations to Andrew

Howell and the Greene Central Band students!

Additionally, we are proud to recognize the choirs of

Apex High School and Apex Friendship High School, who

have been selected to perform at the American Choral

Directors Association Southern Division Conference.

Under the direction of Heather Copley (Apex High School)

and Sam Wanamaker (Apex Friendship High School),

these two outstanding choral programs will unite to

represent Wake County Public Schools and North Carolina

on a regional stage. This once-in-a-lifetime opportunity

reflects the excellence, collaboration, and artistry of both

programs.

We also commend the Triton High School Chorus Show

Stoppers Show Choir from Erwin, for their outstanding

performance during the WRAL TV 5 Christmas Tree

Lighting this past December in Raleigh. Under the

direction of Roy Harris, the ensemble beautifully

represented Harnett County Schools, spreading holiday

cheer through their energetic and polished performance

for a televised audience across the state.

Congratulations and best wishes to all of these

educators and students for their continued commitment to

excellence in music education. District 3 is proud to

celebrate the accomplishments of our school music

programs and the dedicated professionals who lead them.


Shearon Miller

District3@ncmea.net

What advice would you give your first-year teacher self about making the most of the NCMEA

Professional Development Conference?

Go to sessions outside of your primary teaching area. You

might be surprised what you can learn!

– Michael Henderson, Chase High School

Going to the conference will not only make you feel like

a part of the community, but give you contacts to

reach out to for collaboration and advice. I

have never taught elementary level

music, but some of the best activities

I've used in middle and high school

came from elementary sessions.

Don't limit yourself to the

schedule made for your

particular curriculum.

Inspiration is everywhere at

conference!

– Lenny Sue French, Page

High School

First, make sure to look at all

session descriptions, not just the

ones targeted at your section.

There are so many amazing

sessions that offer great information

that is applicable to all content areas!

Secondly, don’t just cram the day with

sessions. Find time to connect with other

professionals in your field and build your support network.

This also applies to clinicians! If you find a clinician’s

session was especially helpful, go introduce yourself at the

end and make that connection! You never know where it

may lead!

– Laura Black, Rocky Point Elementary

Sound Off

1. Apply for the Professional Development Conference

Scholarship.

2. As early as possible, use the advocacy materials

provided by NCMEA to share with your principal/admin

for attending conference.

3. Find a substitute as early as possible

for while you'll be at conference; the

good subs get booked early and

often!

4. Before conference, peruse

the conference app for the

schedule and sessions you'd

like to attend – there are so

many to choose from!

5. GO TO CONFERENCE!

6. Attend with a colleague or

find a mentor teacher (through

NCMEA) to share your

experience. We rarely get to

network with each other so take

advantage!

7. Go home with lots of new learning and

professional connections and start saving for next year's

conference!

– Erin Ellington, Appalachian State University


Chris White, Chair

Welcome back to another school year filled with possibility

and opportunity. One of the great privileges of our

profession is that each new academic year offers a fresh

start, new perspectives, and renewed purpose.

For our new directors, this year brings the longanticipated

chance to make a meaningful impact on the

lives of their own students. For our veteran directors, it

provides an opportunity to reflect on the triumphs and

challenges of previous years while continuing to refine their

craft. And for our retired directors, your ongoing

mentorship and advocacy across the state remain an

invaluable model of professionalism for us all.

Looking ahead, we are especially excited for our NCMEA

Professional Development Conference in Winston-Salem

this November. This year’s theme, Beyond the Notes:

Shaping Our Future, reflects our shared commitment to

continued growth and innovation. The conference offers a

wonderful opportunity to connect with colleagues, learn

from directors and clinicians from across the state and

beyond, and be inspired by exceptional performances by

seven outstanding scholastic ensembles. We are honored to

once again welcome Dr. Tim Lautzenheiser and the Boston

Brass to our state for two unforgettable sessions.

Clinics will be available for every level of teaching and

director experience level. New this year, we will offer

Saturday afternoon programming that will feature a

percussion ensemble performance and percussion-focused

sessions. A few additional highlights include:

• Dr. Catheryn Foster (N.C./Va.) – From Mistakes to

Music: Honing Error Detection for Deeper

Ensemble Musicianship

• Dr. Michael Black (Va.) – Coping with Podium

Deafness: How to Fix What You Don’t Hear in

Rehearsal

• Amanda Irby and Matthew Rubenstein (Ga.) – Seven

Year Itch: Surviving Working in a Title I School

BAND SECTION

• Marcia Neel (Nev.) – 5 S.M.A.R.T. Ideas to RETAIN

This Year’s Beginners: A Primer for Middle and

High School Directors

• Scott Rush (S.C.) – Getting Young Students To

Fall In Love With Music

• Dr. Kim Barclift (Hawaii) – Empowering

Ensembles: Shaping Student Growth Through

Music and Beyond

• James Daugherty – What Judges Hear in

Adjudication Performances (hand-on, interactive

clinic)

• Mary Kate & Colin Choat – Tune-Up 5k and Fun

Run (with options for both seasoned runners and

beginners)

As we move forward together – learning, leading, and

growing – I hope this year brings both personal and

professional fulfillment as a member of the North Carolina

Bandmasters Association. May you and your students create

musical memories that will last a lifetime. I look forward to

seeing you in Winston-Salem as we share our voices and

help shape the future of our organization.

Performance Bands

Asheville High School Wind Symphony

Celebrating over 100 years in continuous operation, the

Asheville High School band program includes over 160

students: over 10% of the school. At the heart of this

program is the Asheville High School Wind Symphony, the

school’s premier select ensemble. This group boasts a rich

performance legacy, with appearances at both regional and

national festivals, including the NCMEA Professional

Development Conference (1985, 1999), Barack Obama’s

Second Inaugural (2013), and most recently, the National

Band and Orchestra Festival at Carnegie Hall (2024), as

well as the Charleston Music Festival (2025).

Concert bands at Asheville High have participated in

Concert Festival/MPA since 1928, collectively earning over

100 superior ratings. The Wind Symphony alone has

received more than 53 superior ratings in Grade VI

literature. Membership in the ensemble is determined by

audition and instrumentation needs, and typically includes

all members of the senior class.

On November 10 at 3 p.m., the AHS Wind Symphony will

present a diverse program, showcasing music from various

grade levels as it does for home concert performances. The

concert will feature traditional repertoire by Percy Grainger

alongside fresh new works by more contemporary

composers Michelle Fernandez, Christina Huss and Katahj

Copley.

A special highlight of the program

will be the bass trombone feature

“Barnacle Bill the Sailor” performed by

Asheville High’s most distinguished

band alumnus, Charlie Vernon of the

Chicago Symphony Orchestra. The

ensemble will also welcome guest

conductor James Curnow, who will

lead his own composition, “Jubilee:

Variations on Saint’s Bound for

Heaven.” Additionally, the band will

perform a new transcription of Rossini’s “An Italian in

Algiers” by Lt. Colonel Jeff Warner, commissioned for the

AHS Wind Symphony.

Boston Brass

Since 1986, Boston Brass has set out to establish a one-ofa-kind

musical experience featuring colorful classical

arrangements, burning jazz standards, and the best of

original brass repertoire. Boston Brass treats audiences to a

unique brand of musical entertainment that bridges the

ocean of classical formality, delighting regular concertgoers

and newcomers alike with great music and boisterous fun in

performances across all 50 states and over 30 countries to

date.

Music education is at the core of Boston Brass’s identity

and the quintet conducts sessions around the world in the

form of masterclasses, residencies and collaborations,

everywhere from your local schools to major music

conservatories. Boston Brass is proud to be a member of the

International Artistic Advisory Council to the College of

Music at Mahidol University in Bangkok, and, in 2023, the

group was inducted into the prestigious American

Bandmasters Association as associate members.

The quintet’s newest album Blues for Sam features a mix

of classical and jazz arrangements alongside old favorites

and is dedicated to the late Sam Pilafian. Newly released in

2023 is the album Joe’s Tango, which introduces our world

premiere of Jorge Machain’s “Five Cities Concerto”

alongside the UNLV Wind Orchestra.

Boston Brass is a Yamaha Performing Group and performs

exclusively on Yamaha instruments. They are the Visiting

Ensemble in Residence at Yong Siew Toh Conservatory at

the National University of Singapore, and the Challey

School of Music at North Dakota State University.

Cardinal Gibbons Advanced Percussion Ensemble

The Cardinal Gibbons High School Advanced Percussion

Ensemble offers students a class that is designed for the

experienced high school percussionist to perform collegelevel

percussion literature. Emphasis is placed on advanced

fundamentals of percussion performance, including two and

four-mallet keyboard percussion, snare drum, timpani,

drum set and auxiliary equipment. Our ensemble

curriculum balances a focus on performing percussion

standards, while debuting and commissioning new

compositions. The Advanced Percussion Ensemble

routinely performs music that covers a variety of genres and

shows our discipline’s diversity of chamber music and large

ensemble literature. The ensemble was founded in 2005

and has served over 450 students since!

In addition to their percussion class, advanced percussion

students perform with the Cardinal Gibbons Wind

Ensemble, symphonic band, vocal music and string

orchestra programs. Students routinely audition for and

have been accepted in honors ensembles that include Solo &

Ensemble MPA, All-District and All-State Honors Band.

Our students also perform as members of multiple music

clubs on campus after school, including our noncompetitive

drum line and two jazz ensembles.


Mark Cashin, director

Mark Cashin is in his eleventh year as

the director of bands, percussion and

AP music theory at Cardinal Gibbons

High School in Raleigh. He graduated

in 2008 with a Bachelor of Music

Performance and History, and in 2009

with a Master of Arts in teaching from

UNC Chapel Hill. Cashin has studied

with Eric Okamoto and Lynn Glassock,

and has directed award-winning band

and percussion ensembles at both Solo

& Ensemble and Music Performance Assessments.

Cashin has presented virtually at the NCMEA Professional

Development Conference (2020) and in-person at the

NAfME and North Carolina Independent School

Association (NCAIS) In-Service Conferences in 2015. Since

2018, Cashin has helped chair the annual NCAIS Honors

Band Clinic. He also hosts yearly middle and high school

band and percussion camps at Cardinal Gibbons, open to

students from any school that look to improve their skills in

a concert setting.

Davie County Wind Ensemble

The Davie High School Band program has a long and

wonderful tradition of excellence. Throughout the years,

ensembles have received superior and excellent ratings at

state contest and festivals in various grade levels since the

opening of the school in 1956. The bands have traveled and

performed all over the globe, including Europe, Hawaii,

Chicago, Disney World, and Washington D.C. Our program

consists of more than 200 students performing in concert

band, symphonic band, wind ensemble, marching band,

jazz ensemble, and various small ensembles.

Matthew Brusseau, director

Matthew Brusseau is the director of

bands at Davie County High School

where he serves as the conductor of

the Davie High School Wind

Ensemble, symphonic band, concert

band, War Eagle Regiment, jazz

ensembles, coordinating small

ensembles, and solo performances.

Brusseau is a graduate of

Appalachian State University, where

he received his Master of Music Performance in conducting

and a graduate of the University of Wisconsin – Milwaukee,

where he received his Bachelor of Music in music education.

While at both universities, he performed in many

ensembles.

Brusseau's professional affiliations include NAfME,

NCMEA, the National Band Association, Phi Mu Alpha

Sinfonia, Kappa Kappa Psi, and Phi Kappa Lambda.

Jay M. Robinson High School Percussion Ensemble

The Jay M. Robinson Percussion Ensemble is one of many

musical ensembles at Jay M. Robinson High School. The

students in this ensemble work to develop their skills and

prepare for performances during a 90-minute class each

semester. These percussionists support all of the other

ensembles in the school, including the Pride of Robinson

Marching Band, concert band, symphonic band, and jazz

band. Percussion Ensemble is composed of between 20–30

percussionists each semester ranging from ninth grade

through twelfth grade.

Members of the ensemble have been selected to

participate in All-County and All-District bands, and several

participate in local WGI groups. The Percussion Ensemble

performed at the North Carolina Day of Percussion in 2024.

Jay M. Robinson High School opened in 2001 and has

over 1,100 students. The school is located in Concord, and is

part of the Cabarrus County Schools district.

Greg Dills

Greg Dills is the director of bands at

Jay M. Robinson High School in

Concord. In the past three years, the

Jay M. Robinson Percussion

Ensemble has performed at the North

Carolina Day of Percussion, and the

concert and jazz bands have earned

superior ratings at Music

Performance Adjudication. He has

been a clinician at NCMEA and

currently serves as the South Central

District Clinic chair and Western Region Jazz Clinic chair.

In 2023, he received the ASBDA Edgar Q. Rooker Encore

Award. Over the last year, he has performed with the

Charlotte Concert Band, Piedmont Wind Symphony, and

Salisbury Symphony.

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Prior to teaching at Jay M. Robinson, Dills was the band

director at Roberta Road Middle School in Concord, and

Paisley IB Magnet in Winston-Salem. He was also the

director of percussion for both Reagan High School and

Wake Forest University. In 2019, the Reagan High School

Percussion Ensemble was invited to perform at the NCMEA

Professional Development Conference, and he was awarded

Band Director of the Year for the Winston-Salem/Forsyth

County Bandmasters Association.

Dills’ professional affiliations include the Percussive Arts

Society and NAfME. He is an artist for Sabian Cymbals,

Remo Drum Heads, Ludwig Drums and Musser Percussion,

and Innovative Percussion.

he served as the musical director of the Queen City Brass

Band. Robison was on staff of the East Mecklenburg

Marching Eagles 2010–19. He currently serves as a

freelance clinician, adjudicator, and musician around North

Carolina in the concert, jazz, and marching band fields.

In 2020, Robison assumed the roles of band director of

the Morehead City Middle School Band and the Carteret

Community Sunshine Band. Beginning in 2021, he joined

the staff of the Carteret Collective Sound Marching Band.

Weddington Middle School Eighth Grade Band

Morehead City Middle School Honors Band

Morehead City Middle School is a small school with

enrollment around 500 in the heart of the Crystal Coast

region of Carteret County. Since opening in 1980, the band

program has had a history of excellence. The band

program’s mission is to instill musical competency,

contribute to the community through music, and to

encourage lifelong interest in musical activities. This will be

Morehead City bands third performance at the NCMEA

Professional Development Conference (2001, 2016, 2025).

Jason P. Robison, director

Jason Robison has been teaching

privately since 1998 and was named

band director at the Smith Academy of

International Languages (later

Waddell Language Academy) in July

2004. The band program at Smith

Academy grew from 80 to 200+ within

his first four years with critical acclaim

being awarded to his jazz band within

the first two years.

In 2013, Robison was inducted into the American School

Band Directors Association. In 2016, he became band

director at Crestdale Middle School. His sixth, seventh,

eighth grade concert and jazz bands have been awarded 40

consecutive superior ratings at MPA and various

adjudicated festivals since 2007.

Robison served as the North Carolina South Central

District Bandmaster Associations Middle School

representative from 2010–12 and 2014–17, and

Commission/Clinician chair from 2012–19. From 2010–12,

Weddington Middle School, located in Matthews, was

established in 1998. Under the leadership of principal

Marcus Leake, Weddington Middle is ranked in the top 5%

of North Carolina middle schools. The band program at

Weddington Middle has consistently demonstrated

excellence since the opening of the school, earning superior

ratings at MPA, along with other public performances/

festivals. The Weddington Middle School eighth grade band

consists of 47 well-rounded students with a strong passion

for music. Aside from band, these incredible students also

participate in sports, academic clubs, theater, robotics,

scouts, and many more extra curricular activities.

Patrick Foray, director

Originally from Long Island, N.Y.,

Patrick Foray attended the UNC

Charlotte and graduated magna cum

laude in 2019 with a Bachelor of

Music Education. Since 2023, he has

served as band director at

Weddington Middle School in

Matthews. Under his leadership, the

band program has grown to 235

students and has received consistent

superior ratings at MPA.

Prior to his current role, Foray was the assistant band

director between Porter Ridge High School and Middle

School in Union County. Before his time there, he was the

band director at East Forsyth Middle School and assisted

with the East Forsyth High School Blue Regiment in

Forsyth County. In between graduating college and starting

his career, Foray marched the 2019 season with the

Carolina Crown drum and bugle corps as a lead baritone.


Foray is in his seventh year of teaching and absolutely

loves what he does. He is always looking for ways to grow as

a young educator and can’t wait to find out what the future

has in store as he continues working with the Weddington

Wildcat Band!

Western Carolina University Wind Ensemble

The Western Carolina University Wind Ensemble is one of

the premiere performing ensembles in the WCU School of

Music. Comprised of 40–50 of the university’s most

accomplished woodwind, brass, and percussion musicians,

the ensemble is selected each semester by competitive

audition.

Known for its commitment to artistic excellence, the Wind

Ensemble performs a diverse range of repertoire each

semester, from core masterworks to groundbreaking new

compositions. The ensemble has been featured at the

NCMEA Professional Development Conference on multiple

occasions and served as the headline ensemble for the

North American Saxophone Alliance Region 7 Conference.

In February 2026, the Wind Ensemble will perform at the

College Band Directors National Association Southern

Division Conference.

Dedicated to the advancement of contemporary wind

literature, the ensemble has commissioned works from a

wide range of celebrated composers, including Benjamin

Ovation Level Sponsor

Taylor, Julia Wolfe, Hillary Purrington, Nubia Jaime

Donjuan, Juan Pablo Contreras, and Katahj Copley.

Dr. Margaret Underwood, director

Dr. Margaret Underwood is the

director of the School of Music and

director of bands at Western Carolina

University in Cullowhee. An active

and respected guest conductor,

adjudicator, and clinician, her

influence extends nationwide. Her

presentations have reached

prominent stages, including College

Band Directors National Association

Regional and National Conferences,

World Association of Symphonic Bands and Ensembles

International Conference, U.S. Navy Band International

Saxophone Symposium, College Music Society National

Conference, and the International Society for the Research

and Promotion of Wind Music International Conference.

Underwood’s research on Robert Kurka's “The Good

Soldier Schweik Suite” has been published in the WASBE

Journal, contributing valuable insights to the field. She has

also been a champion of new music, commissioning works

by notable composers such as Jennifer Higdon, Julia Wolfe,

James Stephenson, and Hilary Purrington. Furthermore,

her ensembles have premiered pieces by Paul Osterfield,

Jennifer Merkowitz, and Andrew Hannan, expanding the

repertoire with fresh and innovative works.

Underwood’s academic and teaching career includes

previous faculty appointments at Mansfield University in

Pennsylvania and Otterbein University in Ohio, as well as

teaching middle and high school bands in New York. She

holds degrees from the State University of New York at

Fredonia, The Ohio State University, and the University of

Minnesota.

NCMEA would like to thank our Ovation Level sponsor of the 2025 NCMEA

Professional Development Conference. Thanks for helping us look beyond

the notes!

Create. Inspire. Perform.

LIVE WESTERN

WCU Wind Ensemble

2025 NCMEA Conference

Performance Nov. 9 @ 1pm

Ian Jeffress, saxophone

Margaret Underwood, conductor

Audition Dates:

January 24

Instrumental Only

January 31

February 7

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We are grateful you are choosing to enter the music

teaching profession! We have many exciting opportunities

and resources to share with you, your advisors, and others

involved with collegiate music education.

President Cris Lim has written a Strategic Assessment of

Core Challenges and invited feedback from the state

collegiate officers. His strategic plan identifies year-round

communication and messaging as the primary challenge

for collegiates today. He has identified three interconnected

pillars of engagement (cultivating community, empowering

advocates, and demonstrating value), each with general

principles and potential actions proposed to help guide the

work of the current and future collegiate board in achieving

its mission and purpose.

Lim writes, “Connecting collegiates with the resources

and ecosystem provided by NCMEA and NAfME, as well

connecting them with each other through community and

solidarity, is the core purpose of the NCMEA Collegiate

board. This strategic plan represents a deliberate and

focused commitment to the future of the North Carolina

Collegiate Music Educators Association. It begins with an

honest assessment of our core challenge – a gap in yearround

communication that hinders our potential – and lays

out a clear, actionable roadmap to transform our

organization into a more connected, effective, and

indispensable professional home for every pre-service

music educator in our state.”

As part of our efforts to provide year-round

communication and messaging, the collegiate officers held

three virtual chats to date during the 2025 calendar year.

The most recent chat was held during NAfME Collegiate

Kick-off Week in September, with a preview of exciting

NCMEA Professional Development Conference sessions

and events specifically selected and prepared for our

collegiates! All of our virtual chats and accompanying

resources are archived and posted on the NCMEA

Cris Lim, Collegiate Chair

Christie Lynch Ebert, Advisor

Collegiate section website:

https://www.ncmea.net/sections-2/collegiate/.

We hope to see our collegiate members and advisors at

conference. This year it includes over 16 relevant sessions,

our annual business meeting, a collegiate reception, and a

collegiate late-night social with snacks, drinks, a DJ, and

more! Be sure to register to attend this year’s conference to

discover a network of support that will last a lifetime!

New Session Location

COLLEGIATE SECTION

Due to amazing attendance of our collegiate members last

year, we are excited to welcome you to our new larger space

this year! All collegiate sessions (unless co-hosted in

another location), will take place on the Embassy Suites

Reception Deck. Our setup will include round tables so

participants will be able to interact, take notes, and spread

out as they learn.

We have a great selection of sessions from fabulous

experts, and partnerships with several other sections. You

will find everything from techniques and strategies for

various classroom settings and levels (band, choral,

elementary, etc.), to overcoming anxiety, passing the Music

Praxis II, preparing for EdTPA success, classroom

management, pathways to teaching at the college level,

music careers, leadership, work-life balance, and more.

We are especially excited that nationally renowned

educator and arts advocate Dr. Tim Lautzenheiser will be

presenting a session just for collegiates, If I Knew Then

What I Know Now. Be sure to check out the conference

website and app to view details for all of our sessions. We

are grateful to partner with many other sections, including

Elementary, Band, Middle and High School Choral, and the

Technology, Mentoring, and Inclusive Vision for Music

Education committees on several of our sessions.

A new Connecting Collegiate Advisors session will

take place on Sunday, November 9, 2 – 2:50 p.m. This will

be an opportunity to connect with other advisors, share

ideas and resources for nurturing our future music

educators, ensure your graduating students are connected

to a mentor before graduation, and learn about how to

begin or reinstitute a chapter at your college/university if

you do not have one. Guests include Ben Reyes and

Jazzmone Sutton from NAfME, and Dr. Carol Earnhardt

from our NCMEA mentoring initiative. Students will visit

exhibits while advisors attend this session. Please come

celebrate the critical role you play in shaping the future of

music education for our state!

Collegiates and advisors should plan to attend our annual

Collegiate Business Meeting, Sunday, November 9,

4 – 4:50 p.m. Attendees will be greeted by special guests,

meet and hear from the State Collegiate executive board,

meet chapters and advisors from around the state, elect

new officers to the board, and recognize the Chapter of

Excellence. We will hear delegate highlights from the

Student Leadership Conference and Hill Day in

Washington, D.C. Immediately following the meeting, all

members and advisors are invited to attend a special

Collegiate Reception, hosted by JW Pepper Music. Be sure

to join the Collegiate Late Night Social in the Marriott

Hearn Ballroom, where we will have a DJ, dancing, and

snacks, 9:30 – 11 p.m!

As we plan for November’s state conference, we continue

our efforts to connect with others; promoting national and

state resources for busy college students that you can use

now; ramping up our efforts to communicate and support

collegiates through social media; highlighting local

chapters; and participating in leadership and advocacy

activities, such as sending delegates to North Carolina’s

Arts Day in the spring 2026, Hill Day in June 2026; and

other virtual and in-person opportunities.

Please do not hesitate to reach out to us if we can be of

support to you and be sure to follow NC Collegiates on

social media: Instagram, X, and Facebook

@collegiatencmea, as well as NAfME Collegiates on

Instagram (https://www.instagram.com/

nafmecollegiateofficial/) and facebook (facebook.com/

cnafme).


ELEMENTARY SECTION

Jeannine DuMond, Chair

Welcome back for another exciting year of teaching

elementary music. I hope you feel energized and ready to

share the joy of music and creating music in your

classrooms. As we know, a new year can bring both

excitement and stress. Let us all remember to breathe and

take it one day at a time. As elementary music educators, we

have the power to bring joy and plant seeds of musicianship

into the lives of many students.

The Beyond the Notes: Shaping Our Future 2025

Conference offers many opportunities for musicians and

educators to learn and grow. The Elementary Section board

scheduled 22 professional development sessions designed

to ignite and inspire your passion for teaching elementary

music, providing new ideas and resources to improve your

classroom practice. Everyone should be able to find sessions

that meet their needs across various settings.

The Elementary Section board currently has three open

positions: treasurer, recording secretary, and member-atlarge

1. If you're interested in joining the Elementary board,

please visit our website, NCMEA Elementary Section, to

view each job description and submit your Officer Interest

Form. Voting will take place during the conference. The

deadline to cast your vote is Monday, November 10 at noon.

In addition to our numerous elementary sessions, we are

especially excited that our Elementary Honors Chorus

clinician, Joshua Pedde, Indianapolis Children's Choir

executive artistic director, will lead our young musicians.

Rehearsals will be held in Piedmont Hall 1 and 2, and will

begin early Saturday morning. The concert will be on

Sunday at noon in Winston Ballroom 2 and 3.

Here is an overview of our professional development

sessions so you can plan accordingly. Saturday's sessions

will be held in Hearn C and D and will include Bloom:

Children's Choir Music to Grow On, featuring Andy

Beck of Alfred Music, and Sandy Lantz and Gretchen

Wahlberg of West Music, who will present Kids with

Autism CAN! Dr. Karen Thomas will present Exploring

World Music Pedagogy: Learn, Play, Discover. Erin

Ellington and Kelley Wilson will demonstrate Connecting

Literacy and Music through Reader's Theater, and

Claire Jurs will discuss Singing with Children: Tools

for Instrumentalists in an Elementary General

Classroom. Andy Beck will also lead a second session,

Sing, Move, Play! Music & Materials for Kids. Marna

Dodson and Angela McHenry will close Saturday's sessions

with Using Your Teacher Voice.

Sunday morning begins in Winston Ballroom 1 A and B

with Dr. Butch Marshall offering two sessions for all

attendees: Music Play (for children under four with a

caregiver) and Let's Start at the Very Beginning.

Corynn York from Quavered will present Little Ears, Big

Impact. In the afternoon, sessions are in Piedmont Hall 1

and 2. All remaining conference sessions will be there. Dr.

Kelly Poquette will present That's Me! Shaping

Instruction through Children's Literature, and Dr.

Daniel Johnson and Dr. Butch Marshall will present Orff

Meets Gordon: Laying Foundations for Creative

and Sequential General Music. Wrapping up Sunday

sessions, Sandy Lantz and Gretchen Wahlberg of West

Music will present Mixing It UP with Children's Lit!

Following our General Session on Monday morning with

2024 Grammy Music Educator Award winner Annie Ray,

Becca Davis from Becca's Music Room will kick off the

elementary sessions at 10 a.m. with Lessons to Engage

Upper Elementary Students. Channel Your Inner

Orff will be presented by Dr. Kelly Poquette, Dr. Maribeth

Yoder-White, and Erin Ellington. After lunch, bring your

ukuleles to Dr. Ran Whitley's session, Integrating the

Ukulele with Other Classroom Instruments. Maggie

Hemedinger and Jason Spencer with The North Carolina

Symphony will present Integrating American 250 into

Your Music Room, and Dr. Seth McKnight from Texas A

& M University - Corpus Cristi will share Strategies to

Teaching Part-Singing in the Elementary Music

Classroom.

You are invited to attend our annual Elementary Business

Meeting on Monday, November 10, at 4 p.m. An NCMEA

Transforming a Passion for Music into a Profession for Life

Bachelor of Music in Music Education, Music Therapy and Performance

Bachelor of Science in Music Industry Studies

Master of Music Therapy

Master of Music in Performance:

Instrumental, Vocal, Collaborative Piano, Conducting, Composition

Audition Required

Auditions in November, January and February for Fall 2026 Incoming Students

Mark your calendars for the 58th Cannon Music Camp! June 20 - July 11, 2026

music.appstate.edu

NEW Bachelor of Music Performance

44 | NORTH CAROLINA MUSIC EDUCATOR with a Concentration in Jazz Studies

NORTH CAROLINA MUSIC EDUCATOR | 45

Advocacy board member will speak to all elementary

attendees. We will also announce our new treasurer,

recording secretary, and member-at-large 1 for the

Elementary Section. After the business meeting, Melody

McGarrahan from Avery's Creek Elementary and her

elementary honors choir will perform.

On Monday morning, Zadda Bazzy, our 2024 Elementary

Teacher of the Year, will present Making Texts Musical.

To conclude our professional development, Sally Burner

will present Rhythms in Life: Connecting Rhythms

Across the K – 5 Curriculum. Markiss Barnes and his

elementary choir from Southwest Elementary in Durham

will perform after the final session.

school's Honors Choir, fostering high-level musical

performance. Some of her career highlights include her

students' performance with the prestigious Asheville

Symphony and being recognized as a National Music

Educator of Distinction by Yale University, an honor

recognizing her significant contributions to music

education.

Southwest Elementary Chorus

Angel Rudd Cuddeback, Chair

MIDDLE SCHOOL CHORAL SECTION

On behalf of the NCMEA Elementary board, we look

forward to seeing you in November. Please bring a friend

along, and let's make this our most well-attended

conference yet. Let's support each other as we work to bring

musicianship, joy, and high-quality instruction into our

classrooms.

Performance Choirs

Avery’s Creek Honor Choir

The Avery’s Creek Honors Choir is a group of fourth-grade

students who meet for an hour each week after school. In

our weekly rehearsals, the students learn a variety of choral

skills and repertoire. We meet to build our musical abilities

and also to create a supportive community within our

group. Last fall, the choir persevered through the challenges

posed by Hurricane Helene and in the spring performed a

musical which showcased a variety of homegrown musical

genres. This year, they are excited and honored to bring

their music to a new audience in Winston-Salem.

Melody McGarrahan

Melody McGarrahan is a

distinguished music specialist with 15

years of experience shaping young

musicians in Western North Carolina.

Throughout her career, she has been a

passionate advocate for arts

integration, presenting at conferences

on the topic and helping to launch an

afternoon El Sistema music and

tutoring program. Her commitment to

excellence led to the creation of her

Our program will include selections encouraging and

demonstrating diversity within musical literature. It will

include a survey of selections showing the diversity of the

selected pieces. Choral directors will leave with a survey

document to analyze the diversity of their own concert

programs. Our theme for this performance is “Tell Your

Story.” Each selection will share the story of who we are as

singers and how we see the world around us.

Markiss Barnes, director

Markiss Barnes (he/him) is a music

educator who serves as the music

specialist at Southwest Elementary in

Durham, North Carolina. He has a

passion for integrating cultures, the

arts, and diverse subjects into his

music lessons. He serves as the

LGBTQIA+ Liaison and Rainbow

Club advisor, choral director of the

Southwest Elementary Chorus, and

co-chair of the NCMEA IVfME

committee. Lastly, he has served as an inaugural Mental

Health Ambassador of the Durham Public Schools

Foundation.

He holds an undergraduate degree in music education

from Elizabeth City State University and a certification in

arts integration and STEAM from the Institute of Arts

Integration and STEAM. He is a euphoniumist and

featured soloist/member of the Triangle Pride Band. He has

also served as a band director at various institutions during

his career. Outside the classroom, he is a fitness instructor

and enjoys teaching Aqua Zumba while learning about

world cultures through his love of music.

As we begin a new school year full of excitement and new

students, let’s carry that momentum into October! Our

Professional Development Conference is right around the

corner, and it always gives us the boost we need to finish the

semester strong. This year, Jenny Patchett (High School

chair) and I have worked together to create combined

sessions we feel will provide meaningful content for you to

take back to your classrooms. If you haven’t registered yet,

do so today! We would love to see you there.

The weekend kicks off with the Middle School Honors

Chorus conducted by Victor C. Johnson, a Dallas native and

current school choral editor for Sing! We are thrilled our

students will perform a commissioned piece written

specifically for our Middle School Honors Chorus. Be sure

to attend his session on Sunday, November 9 at 6 p.m.

Throughout the weekend, you’ll have the opportunity to

attend sessions on topics such as the changing voice, music

for developing voices, rehearsal strategies, and multiple

sessions led by Coty Raven Morris.

On Monday at 1 p.m. at Centenary UMC, join us for the

Middle School Concert Performance Choirs: Carnage

Magnet Middle School Choir, under the direction of Mandy

Traylor Cavanaugh, who cherishes helping students

discover new abilities, talents, and interests that will shape

their futures; and the Patriot Singers of Kings Mountain

Middle School, under the direction of Susan Gray, who is

dedicated to using music as a way to enhance academics

and enrich her students’ lives.

After our Middle School Concerts, stay for the High School

Performance Choirs, and don’t miss Andy Beck’s session:

Winning Warm-Ups! (For Choirs of Any Age).

It will be a busy and inspiring weekend, but I encourage

you to also take time to reconnect with old friends, share

stories and ideas, and especially welcome new teachers.

Look for the gold star on name tags and say hello, share

advice, and help create those meaningful connections that

make our community strong.

We can’t wait to see you there!

Middle School Honors Chorus Clinician

Victor C. Johnson, a native of Dallas, Texas, is currently

the school choral editor for Sing!, the educational

publishing division of Choristers Guild. A prolific composer

and arranger, he has over 500 choral works, vocal solo

books, and keyboard collections currently in print.

Prior to his position at Choristers Guild, from 2000–18,

Johnson was a choral director at Ft. Worth Academy of Fine

Arts (FWAFA). At FWAFA, he directed the Academy

Singers, Academy Men’s Choir and was artistic director of

the Singing Girls of Texas and Children’s Choir of Texas.

He is the conductor of the Dallas Symphony Children’s

Chorus Mixed Ensemble, which is comprised of students in

grades 9 – 12 and is the resident children’s choir for the

Dallas Symphony Orchestra.

His professional affiliations include: American Choral

Directors Association, American Guild of Organists, Texas

Music Educators Association, National Association for

Music Education, Texas Choral Directors Association,

ASCAP, and Phi Mu Alpha Sinfonia, Inc.

Middle School Performance Choirs

Patriot Singers of Kings Mountain Middle School

Susan Gray, director

Susan Gray is a dedicated music educator who believes

that music can enhance academic learning and enrich

students’ lives. For the past eight years, she has served as


the choral director and piano teacher at Kings Mountain

Middle School (KMMS), following 15 years of teaching

elementary music in Cleveland County. Under the

leadership of Gray and Heather Bundon, the assistant

director and accompanist for Kings Mountain Middle and

High Schools, all of KMMS choirs have exclusively received

superior ratings at MPA and Carowinds Festival of Music.

Gray earned her degree in music education from Southern

Wesleyan University in Central, S.C. with a concentration in

voice and a minor in piano. Her commitment to excellence

has been recognized through multiple Teacher of the Year

nominations at the elementary and middle school levels. In

2024, she was honored with the Agape Award at KMMS.

Carnage Magnet Middle School

Mandy Traylor Cavanaugh, director

Mandy Traylor Cavanaugh serves as choral director at

Carnage Magnet Middle School. In her 12 years of teaching,

Jenny Patchett, Chair

she has found her joy in middle school chorus. Middle

school is the time when students discover new abilities,

talents, and interests that they will continue to pursue as

they grow older. She finds her passion in guiding students

on this journey of musical discovery!

Cavanaugh is a graduate of Wheaton College Conservatory

of Music in Wheaton, Ill. where she studied music

education, conducting, piano, and voice. Growing up, she

was privileged to sing in Gulf Coast Youth Choirs under the

direction of Dr. Lynne Gackle, who has been a lifelong

inspiration to her as a music educator.

In her time at Carnage, the Honors Chorus has

consistently earned superiors in performance and sightreading

at MPA. Carnage singers have been honored to sing

the national anthem at a Carolina Hurricanes game and

sing a televised feature on WRAL. Carnage singers regularly

participate in NC Sings, All-County, All-State, and N.C.

Honors Chorus. In recent years, the Honors Chorus has

collaborated with other schools at the GT Magnet Choral

Festival and the Garner Choral Celebration.

In addition to teaching at Carnage, Cavanaugh serves as a

staff singer at Christ Church on Capitol Square in Raleigh.

HIGH SCHOOL CHORAL SECTION

memorable performances. What truly sets this ensemble

apart is the incredible creativity and dedication of its

members. Beyond their vocal talents, they are a family,

supporting one another through challenges, celebrating

each other’s successes, and constantly striving to grow as

musicians and as people. This group is a testament to the

power of teamwork, hard work, and a shared love of music.

Lauren Hallihan, director

Lauren Hallihan is a passionate

educator with a deep commitment to

both music and her students. She

graduated from UNC Greensboro with

a degree in music education, and a

master’s in vocal pedagogy from

Belmont University. Her thesis, Where

Have All the Men Gone? A Study of

the Adolescent Male Voice Maturation

Process and its Effect on the Adult

Male’s Participation in Choral and

Solo Singing, reflects her dedication to understanding the

unique challenges of vocal development.

Throughout her time at Belmont, Hallihan performed as a

soloist for the Belmont Chorale, St. Mary's Catholic Church,

and the treble ensemble Vox Grata. She has a wealth of

experience in a cappella arranging and studied choral

composition with Dr. Entsminger at Belmont, further

enriching her understanding of choral music. In 2018,

Hallihan became the choral director at Enloe Magnet High

School, where she fosters a creative and inclusive

environment for her students. She believes the purpose of

choir is not only to develop musical skills, but to create a

space where students can explore their creativity, become

independent thinkers, and gain cultural awareness. Above

all, she strives to make the choir room a place where every

student feels welcome, valued, and loved.

Green Level High School Bella Voce

grade students who have taken at least two semesters of

choir at Green Level. They have consistently earned straight

superiors on stage and in sight-reading at MPA. In 2023, an

Instagram recording of their performance of “Tundra”

earned them an invitation to perform with Ola Gjeilo for the

premiere of his new work, “Twilight Mass,” in Carnegie

Hall. This choir will also be making its international debut

in 2026 at the London International Choral Festival.

Students in Bella Voce consistently earn spots in the

NCMEA Honors Chorus and Governor’s School. And while

these singers work incredibly hard to bring high quality

choral performances to every audience, kindness is the

heart of this choir. The positive community is what

continues to be the biggest draw to choir for students and

families at Green Level High School.

LeeAnn Faust, director

LeeAnn Faust is an accomplished

conductor, singer, and pianist. She

holds a degree in music education

from Stetson University and has

invested 19 years as a music

educator. She began her career

teaching middle school choir in

Florida, where she did curriculum

mapping for the district and served

as co-chair and pianist for the

Volusia County All-County Choirs.

Later, Faust worked as the associate conductor for the

Children’s Chorus of San Antonio, collaborating with then

artistic director, Doreen Rao. The greater part of her career

has been spent in North Carolina, serving ten years as choir

director at Fayetteville Academy (FA). During her tenure,

the FA choirs earned many accolades, toured nationally,

and received invitations to perform with organizations such

as the Fayetteville Symphony Orchestra. She is thrilled to be

leading the Green Level High School Chorus. Under her

direction, the Green Level choirs have won awards, earned

superiors on stage and in sight-reading and have accepted

several prestigious performance invitations. She has also

thoroughly enjoyed serving as an MPA judge for NCMEA.

High School Performance Choirs

Enloe Tenor/Bass Ensemble

The Enloe Tenor/Bass Ensemble is a dynamic, close-knit

group of singers made up of three distinct levels:

intermediate, honors proficient, and chamber advanced

tenor/bass voices. Each member of this ensemble is

handpicked through a selective audition process, ensuring a

group of singers who are not only technically skilled but

also deeply passionate about their craft. The ensemble

performs regularly at Music Performance Adjudications and

has had the honor of performing at prestigious events,

including the National Museum of African American Music

in Nashville, Tenn., as part of the Athena Festival: A

Nashville Recording Project.

The Chamber Tenor/Bass singers also dedicate additional

time to after-school rehearsals, where they prepare to

collaborate with the Chamber Treble singers for unique,

Green Level High School Bella Voce is a community of

student musicians who strive to blend skill and artistry to

share their most authentic and expressive musical

interpretations with each other and all who listen to them

sing. Founded in 2019, this award winning choir has

represented itself well within the North Carolina choral

community.

Bella Voce is an auditioned choir of tenth through twelfth

Providence High School Chamber Choir

The Providence High School Chamber Choir is comprised

of tenth through twelfth grade singers selected by audition.

The ensemble sings a mix of a cappella and accompanied

repertoire in a variety of styles. In addition to quarterly


concerts, Chamber Choir has historically performed at

Biltmore Estate, Duke Chapel, the Grove Park Inn, and in

local performances, including with the Charlotte Civic

Orchestra. Leadership, a sense of community, and

teamwork are valued and taught alongside musicianship

skills and repertoire, and the ensemble has consistently

earned superior ratings in adjudication.

Chamber Choir competes every other year at regional

festivals, having most recently earned straight gold ratings

and the award of Grand Champion at the Southern Star

music festival in Atlanta in 2025. In 2023, they also

received first place and the highest overall score for choirs

at the Festival of Music in Washington, D.C. Members are

active within the performing arts department, with many

participating in theater classes and the spring musical, in

band and/or orchestra, and in the Tri-M Honor Society.

They are frequently selected for auditioned regional and

state level honor choirs, including NC Honors Chorus, All-

Carolina Select Choirs, and the Mars Hill Choral Festival.

Alexandra Sims, director

Alexandra Sims is in her fourth year

as the choral director at Providence

High School. She earned both her

B.M. and M.M. degrees in music

education from UNC Greensboro and

began teaching in 2008. Prior to

teaching at Providence, Sims led the

middle school choral program at

Northwest School of the Arts for four

years, followed by ten years at

Parkwood High School.

Since her arrival, the Providence choral program has

continued strong representation at regional and state honor

choirs, received superior ratings at MPA and in competition,

and created a sense of community for its 200 singers.

Comprising five ensembles, the choral program provides a

vehicle for artistic excellence and an expressive outlet for

each student. Sims has a passion for collaborative

leadership. In the choral program, which has a history of

student leadership, she encourages student leaders to reflect

on their role in creating a culture of belonging. She has

served on the High School Choral board since 2019. She

currently sings in Caritas and Inspirar, and serves as the

music director at Providence Presbyterian Church.

East Carolina University Chamber Singers

The ECU Chamber Singers are comprised of 36 - 40

auditioned singers, primarily voice majors within the

School of Music. They developed a national and

international following due to a commitment to

programming and performing quality choral music at the

highest level. International and national accomplishments

include winning third prize at the International Chamber

Choir Competition Marktoberdorf (Germany), being a

finalist at the European Grand Prix for Choral Singing

(Bulgaria), winning first prize at the International Choral

Competition Gallus (Slovenia), performing at the National

ACDA conference (2019), performing at the NCCO

conference (2023), and performing at Southern ACDA

conferences (2020 and 2024).

Additional accolades include a collaboration with Oxford

University Press for the release of RVW 150, a collection of

works celebrating composer Ralph Vaughan Williams, and

winning second place in The American Prize in Choral

Performance. In 2024, the ensemble released Silence and

Music, the second consecutive album recorded with a

GRAMMY-winning recording team. It is available on all

streaming platforms. The first album, Appear and Inspire,

was released on the Gothic label in 2021 and received rave

reviews. Other ECU Chamber Singers albums in the Gothic

Records catalogue include Eternal Light (2010) and

Greater Love (2007).

James Franklin, director

James Franklin is the director of

choral activities at East Carolina

University where he conducts the

internationally renowned ECU

Chamber Singers, and the University

Chorale, directs the graduate

program in choral conducting, and

teaches undergraduate conducting.

Recent honors include invitations to

perform at the International

Chamber Choir Competition

Marktoberdorf (Germany), the European Grand Prix for

Choral Singing (Bulgaria), National ACDA Conference

(Kansas City, Mo.), Southern ACDA Conference (Louisville,

Ky.), North Carolina ACDA (Raleigh).

In addition to his duties at ECU, Franklin is a GRAMMYnominated

choral singer. He has performed with many

professional choirs including Transept, PaTRAM Institute

Male Choir, Taylor Festival Choir, Saint Tikhon Choir,

South Dakota Chorale, Orpheus Chamber Singers, Dallas

Bach Society, and the Bach Society Houston. Prior to his

conducting at the collegiate level, he taught public high

school and middle school choir in Texas. An active member

of ACDA, IFCM, NCMEA and NCACDA, he often serves as a

clinician and adjudicator across the United States and

abroad. He received his BME, vocal emphasis, from Baylor

University, his MM in choral conducting from Westminster

Choir College, and his DMA degree from the University of

North Texas.

Bachelor of Arts

in Music

General Music

Jazz Studies

Music Technology

Performance: Instrumental,

Piano, Vocal

Bachelor of Music

in Music Education

Instrumental

Piano and Guitar

Vocal

Minors

Choral Music

General Music

Jazz Studies

Musical Theatre

Popular Music

Graduate Certification

in Music Education

UNCW is an EEO/AA Institution. Accommodations for disabilities may be requested by contacting

the Disabilities Resource Center at 910.962.7555 at least seven days prior to the event. Questions

regarding UNCW’s Title IXcompliance should be directed to titleix@uncw.edu. 900 copies of this

public document were printed at a cost of $663.76 or $0.74 per copy (G.S. 143-170.1).

The content of this publication was created by the Department of Music.

Questions? Contact Leslie Samet at sametl@uncw.edu.

TRANSFORMING

Lives

through

Music!

Auditions

Fall 2025

Tuesday, Aug. 19

(for students entering fall 2024)

Saturday, Dec. 6

Spring 2026

Friday, Jan. 9

(for current and transfer students)

Saturday, Jan. 17

Saturday, Feb. 7

Saturday, Feb. 14*

(last date for scholarship consideration)

Saturday, March 14

Fall 2026

Tuesday, Aug. 18

(for students entering fall 2026)

DEPARTMENT OF MUSIC

910.962.3390 • UNCWMUS@UNCW.EDU • UNCW.EDU/MUS


by Cynthia Wagoner

PROFILES

IN

practice

Jana Winders

Jana Winders has spent her entire teaching career serving

the students and community of Wilson County. Now in her

24 th year, she teaches elementary

music at two schools: Lucama and

Vicks Elementary Schools, reaching

nearly 700 students each week.

Her path to music education began at

East Carolina University, where she

studied voice and completed her

student teaching with NCMEA Hall of

Fame inductee Susan Powers. After

graduation, she accepted a position at

Lucama Elementary School, never

expecting she would stay in Wilson

long-term. Opportunities arose to

apply for secondary choir positions,

but each time, something didn’t feel

right. “That’s when I realized I didn’t

want to teach anything else,” Winders

recalls. “The work that I do with the

community I do it in is where I am

supposed to be.”

Winders’ passion for teaching is grounded in connection

and trust. “The number one goal for me is to create an

environment that is both safe and inviting, so my students

feel comfortable and empowered to express themselves,”

she explains. “Music is personal – if children do not trust

you, they will not sing for you. They will not perform for

you.” Her adaptable teaching style reflects the very different

needs of her two school populations. “You just have to

figure out what works,” she says. “I make it my life’s mission

to figure out what is going to make my students engaged.”

That commitment has not gone unnoticed. Last spring,

Winders received the Maxine Swalin Award for Outstanding

Music Educator from the North Carolina Symphony, an

honor she never expected. Initially nominated by friends

and colleagues, she approached the application process as a

chance to advocate for music education and showcase her

students’ talents. After completing the semi-finalist visit

and interview, she set it aside until her school community

conspired to surprise her.

The day before the award

presentation, a colleague told her it

was “dress for success and wear blue”

day as part of a made-up

underground spirit week. Winders

reluctantly played along. That

morning, while teaching, she was told

to move her class to the auditorium,

unaware that the entire school,

county administrators, and NC

Symphony board representatives

were waiting. Board member Jason

Spencer remarked that he had never

seen a community rally so strongly

around an award winner. For

Winders, it was a career highlight.

Her dedication extends far beyond

the classroom. Twenty-one years ago, she founded

Whirlikidz Sing, a county choir that began with ten students

from each elementary school. Today, in partnership with

the Wilson Arts Council, the choir performs at local events

such as the Whirligig Festival and the Christmas tree

lighting. More recently, she launched an All-County

Elementary Choir, making sure the students of Wilson have

even more musical opportunities.

Winders also organizes a Title One Arts Night for families

across the district, often collaborating with other arts

programs to engage parents and children together in

creative activities. For her, advocacy means creating

meaningful, budget-free opportunities for students to

experience the arts.

“I would not be anywhere else and not in any other

county,” Winders says. “This community and these students

are where I’m meant to be.”

CONFERENCE SESSIONS

Have you ever realized – after conference – that you missed a great session that would

have helped your teaching, simply because it was from a different section? Us too! So all

the session descriptions are in one place, color-coded by section.

Band Choral Elementary Guitar Higher Ed IVfME Jazz Orchestra Piano Technology Popular Music Collegiate

The Art of Two-Part: Choral Rep for Any Age

Andy Beck and Krista Hart

Dive into a carefully curated selection of two-part pieces

that transcend age or grade level. Whether you're nurturing

beginners or refining seasoned singers, the repertoire in this

reading session will ignite your choir's passion for singing

and elevate their skills. Find fresh, exciting two-part music

that resonates with any age group! A complimentary music

packet will be given to each director in attendance.

Andy Beck is the director of choral

publications at Alfred Music. A prolific

composer and arranger, he has over 450

popular choral works, vocal resources, and

children’s musicals currently in print,

including the highly regarded method

books Sing at First Sight, Foundations in

Choral Sight Singing, and Vocalize! 45

Vocal Warm-Ups That Teach Technique.

A quick search on YouTube will confirm that Beck's music is

performed by singers worldwide.

He is in demand as a guest conductor, choreographer,

adjudicator, and clinician for music educators and students

throughout the United States and beyond. In recent years,

he has been a commissioned composer and/or guest

conductor for honor choirs of all ages, including All-State

groups throughout the Southeast. A fine tenor, Beck enjoys

performing in, and directing, musical theater, singing with

the North Carolina Master Chorale Chamber Choir, and has

been an Alfred Music studio singer since 1992.

With a Bachelor's in music education from Ithaca College

and a master's in music education from Northwest Missouri

State University, Beck is fully committed to arts education,

music literacy, and choral artistry, as is evident, not only in

his own writing, but also in the high-quality publications

available through the catalog he cultivates for Alfred Music.

Krista Hart is an author, presenter, and passionate

advocate for music education. Her career has been

dedicated to equipping educators with practical, creative,

and inspiring resources that foster meaningful student

connections. Hart is the author of several

books published by Alfred Music,

including Choir-tivities, Shaped by

Sound, Nine Noteworthy Black

Composers, Music-Go-Round, and the

award-winning The Mindful Music

Classroom and A Music Teacher’s

Gratitude Journal (SBO+ "Best Tools for

Schools"). Her work focuses on

supporting both musical and personal growth while making

the teaching experience more effective and enjoyable.

Automating the Music Classroom: Part II (You

Still Shouldn’t be Stressed, Y’all)

In this sequel to my session from last year, I will take a

deeper dive into the tools I introduced: ClassroomScreen,

Canva, ChatGPT, MagicSchool, and GarageBand. Whether

you attended last year or are joining for the first time, you

will leave with fresh ideas and practical ways to automate

tasks, streamline planning, and reduce stress in your music

classroom. You still should not be stressed, y’all.

Band Director Meets Choir: Practical Strategies

for Non-Vocalists Leading Choirs

Michael Henderson

Many music educators, especially in small schools, find

themselves teaching choir despite having little to no formal

vocal training. This session is designed specifically for band

directors, instrumentalists, and general music teachers who

need practical, easy-to-implement strategies to lead a choir

with confidence. Rather than focusing on advanced vocal

pedagogy, this session will provide simple, effective tools for

common choral challenges. Attendees will also explore

strategies for preparing students for choral MPA, engaging

students in meaningful rehearsals, and utilizing a choir for

creating community to build interest in their programs.

Designed to be approachable and encouraging, this session

will help educators focus on what they can do rather than

what they lack in formal vocal training.

Michael Henderson is the band and chorus director at

CHASE High School in Forest City, and a National Board

Certified Teacher in his 20 th year of teaching. He has




experience teaching at the high school,

middle school, and collegiate levels.

Having spent all of his career in small

schools, he understands the unique

challenges and rewards of building a

thriving music program in these settings.

He enjoys helping other educators craft

their own success while embracing the

strengths of small-school teaching.

Beginning Tech for School Elementary Teachers

Designed specifically for elementary music teachers who

may not feel tech savvy, this session will introduce easy to

use, practical technology tools that can be implemented in

your classroom immediately. We will explore Google Drive,

Google Forms, Google Slides, Google Classroom, Seesaw,

Boom Cards, and more. No advanced skills required, just

ideas you can take and use right away.

Bloom: Children's Choir Music to Grow On


Sow the seeds of musicianship with the stepping stones

found in well-crafted two-part choral repertoire. In this

session, we'll explore a range of strategies to nurture

blossoming voices and inspire artistic growth. Clinicians

Andy Beck and Krista Hart offer a bouquet of possibilities to

help children's choirs flourish! A complimentary music

packet will be given to each director in attendance.

Building Blocks: Preparing Beginning Band

Students for Success

Jennifer Isenhour and Dylan Sims

The best instrumental methods courses prepare us well for

starting instrumentalists, but not necessarily in the

beginning band classroom setting. In this session, we delve

into the essential components of launching young musicians

into their band journey. This comprehensive clinic focuses

on pre-instrumental readiness and the first nine weeks of a

beginning band class. Discover effective strategies for

establishing classroom procedures, explore techniques for

preparing students in the weeks leading up to instrumental

instruction, and learn the nuances of starting students

correctly from the beginning. Especially useful for young

teachers, this session equips you with the knowledge and

tools to cultivate a thriving band program from the very

beginning. Don't miss out on this invaluable opportunity to

set your students on the path to musical excellence!

Jennifer Isenhour is the director of

bands at Gold Hill Middle School in Tega

Cay, S.C. With over 400 students in the

program, band students represent nearly

half of the school population. In addition

to the sixth, seventh and eighth grade

bands, she also directs the extracurricular

jazz band and pep band. The eighth grade

band has earned the rating superior with distinction at

SCBDA Concert Performance Assessment in both Grade III

and IV. Gold Hill Band students consistently place into

region and state honor bands.

As a N.C. Teaching Fellow, Isenhour completed her

Bachelor of Music in music education at Appalachian State

University and her Master of Music in wind conducting at

Winthrop University. After serving as an adjunct instructor

at Ouachita Baptist University in Arkansas in 2011, she

joined the Bryant Middle School Bands in Bryant, Arkansas

as assistant band director.

Isenhour was awarded the Edgar Q. Rooker Encore Award

from the N.C. Chapter of the American School Band

Directors Association in 2011, and was recognized as

Teacher of the Year for both Marvin Ridge Middle School

(2010) and Gold Hill Middle School (2022).

Dylan Sims joined the Gold Hill Band

program in the 2023 school year.

Previously, he served as the director of

bands at York Middle School in York, S.C.,

associate director of bands at Cuthbertson

High School in Waxhaw, and associate

director of bands in Woodruff, S.C.

Sims obtained his undergraduate degree

at Limestone University and his graduate degrees from

Anderson University and Western Governors University.

His ensembles have performed at the USC Band Clinic in

Columbia, S.C., NCMEA Professional Development

Conference, Festival Disney in Orlando, Music for All

Percussion Festival and Chamber Festival in Indianapolis,

the President's Cup in Washington D.C., the Music for All

Southeastern Concert Regional in Atlanta, and WGI World

Finals in Dayton, Ohio.

Sims was a 2022 Grammy Music Educator of the Year

quarterfinalist, a First Bank Out of this World Educator,

School Band and Orchestra Magazine's 50 Directors Who

Make a Difference, and a 2023 Yamaha 40 Under 40

Educator, and obtained the National Band Association

Citation of Excellence. He is a consultant with Vic Firth,

Inc., is on the administrative staff of Civitas Independent,

and a board member of the Carolina Arts Collective.

Building Bridges: Supporting Tenor Bass

Students' Vulnerability in Middle School and

High School Choral Setting

Sean Grier

Singing and choral music is an inherently vulnerable act.

For adolescent male-identifying and tenor-bass students,

the act of singing can be particularly vulnerable due to

factors behind – and beyond – the notes, repertoire, and

vocal warm-ups they explore in middle and high school

choral classrooms. Specifically, tenor-bass students often

navigate a nuanced blend of physical, social, emotional,

psychological, and physiological vulnerabilities that directly

impact how they perceive and engage in singing. Choral

music educators therefore hold an important role in

recognizing, responding to, and guiding students through

these vulnerabilities in their curriculum, instruction, and

performance opportunities.

In this interactive session, participants will explore how to

meaningfully support their middle and/or high school maleidentifying

and tenor-bass students’ varied vulnerabilities in

secondary choral settings. Rooted in research, session

participants will first gain an understanding of adolescent

tenor-bass students’ social, emotional, psychological,

physical, and musical needs while contextualizing those

needs within contemporary choral music teaching and

learning settings. Participants will then observe, participate

in, and discuss specific ways to support male-identifying

and tenor-bass students’ vulnerabilities in the classroom

(focusing on topics that include the voice change process,

ensemble structure, repertoire, and instructional methods).

Finally, participants will have the opportunity to collaborate

in small groups to share their own successful approaches to

supporting tenor-bass students’ vulnerabilities in the

secondary choral classroom, as well as brainstorm new

approaches to implement into their practice.

Sean Grier, Ph.D., teaches

undergraduate courses in music education

and conducts the Treble Voice Glee Club at

UNC Chapel Hill. He also teaches

graduate-level music education

coursework at UNC Greensboro. After

completing undergraduate degrees in

vocal performance and music education at

Michigan State University, Grier taught

middle and high school choral music for nine years in North

Carolina. Eight of those years were with the Durham Public

Schools (DPS) as a member of the Durham School of the

Arts (DSA) choral department. His time within DPS and

DSA grounded his commitment to building secondary

choral settings that support, nurture, and empower

adolescent singers. This commitment informed his graduate

work at University of Michigan – Ann Arbor where he

received his Master of Music and Ph.D. in music education.

In addition to his pedagogical and research experience,

Grier has extensive experience as an administrator of

university and PreK – 12 arts programming and as a

facilitator of equity-focused professional development at the

university level.

Building Community Through Accessible and

Inclusive K – 12 String Music

Dr. LaSaundra Belcher

Need help finding repertoire that resonates with students

from all backgrounds and abilities? We will explore works

by composers from underrepresented communities and

gain insights into arranging and modifying scores to ensure

all students participate fully. Leave with a repertoire list and

skills to adapt repertoire that enhances technical skills and

fosters community and belonging within the ensemble.

Bring your instruments!

Dr. LaSaundra Belcher is a respected conductor,

music educator, and arts leader with over

20 years of experience in public schools,

higher education, and community music

programs. She is the founder and

executive director of the Wake Forest

Community Youth Orchestra in North

Carolina, where she leads initiatives that

expand access to high-quality music

instruction for students from rural and

under-resourced communities. Belcher is chair of NAfME’s

Council for Orchestral Education and serves on the

Conducting Committee for the American String Teacher’s

Association.

Belcher is a sought-after guest conductor and clinician for

All-State and Honors Orchestras across the country. She is

also a featured speaker at music education conferences,

including the Texas Music Educators Association, Michigan

Music Conference, Florida Music Educators Association’s

Emerging Leaders Program, and NAfME’s Pacific

Northwest Conference. In February, she will serve as an

adjudicator for the American String Teachers Association’s

prestigious National Orchestra Festival.

In addition to her national presentations, she provides

professional development for music educators, equipping

teachers with practical strategies to foster student success,

increase engagement, and strengthen music programs.

Belcher teaches at Shenandoah University, where she

equips aspiring arts entrepreneurs with the tools to build

successful, sustainable businesses.

Building Your Leadership Repertoire

Joseph Girgenti

You do not need a title or position to be a leader.

Leadership comes from within, however, it is important to

understand how you can be an effective leader in your own

way. During this session, participants will explore a variety

of leadership styles and tools in order to build their own

leadership repertoire. The goal for this session is to provide

participants an opportunity to strengthen their own

leadership in a way that will help them achieve their

personal and professional goals.

This session will apply more to the N.C. Professional

Teaching Standards, specifically Standard I – Teachers

demonstrate leadership. However, with this session geared




towards high school and/or college students, we will be

working on how to be leaders in our schools/programs, as

well as demonstrating leadership in life.

Participants will complete a DISC assessment to

understand their current leadership behaviors. They will

also learn about different leadership styles to find strategies

they can use in and out of the classroom. Although not

explicitly, the session includes understanding everyone's

perspective and how certain leadership styles promote or

hinder the work and ideas of others.

Joseph Girgenti is proud to serve

Wingate University as the first director of

athletic bands. In this position, he has

established the Spirit of the Gate marching

band and enhanced the instrumental

music course offerings. His prior teaching

experience includes preK – 5 general

music and 5 – 12 band in Union County

Public Schools. He is a graduate of

Wingate University (2015, BME) and East Carolina

University (2018, MM). Girgenti is also the past chair for

the NCMEA Elementary Section. In addition, he continues

to teach woodwind lessons in the Union County area. He is

an avid researcher, focusing on student leadership and

world music pedagogy. He is a member of CBDNA, NAfME,

NCMEA, NCBA, Marching Arts Education, Phi Kappa Phi,

and Pi Kappa Lambda.

Channel Your Inner Orff

Kelly Poquette, Maribeth Yoder-White, and Erin

Ellington

Have you ever wanted to use the barred instruments in

your classroom but didn’t know where to start? Ever

wonder what an Orff Arrangement involves? If you don’t

have any instruments, can you still teach Orff

arrangements? If the answer to any of these is yes, join us!

Together, we will explore how the Orff-Schulwerk process

can shape instruction with songs you can immediately take

back to your classroom. (Feel free to bring your recorder.)

Dr. Kelly Poquette, is assistant

professor of music education and

coordinator of music education at

Greensboro College. A veteran educator,

she holds certifications from the

American Orff-Schulwerk Association,

earning Master Certification in 2020, and

from the Feierabend Association for

Music Education in both First Steps in Music and

Conversational Solfege (Level I).

Poquette has received numerous honors at the district,

regional, and state levels, including being named the 2021

Burroughs Wellcome Fund Piedmont-Triad Region Teacher

of the Year, one of only nine teachers representing more

than 100,000 educators across North Carolina.

Her teaching experience spans pre-kindergarten through

graduate students, delivered both virtually and in person.

She earned a B.A. in music education from Wisconsin

Lutheran College, an M.M.Ed. from VanderCook College of

Music, and a Ph.D. in music education from UNC

Greensboro.

In addition to her teaching, Poquette contributes to the

profession through leadership and service. She is president

of the Central Carolina Chapter of AOSA and serves on the

Orff Echo editorial board, further advancing music

education and professional collaboration.

Dr. Maribeth Gail Yoder-White is a

freelance educational consultant, clinician,

and conductor. A choral and general music

education specialist, she serves as adjunct

associate professor in the Hayes School of

Music at Appalachian State University.

She is a certified Orff-Schulwerk specialist

and teaches Orff-Schulwerk professional

development courses at Appalachian State

University, Anderson University, and in Cobb County,

Georgia. She is past-president of the Southern Division of

NAfME, NCMEA, and the North Carolina Choral Directors

Association. She has taught all ages from preschool to

graduate students, specializing currently in curriculum

integration. She earned music education degrees from

Lenoir-Rhyne University and UNC Greensboro.

Erin Ellington is a lecturer in the

Hayes School of Music at Appalachian

State University, teaching undergraduatelevel

courses and supervising practicum

students and student teachers. Her

experience includes 18 years as a preK – 8

music educator in diverse urban and rural

settings across North Carolina, Illinois,

and Indiana. She holds Orff- Schulwerk

levels I – III certifications, World Music Drumming level I,

and Music Together instruction. She was nominated by her

peers and named the 2020 Mabel School Teacher of the

Year and the 2020 Watauga County Schools Teacher of the

Year. She was also named the 2021 Burroughs Wellcome

Fund Northwest Region Teacher of the Year.

Ellington leads local, regional, state, and national

professional development, including conference

presentations at Accelerate Innovate Motivate, NCMEA,

and NAfME. She presented for the North Carolina State

board of education and Appalachian State University's

Reich College of Education as the keynote speaker for their

2023 Beginning Teacher Summit. She completed her

Bachelor of Science in music education at Ball State

University and her Master of Music in education at UNCG.

Collaborative Piano Skills in the "Real World": A

Guide for K – 12 Music Educators

Dr. Leonidas Lagrimas

Does success in class piano translate into success in the

real world? How do choral music educators utilize the skills

they learned in class piano? Many class piano instructors

struggle with keeping students motivated and engaged. One

possible reason for this lack of engagement could be

students’ difficulty connecting course content to their other

coursework and/or their professional goals. Furthermore,

there is often a discrepancy between students class piano

experience and their experience using the piano in a

professional setting.

Our session focuses on the results of a qualitative research

study that asked choral music educators what piano skills

they are using in their work. We will discuss choral music

educators responses to our research study, and our process

of coding/categorizing interview transcripts for emergent

themes of relevance. Based on the themes presented in our

study, we will make recommendations for music educators

in all settings for success in utilizing collaborative piano

skills in "real world" settings such as the rehearsal, concert

hall, musical theater setting, and in general music who

utilize the piano daily in both their student internship and

their jobs. It is also crucial for the instructor to consider

their formal and informal assessment practices of student

learning.

Dr. Leonidas Lagrimas serves as

associate professor of piano and piano

pedagogy for the WCU school of music.

His main duties include applied piano and

coordinating the class piano program. An

emerging leader in piano pedagogy

research, Lagrimas has presented at local,

state, regional, and national music

conferences for College Music Society,

MTNA, NCKP, and NAfME. He serves on the editorial

board of American Music Teacher, the official MTNA

journal, and is editor of the North Carolina Music Teachers

Association Journal. He has been published in Piano

Magazine, the MTNA e-journal, and American Music

Teacher.

As a performer, Lagrimas is active throughout the country

as a solo and collaborative pianist. Recent and upcoming

performances include guest artist recitals at the University

of Florida, University of Alabama, Appalachian State

University, UNC Greensboro, and numerous faculty recitals

at WCU. Past collaborative piano highlights include

performances with Grammy-winning soprano Hila

Plitmann, country superstar Lorrie Morgan, and multiple

Carnegie Hall appearances. Active as a musical theater

pianist, conductor, and music director, his recent regional

credits include Next to Normal and The Sondheim Tribute

Revue at Waynesville's HART Theatre, and Rock of Ages

and 9 to 5: The Musical for Theatre Tallahassee.

Connecting Collegiate Advisors!

Christie Lynch Ebert

This new session for college/university collegiate advisors

provides an opportunity to connect with other advisors,

share ideas and resources for nurturing our future music

educators, and to learn about how to begin or re-institute a

chapter at your college/university if you do not have one.

Guests include Ben Reyes and Jazzmone Sutton from

NAfME, Dr. Debra S. O’Connell, Southern Region

representative of the NAfME Collegiate Advisory Council, as

well as Dr. Carol Earnhardt from our NCMEA mentoring

initiative, and other special guests. Students will visit

exhibits while advisors attend this session. Please come

celebrate the critical role you play in shaping the future of

music education for our state!

Christie Lynch Ebert is the collegiate

advisor for NCMEA. A passionate

educator and administrator, she served

North Carolina Public Schools

(1993–2020) and has served as a church

choir director, PreK – 12. She works at

Meredith College, where she has taught

pre-service teachers and is the

recruitment coordinator for the music

department.

Ebert attended Meredith College and UNC Greensboro

with undergraduate and graduate degrees in music

education. She taught music, dance, and drama and was a

lead teacher, later serving as a member of the instructional

assistance team in Wake County Public Schools. She joined

the North Carolina Department of Public Instruction as an

arts education consultant (1999 – 2013); section chief for

K – 12 program areas (2013 – 2017); and director of K – 12

standards, curriculum, and instruction (2017 – 20). She

supported all aspects of arts education, English language

arts, English language development/Title III, healthful

living, mathematics, school counseling, science, social

studies, and world languages and supported various State

Board and legislated programs/initiatives.

Ebert has overseen the academic standards development

process; developed and led professional learning; and has

managed state and federal budgets and programs. She has

served as a leader for state and national professional

organizations, projects, and initiatives, supporting a wellrounded

education for all children.

Connecting Kids with Creativity

The future is multimedia. Music, film-scoring, and audio

editing skills are essential in all media. And you don’t need

to be an accomplished composer to use and teach with




accessible, engaging creative tools. We’ll explore tools for

film scoring, podcasting, and more using a variety of kidfriendly

interfaces, with options for traditional music

notation. Need to start a new course with legit career skills?

Real-world music production and performance go hand-inhand,

but most school programs focus on only music

practice and performance. Music industry demands

performers also compose/create, record, and produce.

Digital tools like YuStudio, OGenPlus, and Soundtrap,

support those additional goals. While they look (and are)

fun, these tools contain their own type of music literacy that

feeds into traditional notation as well as the professional

music studio. And you’ll attract music-loving students not

currently in your performance ensembles (the other 80%).

Coping with Podium Deafness: How to Fix What

You Don't Hear in Rehearsal

Dr. Michael C. Black

In a 2018 survey of approximately 150 band directors,

only 16% of those surveyed said with confidence they have

never felt that a diminished ability to hear errors or musical

deficiencies while on the podium conducting caused them to

be less effective as a teacher. This phenomenon is referred

to as “podium deafness.”

Despite the fact that as much as 84% of conductors have

struggled with this, little research or literature exists on the

subject. We will review the survey results, discuss probable

causes for the phenomenon from consultation with a

cognitive psychologist, and share a number of techniques

that can immediately be implemented in the classroom to

help mitigate the effects of the phenomenon.

Dr. Michael C. Black is the director

of bands and assistant professor of music

at Southern Virginia University, where he

directs the Knight Marching Band,

Southern Virginia University Chamber

Winds and Symphonic Band, leads the

Knight Groove Brass Band, and teaches

other classes within the music

curriculum.

Black previously taught at Northwestern Oklahoma State

University, and Franklin College. He received a Doctor of

Musical Arts in wind band conducting from the University

of Kentucky, where he studied with Dr. Cody Birdwell, and a

Master of Music in conducting from the University of

Connecticut, where he studied with Dr. Jeffrey Renshaw.

Black began his collegiate studies at Northeastern State

University in Tahlequah, Oklahoma where he graduated

summa cum laude with a Bachelor of Music Education.

Black is nationally active as a conductor, clinician,

adjudicator, trumpet player, and community member. He is

a member of the NAfME, College Band Directors National

Association, and is an honorary member of Tau Beta Sigma

and Kappa Kappa Psi.

Core Arts Standards in General Music:

Opportunities for More Meaningful Teaching

David Tyson

The National Core Arts Standards are recommendations

for music educators to use at every age level and teaching

area. However, many pre-service and in-service teachers

have expressed frustration when planning to meet each of

these standards. While using a predetermined framework

for planning, these standards can support teachers trying to

create and extend their lessons in a meaningful way and

enrich the student experience. This session is intended to

model a lesson with activities from each of the four major

categories (performing, connecting, responding, and

creating). Participants will engage in rote learning,

performance of popular music, creative musicking, and

opportunities to create connections to students’ musical

lives outside of school.

David Tyson is an assistant professor

of music education at the University of

Arkansas Fort Smith. He received a Ph.D.

in music education at the University of

Florida, a Master of Music in music

education with a concentration in jazz

studies from East Carolina University,

and a Bachelor of Music in music

education from UNC Wilmington. His

research is focused on popular and culturally significant

music integration, comprehensive musicianship, creativity,

and access to teacher education for non-traditional

musicians. He has presented research at national and

international conferences, is an in-demand clinician for

concert and jazz honor bands, and maintains an active

performance schedule in a variety of musical settings.

Crack Happens: Strategies for Guiding and

Nurturing the Adolescent Voice

Dr. Eric G. Johnson

Working with the adolescent singer is a daily adventure

that changes by the minute. Singers have a hard time

understanding what is occurring with their voice as they feel

lost in the constant fluctuation at times. As educators we

often get overly technical or uncomfortable with the

anatomy. Join us as we discuss the adolescent voice

expansion and its many facets for all genders and seek to

better help our singers understand that crack happens.

Dr. Eric G. Johnson is the assistant professor and

coordinator of music education for Gardner-Webb

University. Prior to pursuing the Ph.D. in music education

with a choral conducting emphasis from the University of

Mississippi, he was the choral director at Holmes Middle

School in Eden, where he directed a

vibrant choral program for ten years. With

a B.M. in music education and sacred

vocal performance from Appalachian State

University and an M.M. in music

education from Florida State University,

Johnson is active in the musical world as

an educator, clinician, and presenter. He

has presented at national conferences for

both NAfME and ACDA and conducted numerous honor

choirs in North Carolina, South Carolina, Georgia, and

Virginia. Johnson presently serves as the president-elect for

North Carolina ACDA, and supports churches in the region

as an interim music minister.

Creating a Harmony from Within: Working with

Impostor Phenomenon in Music Education

Imposter phenomenon affects individuals who are

accomplished, competent, and intelligent. Nevertheless,

they feel like they are fooling people. Many music educators

and their students believe they are intellectually fraudulent

and not nearly as intelligent or competent as their peers or

accomplishments suggest. These frequent and intense

feelings can affect an individual’s well-being by producing

anxiety, stress, depression, procrastination, and job

burnout. However, impostor phenomenon could also result

in motivation and opportunities for professional growth.

Through personal analysis, this session will explore the

obstacles within music education that create feelings of

impostor phenomenon and how to persevere with daily

techniques that set realistic goals.

Creativity and Critical Thinking in Large

Ensembles

Tim Nowak

Creativity is a foundational skill that shapes how students

engage in musical experiences throughout their lives. But

how does creativity relate to the durable skill of critical

thinking, and how can ensemble directors integrate critical

musical thinking into their rehearsals in an authentic way

that develops students’ creative capacities? In this session

we will explore the concepts of divergent thinking (Webster,

2002) and cognitive apprenticeship (Weidner, 2018), and

how ensemble directors can deploy these concepts in

rehearsal to develop students’ critical and creative thinking

capacities. By blending traditional rehearsal techniques

with critical questioning and creative activities, ensemble

teachers can reinforce fundamental musical concepts while

cultivating durable skills that take students beyond the

notes and into a space of musical possibility. This session

focuses on designing and implementing such rehearsal

activities. This session is interactive and participatory.

Participants will engage in experiences that serve as models

for activities they might design with their own students.

Tim Nowak is an associate professor of string music

education at East Carolina University. His

current research focuses on music

education in rural settings, and he has

presented at a variety of professional

conferences nationally. He actively works

as a clinician and adjudicator for a range

of solo and ensemble festivals nationwide.

He earned his B.M. from Ithaca College,

his M.A. from the Eastman School of

Music, and his Ph.D. from Arizona State University.

Creativity and Musicality in the Very Beginning

String Class

Dr. Lindsay J. Fulcher

In the beginning days of instruction, when students barely

know how to hold their instruments, it can be a real

challenge to feel musical or creative. This session will

explore activities to use on those first days that combine

beginning technique with improvisation, creativity, and

instrument exploration. You and your students will leave

the first day of class inspired to be musical! Instruments

and participation welcome.

Dr. Lindsay J. Fulcher is an assistant

professor of music education in the Hayes

School of Music at Appalachian State

University. Previously she was head of

music education at the University of

Northern Colorado and director of the

String Project there. She has also taught

high school orchestra in North Carolina

where her students achieved great musical

growth. She has been fortunate to conduct orchestras of all

levels in Colorado, North Carolina, Ohio, and Pennsylvania.

In the past she has kept a small studio of viola, violin, and

cello students. She holds a BME from Baldwin Wallace

University, and an MME and Ph.D. in music education from

Pennsylvania State University.

Cultivating Tomorrow's Leadership in

the Choral Classroom

Dr. Carol Earnhardt

The chorus program can be fertile ground for developing

the skills necessary for professional success in the 21 st

century. Former music students often attribute their

experience in the high school music class as the impetus for

their accomplishments. This session will offer suggestions

for intentional actions by the chorus teacher to cultivate

leadership skills in young students. The session will

demonstrate how to develop and train a choral council,

teach interpersonal skills to student leaders, create a

leadership team that serves as the core of the chorus

program, and raise a leader from the most unlikely places.

Student leaders add to the efficiency and effectiveness of

classroom operations, and they strengthen the community


Band Choral Elementary Guitar Higher Ed IVfME Jazz Orchestra Piano Technology Popular Music Collegiate Band Choral Elementary Guitar Higher Ed IVfME Jazz Orchestra Piano Technology Popular Music Collegiate

and cohesiveness of the choir. But, the benefits of serving as

a student leader lasts well beyond the notes. The lessons

learned as a leader in a chorus classroom benefit a student

long after they leave high school.

Dr. Carol Earnhardt is the assistant

director of choral activities at High Point

University where she directs the Women’s

Chorus and Chapel Choir. She is the

artistic director of the Heart of the Triad

Choral Society, a large community choir

in Kernersville. Earnhardt is a past

president of NCMEA, and presently

serves as the chair of the NCMEA

Mentoring committee. Prior to her appointment at HPU,

she served for twenty-five years as the choral director at

Glenn High School in Kernersville. Under her direction, the

Glenn choirs performed by invitation at Carnegie Hall, the

National Cathedral, St. Patrick’s Cathedral in New York

City, the NCMEA Professional Development Conference

and the NC ACDA Conference. An award-winning teacher

and conductor, she has served as the clinician for All-

County and state-wide choral clinics in N.C. and an

adjudicator for NC Honors Chorus and High School MPA.

Developing a Fundamental Series for Band –

Moving Beyond the Checklist

Dr. J. Ben Jones

One of the most difficult questions to answer in band

rooms across the field is what exercises to include during

fundamentals time. These parts of rehearsal can often feel

more like checking items off a list, rather than purposeful

and specific concepts, leading to missed opportunities for

musicianship, and confusion for students. As part of this

session, participants will explore the process of developing a

fundamental series for their band ensemble by discussing

what concepts to include, which kinds of exercises to focus

on, and how to use repetition and variation to solidify ideas

for students. The session will also discuss the power of

transfer and the goal of building higher level skills over

time. The conversation will aim to provide ways of helping

educators move beyond the checklist of warmups to the

focus of purposeful fundamentals.

Dr. J. Ben Jones is director of bands

and assistant professor of music at

Catawba College where he leads the music

education concentration, serves as

conductor for the wind ensemble, director

of the marching band and pep band, and

administers the entire Catawba College

bands program.

Jones earned his Doctor of Musical Arts in instrumental

conducting at UNC Greensboro in 2021, where he served as

the principal conductor of the University Band and was the

co-conductor of the symphonic band during the 2018 – 19

school year and as frequent guest conductor with the wind

ensemble, Casella Sinfonietta, and instructor in

undergraduate instrumental conducting.

Prior to his graduate studies, Jones taught in the N.C.

public school system as the director of bands at Ashbrook

High School in Gastonia, where he oversaw marching and

concert bands and collaborative efforts within the

community. An advocate for music education and building

leaders in school music programs, he has presented

leadership training workshops, worked with young music

educators, adjudicated, and served as a guest clinician for

many band programs around the Carolinas. He holds a

BME from the University of South Carolina and an MM in

instrumental conducting from UNCG.

Discovering Our Inner Superhero: Bringing Your

Authentic Self to Your Class and Community

Coty Raven Morris

Teachers are truly earth’s greatest heroes. But all heroes

have origin stories and flaws. Lost classroom hours can

make us feel a push to make up for intellectual time, leaving

the emotional, physical, and spiritual wellness of our

students neglected. It’s imperative that we cater to the

whole child when building upon skills and rebuilding

classroom culture. Join Coty Raven Morris for a morning of

tools and treasures for keeping our inner hero ready for

action!

New Orleans native Coty Raven

Morris is a proud alumnus of Texas

State University – San Marcos. She

received her Master’s of Music in choral

conducting from Michigan State

University.

She is currently the Hinckley Assistant

Professor of choir, music education, and

social justice at Portland State University. Prior to this, she

was the director of choirs at Crosby High School in the

Houston area and has served as the outreach choir director

at the MSU Community Music School and music director at

Grand Ledge United Methodist Church.

Morris was the recipient of the Hays CISD Linebarger

Academic Recognition Award for 2013 and Galena Park

ISD’s Dazzling Diamond Award in 2014, 2016, 2017, and

2018 for outstanding mentorship and leadership in her

field. Her most recent acknowledgments include being a

nominee for the Portland State University George C

Hoffman Faculty, semi-finalist for the 2025 Music Educator

Grammy, and finalist for the 2024 Music Educators

Grammy.

A newly published author and composer, Morris is a

sought-after clinician and speaker across the country. She is

the founder of Being Human Together, a budding

community rooted in music education striving to normalize

difficult topics in our field through conversation and

connection.

Diversifying Your Concert Program: Band New

Music Reading Session

Brian Myers, Page Newsome and Carolina Perez

Lab Band Series

Representation matters! It is imperative that our students

see themselves represented in the music we study and

perform in our classrooms. This Band New Music Reading

Session will explore up to twelve new and diverse works for

concert band (grades I – V) written by underrepresented

composers, including those who identify as women, BIPOC,

and LGBTQIA+. Our intent is to expose band directors to

quality new works by wind band composers who are not

regularly programmed in efforts to help educators diversify

their concert programs. We will introduce you to several

wonderful pieces and composers and provide resources for

further research on diverse and talented composers writing

music today. All attendees are welcome to sit and play in the

ensemble. Bring your instrument and come learn about

some amazing new works for concert band!

Brian Myers has been a high school

band director for twenty years and is the

past chair of the East Central District

Bandmasters Association. He has served

as the director of bands at Green Level

High School since the school opened in

2019. Before that, he was the director of

bands at Green Hope High School.

Myers completed his undergraduate degree in music

education from East Carolina University, and his Master of

Music Education from Boston University. He is a National

Board Certified Teacher.

Myers has conducted the Northwest All-District Band; the

Craven, Johnston, Lincoln, Onslow, Randolph, and Pitt All-

County Bands; and the Blue Band at the UNC Wilmington

Honor Band Festival. He has been a conductor for the

UNCG Summer Music Camp and the ECU Summer Music

Camp. He was the 2014 – 15 Green Hope High School

Teacher of the Year and the 2015 Central District

Bandmasters’ Association Band Director of the Year. He

received the Excellence in Teaching Award by the Cary

Chamber of Commerce in 2018.

In 2014, the Green Hope Symphonic Band performed at

the NCMEA Professional Development Conference. In

2018, the Green Hope Band was named a division winner of

the Programs of Excellence Blue Ribbon Award, sponsored

by the National Band Association.

Raleigh native Page Newsome holds a

Bachelor of Music Education from UNC

Greensboro. He began his teaching career

in 2012 at Chatham Central High School,

where he worked to provide consistency

and additional performance opportunities

for the small program after several years of

teacher turnover in that position. In 2014,

he started a new band program at

Highland Middle School. From 2016 – 20, he taught at East

Wake High School. While there, the marching band, concert

bands, winter guard, and percussion programs grew and

had consistent successful seasons placing first in their class

and earning high ratings at local and regional competitions.

He has served as director of bands at Middle Creek High

School since 2020, and earned the 2021 NC-ECDBA Band

Director of the Year Award. He looks forward to continuing

growing the MCHS program and continuing the tradition of

excellence for many years to come. He has also served as

camp counselor and conductor at the UNCG Summer Music

Camp, All-District Clinic chair, HS member-at-large,

president-elect, and now president of NC East Central

District Bandmasters Association.

Carolina Perez is instructor of music

at the North Carolina School of Science

and Math in Durham, where she conducts

the wind ensemble, jazz band, and pit

orchestra, teaches courses in music

theory, and oversees the pep band. She

enjoys performing as a cornetist with the

Triangle Brass Band and has loved

performing with the World Adult Wind

Orchestra Project in Schladming, Austria.

She holds a master's in instrumental conducting and a

bachelor's in music education from UNC Greensboro. While

there, she served as graduate conductor for the university’s

three concert bands, the graduate chamber ensemble, and

the pep band, and also served as a university supervisor for

pre-service student teachers. Prior to her graduate studies

at UNCG, she spent six years teaching in small, rural

schools in Union and Randolph counties, where she led

successful concert and marching ensembles at the middle

school and high school levels.

She has conducted several honor bands and summer

camps, including the Wake, Chatham, and New Hanover

All-County Bands, the UNC Wilmington Honor Band

Festival, the UNC Greensboro Summer Music Camp, and

the University of Wisconsin at Madison Summer Music

Clinic. She is a 2023 Morehead-Cain Impact Educator and

is a frequent clinician and adjudicator for bands across N.C.

She is president-elect of NCMEA and serves on the board

for the North Carolina Central District Bandmasters Assoc.



Do as I Do: Improving Rehearsal Efficiency

Through Movement Fundamentals

Drs. Daniel Johnson and Nicholas Balla

We as conductor-educators are constantly searching for

ways to create more efficient rehearsals. We meticulously

manage rehearsal time, seek out promising practices, and

diligently assess our teaching methods, however, does the

way we move when conducting work against our efforts

towards greater efficiency? This interactive presentation will

investigate this question through activities that reinforce

three universal principles of movement: the available spine,

counterbalance, and maintaining open focus. Participants

will then connect these principles to an ensemble's ability to

maintain steady time, achieve characteristic tone, and

maximize expressive capacity. Participants will discover the

ways in which movement not only serves as a means to

reinforce a conductor's aural image, but as a basis to

rehearse.

Dr. Daniel Johnson serves as

director of bands and assistant professor

of music at Wingate University, where he

leads the wind ensemble and courses in

conducting and music education. He

previously taught in the public schools of

Virginia and Kentucky and earned a DMA

in band and wind ensemble conducting

from the University of Michigan, an MM

in wind conducting from Indiana University, and a BM in

music education from the University of Kentucky.

Johnson maintains an active schedule as a conductor and

clinician. He has recently been invited to present at the

CBDNA National Conference and state music conferences in

North Carolina, Virginia, and Iowa. He is an advocate for

community music-making, and his experiences in

community music span nearly twenty years. He has served

as conductor of the University of Michigan Alumni Concert

Band, assistant conductor of the Lexington New Horizons

and Crossroads Brass Bands, and on faculty of Lexington,

Kentucky’s Central Music Academy.

Dr. Nicholas Balla is the director of

bands at Arkansas State University, where

he leads the A-State Wind Ensemble,

coordinates the graduate wind band

conducting program, and teaches

undergraduate conducting. Driven by a

passion for building community through

music, he also conducts the Jonesboro

Community Wind Ensemble and

previously led the Diamond Brass Band. He recently earned

a Doctor of Musical Arts in band and wind ensemble

conducting from the University of Michigan’s School of

Music, Theatre and Dance. While there, he served as a

graduate student instructor for the Michigan Marching

Band, campus bands, campus chamber ensembles,

University Concert Band, and undergraduate conducting

courses.

Balla spent five years as assistant director of bands and

low brass specialist in the Lebanon School District in

Missouri. He has presented on rehearsal techniques and

pedagogy at national and regional conferences, including

the College Band Directors National Association National

Conference, Michigan Music Conference, Symposium for

Music Teacher Education, and the International Midwest

Clinic. He holds a Master of Music in conducting from the

University of Michigan, and a Bachelor of Science in

electronic arts/audio studies and a Bachelor of Music

Education from Missouri State University.

Don't Stop Rehearsing: Connect, Create,

Respond in Ensembles

Brandon Roeder

The idea of sacrificing rehearsal time to address

composition, copyright, cross-curricular connections,

history, or personal bias can seem irrational and frustrating,

but it doesn't have to! Join in this facilitated discussion

about integrating all eight standards into your rehearsal

routine, and leave with plenty of ideas to implement in your

next rehearsal!

At NCDPI since 2019 as the K – 12

music and theater arts consultant,

Brandon Roeder came to North

Carolina to teach elementary music in

Granville County. He has taught general

music and high school chorus, coached

and written music for marching bands

and drumlines, put on numerous musical

productions, ran a strings program

serving grades 1 – 12, and was a district arts integration

coordinator.

Roeder completed his Master’s as a curriculum specialist

from Appalachian State University (Go, Mountaineers!). He

is passionate about getting teachers the instructional

support tools they need.

Empowered Ensembles, Inspired Growth

Dr. Kim Barclift

This interactive session explores rehearsal techniques and

teaching strategies that align with North Carolina’s Portrait

of a Graduate durable skills and the 2014 National Core

Music Standards for Ensembles. Music educators will learn

and share inclusive, student-centered approaches that

support individual and ensemble growth within ensemble

settings. Participants will engage in collaborative activities,

contributing ideas that connect music standards (creating,

performing, responding) with key durable skills such as

adaptability, communication, collaboration, critical

thinking, empathy, and personal responsibility. Attendees

will leave with practical strategies and next steps to enhance

musical development in their ensembles.

Dr. Kim Barclift is an assistant

professor of music at the University of

Hawaiʻi at Mānoa, where she teaches

undergraduate and graduate courses in

music education and supervises student

teachers. A National Board Certified

teacher with over 20 years of experience in

middle and high school bands, she has also

served in university-level teaching and

leadership roles across North Carolina.

She holds degrees from East Carolina University (BM),

Boston University (MM), and UNC Greensboro (Ph.D.),

where she was a Minerva Scholar. Her research focuses on

the skills and dispositions of effective music educators,

reflective practice, and bridging the gap between pre- and

in-service teachers. An active clinician and adjudicator, she

is a member of NAfME, The College Music Society, and

regional music educator associations.

Empowering Students through Songwriting

Ashley Virginia

In this clinic, we explore effective techniques to introduce

and guide students through the art of songwriting. From

lyric crafting to melody composition, we'll delve into

practical strategies that demystify the songwriting process,

making it accessible and enjoyable for students of all levels.

Through hands-on activities and collaborative exercises,

attendees will gain valuable insights into nurturing their

students' musical identity, promoting self-expression, and

cultivating a lifelong love for creating music.

North Carolina singer-songwriter and

multi-instrumentalist, Ashley Virginia,

is an artist who has gained attention for

her unique songwriting style of

introspective poetry and interesting

harmonic structure. Her sound has been

described as "raw, contemporary angst"

by Americana Highways.

While attending a masterclass in Greensboro, 14-Grammy

Award winning songwriter, Emmylou Harris, categorized

Virginia’s writing as “unique and unusual.” Her artistry is

deeply rooted in authentic storytelling, drawing from her

own experiences of growth, resilience, and transformation.

Her songwriting serves as both a healing force and a call for

connection. Her lyrics explore the depths of human

emotion, touching on themes of hopefulness, healing, social

justice, and community.

As a queer and neurodivergent artist, she aims to uplift

underrepresented voices, creating spaces where

vulnerability is met with empathy and creativity is a

birthright for all. Virginia’s journey is one of evolution,

independence, and empowerment. Whether she’s hosting

songwriter residencies, leading workshops for young

people, or performing on stage, she remains committed to

building a community where every voice is heard, and every

story is valued.

Expanding the Concert Experience – Engaging

21st Century Performers and Audiences

Drs. Tyler Stark and Shanti Simon

Are we reaching our audiences as musicians? This was the

question acting professor Bud Beyer asked instrumentalists

and conductors in order to develop deeper connections

through music-making. In his text Completing the Circle:

Considerations for Change in the Performance of Music, he

reflected that many musicians’ performances “tended to be

a relatively private affair,” where they would feel something,

but were not invested in conveying those emotions to others

during performance.

This session exposes teachers to a variety of methods that

help students connect with each other and the audience,

while highlighting how to utilize extra-musical elements for

deeper audience engagement. We will demonstrate

exercises from Beyer’s work that build kinesthetic and

emotional awareness in instrumental ensembles, fostering

connection to create community among musicians. We will

also showcase different staging considerations, options for

utilizing video and audio elements, as well as integrating

lighting design to enhance the audience experience. Finally,

we will outline the planning and budgeting required to

integrate concert production elements, from simple and

cost-effective options to the more complex elements used by

professional music ensembles.

Dr. Tyler Stark joined Lenoir-Rhyne

University in the fall of 2024 as the


of music, where he conducts the LR Wind

Ensemble and Wind Symphony, directs

the Spirit of LR Marching Band, as well as

teaches classes in music education and

conducting. Stark continues to innovate

the wind band art form through diverse

programming and engaging audiences by integrating audiovisual

technology and staging.

Stark received his DMA in instrumental conducting from

the University of Oklahoma where he studied with Dr.

Shanti Simon, and his MM in instrumental conducting from

the University of Tennessee Knoxville where he studied with

Dr. Donald Ryder. He received his Bachelor's in music

education with a certificate in percussion performance from

Appalachian State University, where he studied with Drs.

John Ross and Rob Falvo. Prior to his graduate studies, he



served as the director of bands at Central Cabarrus High

School in Concord. He is an active Irish music scholar and

performer, and his research seeks to find new ways to create

collaborative and dialogic music teaching while fostering

students’ listening skills.

Dr. Shanti Simon is director of bands

at the University of Colorado Boulder

where she conducts the wind symphony

and leads the graduate wind conducting

program. Prior to joining the faculty at CU

Boulder, she served as director of bands at

the University of Oklahoma and was the

flight commander and associate conductor

with The United States Air Force Academy

Band in Colorado Springs. Before moving to Colorado,

Simon served as flight commander and associate conductor

with The United States Air Force Band in Washington, D.C.,

where she conducted performances in the national capital

region and around the country, including the 2011 National

Tree Lighting Ceremony with the Airmen of Note.

Simon was on the faculty of Shenandoah Conservatory as

the associate director of bands for the 2013–14 academic

year. In 2016, she deployed to the Middle East with the

United States Air Force Central Command bands as the

officer-in-charge.

Simon earned her MM and DMA degrees in conducting

from the University of Minnesota. She received her BME

and BM degrees from Stetson University. She was the

associate director of bands at Vero Beach High School for

four years, where her ensembles consistently earned top

ratings in all areas of district and state assessment.

Exploring World Music Pedagogy: Learn, Play,

and Discover!

Dr. Karen S. Thomas

In this hands-on participatory session, attendees will learn

about World Music Pedagogy and will explore the five

dimensions of the process. Listening to and interacting with

music are key aspects of World Music Pedagogy, as well as

providing students with context for the music. Through

participatory listening, engaging with the music, creating

music, and contextualizing the music, general music

educators can help students connect with the music and

develop an understanding of its cultural and global

significance. The presenter will lead attendees through

lesson examples for elementary and secondary general

music classrooms. Attendees will sing and utilize classroom

instruments as they explore selected songs from around the

world and are encouraged to bring their ukuleles! A

handout with resources and lesson ideas with be provided.

Dr. Karen S. Thomas is a visiting assistant professor of

music at Winston-Salem State University. She earned a

Ph.D. in music education, post-baccalaureate certificate in

ethnomusicology, M.M. in music

education, and B.A. in music from UNC

Greensboro. Before her current position,

she served as a visiting assistant professor

of music education, adjunct instructor of

music education, and a university field

supervisor at Appalachian State

University. She was an adjunct faculty

member in the department of music at

Winston-Salem State University, and assistant professor of

general music education at the University of Utah.

Thomas taught general music in the North Carolina public

schools for 13 years. She was a clarinet instructor and

director of music camps at the Music Academy of North

Carolina and has performed as a clarinetist with the

Piedmont Wind Symphony. She earned Orff-Schulwerk

certification (levels I – III) and has professional

development training in Music Learning Theory, World

Music Drumming, World Music Pedagogy, Modern Band

Ukulele, and Popular Music. She serves on the editorial

board for the Journal of General Music Education.

Thomas has published articles in Update: Applications of

Research in Music Education, Psychology of Aesthetics,

Creativity, and the Arts, Medical Problems of Performing

Artists, and Psychology of Music.

5 S.M.A.R.T. Ideas to RETAIN this Year’s

Beginners: A Primer for Middle & High School

Directors

Marcia Neel

Using the S.M.A.R.T. framework – Success, Modeling,

Activities, Reflection, and Trust – directors will explore

inclusive, student-centered retention methods that enhance

musical achievement through standards-based learning

while creating an environment where these beginning-level

music-makers and their parents feel valued and

empowered. Addressing the National Core Music

Standards, the strategies presented will not only provide

students with opportunities to perform a variety of music

representative of diverse styles and cultures, but will also

offer insight into how the students themselves can help

create their own musical ideas through an ensemble culture

of inclusiveness, compassion and acceptance.

This session emphasizes diversity, equity, inclusion, and

access by addressing ways to adapt retention strategies for

students of all backgrounds, abilities, and interests through

directors’ musical decisions and student-driven

engagement. Educators will be provided with dynamic,

replicable activities that highlight student voice, individual

growth, and meaningful connections to music.

By focusing on retention through intentional relationshipbuilding

and culturally responsive teaching, directors will

discover a more sustainable and inclusive environment

where every beginner will see a place for themselves – now,

and in the future.

With an extensive career in music

education, Marcia Neel has dedicated

her career to expanding and

strengthening music programs

nationwide. She served as a practicing

educator for 22 years before being

appointed coordinator of secondary fine

arts for the Clark County School District

in Nevada for 14 years. Currently, she

serves as president of Music Education Consultants, Inc., a

consortium collaborating with educational organizations,

arts associations, and school districts to develop and sustain

standards-based music programs.

Currently, Neel is senior director of education for Yamaha

Corporation of America and Yamaha Master Educator. She

also serves as education advisor to the Music Achievement

Council, a nonprofit dedicated to supporting directors in

recruiting and retaining students in instrumental music

programs.

A respected author and speaker, Neel writes the "Marcia’s

Notes" column for InTune Magazine and contributes to the

SBO+ Magazine MAC Corner. She is also an influential

voice in professional music organizations, having recently

completed a seven-year term on the Percussive Arts Society

board of directors.

She is a music education advocate at local, state, and

national levels. She participated in the NAMM Foundation’s

D.C. Fly-in meeting with members of Congress to secure

increased funding for music and arts education secured

through the Every Student Succeeds Act (ESSA).

From Extrinsic to Intrinsic: Getting Young

Students to Fall in Love with Music

Scott Rush

Fully sponsored by GIA Publications, Inc.

In this session, Rush synthesizes both context and

pedagogical content to help young students fall in love with

music in a rehearsal space where they can be the best

version of themselves, musically and personally. He will

address the first days of instruction, transitioning to the

“small instrument,” basic solfege instruction, rhythm

vocabulary, first-time challenges for beginners, musical

teaching strategies, and fundamentals time for various

levels of instruction. The goal is to use developmentally

appropriate language and strategies to foster

comprehensive musicianship within a culture of excellence.

Scott Rush is the team lead for the Habits series

published by GIA and is the former

director of bands at Wando High School

in Mount Pleasant, S.C. He is a graduate

of the New England Conservatory of

Music. He is currently conductor of the

Charleston Wind Symphony. Rush is

active as a conductor, clinician, and

adjudicator throughout the United States

and Canada. He is the author/co-author

of eighteen highly touted books. In 2010, he was elected to

the prestigious American Bandmasters Association.

From Mistakes to Music: Improving Repertoire

Selection & Error Detection Skills

Dr. Catheryn Foster

Two of our biggest responsibilities as directors is to select

appropriate repertoire for our ensembles and correct

performance errors. This session will focus on tips and

practical strategies to make this part of your job more

attainable and move from mistakes to music.

Dr. Catheryn Foster currently serves

as associate professor of practice and

program director for graduate studies in

music education at Virginia Tech. She

previously taught middle and high school

band in Georgia. She is the co-author of

Developing Error Detection Skills in the

Wind Band Educator. She is the cofounder

of the Rural Band Director

Alliance and was named as part of the 2025 class of “40

Under 40 Yamaha Music Educators.”

From Rules to Relationships: Balancing

Classroom Management and Student

Engagement

Dr. Casey Collins

Classroom management is often a top concern for preservice

and new music teachers. As one of the most learnedon-the-job

skills, it can be challenging to feel fully prepared

to manage a classroom from the start. In some cases, the

focus on managing student behavior may get in the way of

the development of positive relationships and engaging

lesson content. This can lead to an overemphasis on control,

rather than developing connections with students. In this

session we will explore classroom management and

engagement strategies aimed at providing structure,

cultivating positive relationships, and preparing for

challenges as they arise.

Dr. Casey Collins is an assistant

professor of music education in the Hayes

School of Music at Appalachian State

University. She works with

undergraduate music education students,

coordinates student teaching and



practicum assignments, and serves as the cNAfME chapter

advisor. Her research interests include teaching music in

high-poverty schools, trauma-informed pedagogy, positive

psychology, and vocal health and hygiene for music

teachers. In addition to her work with Appalachian State

University, she writes curriculum for Pitch Publications.

Get to the Good Stuff Faster with Tech Tools

Imagine band and orchestra students walking into

rehearsal prepared with the basics of rhythms and pitches.

This session will focus on the tools and processes to help

your students build skills and foundational knowledge.

Through guided practice sessions with authentic assessment

and feedback, they will succeed and become better

musicians faster. We’ll show five software tools from

MusicFirst (Sight Reading Factory, MusicFirst Recorder,

PracticeFirst, Musition and Auralia) that are simple for you

and your students so that you can rehearse more than the

basics sooner. All participants will be eligible for a free

30-day trial to sample these tools.

Harnessing Artificial Intelligence: Top AI

Platforms Revolutionizing Music Production and

Education

The integration of Artificial Intelligence (AI) into music

production and education is transforming traditional

methodologies, offering innovative tools that enhance

creativity and learning. This presentation aims to explore a

curated selection of leading AI platforms that are redefining

the landscapes of music creation and instruction. Attendees

will gain insights into how these technologies can be

leveraged to augment their professional practices, foster

student engagement, and streamline creative workflows.

Objectives: 1. Introduce AI Tools in Music Production: 2.

Present an overview of AI-driven platforms that assist in

composing, arranging, and mastering music. 3.

Demonstrate how these tools can enhance the creative

process for musicians and producers. 4. Explore AI

Applications in Music Education: 5. Highlight AI resources

that offer personalized learning experiences and support

instructional design. 6. Discuss the role of AI in developing

interactive and adaptive music education materials. 7.

Discuss ethical and practical considerations: 8. Examine the

implications of AI integration concerning copyright, data

usage, and the preservation of artistic integrity. 9. Provide

strategies for educators and creators to navigate the

challenges associated with AI adoption. Current trends and

future prospects. Websites investigated include Ozone,

Solfeg.io, and AIVA. As AI continues to permeate various

facets of the music industry, understanding and utilizing

these technologies becomes imperative.

How to Record Music in a DAW: A Start-to-Finish

Quick Guide

A real-time demonstration of how to record live musicians

in a digital audio workstation (DAW). This will include how

to set up to record in the software, how to use an audio

interface, problems/mistakes to avoid, and how to edit what

is recorded. Also discussed will be demonstrations of how to

record multiple separate tracks (even at different times),

how to “punch in” to fix mistakes, and how to apply audio

effects to the recording. The session will ask some

participants to come be involved to record. Don't worry, you

don't have to perform if you don't want to. Every step from

set up to recording to editing to exporting will be included.

Feel free to bring a phone to record video if you need!

How to Teach Group Piano: Six Fundamental

Activities

Dr. AmyBith Gardner Harlee

In this session, the teacher and some students from the

R.J. Reynolds piano program will demonstrate learning

strategies, classroom structure, and lesson plans that are

the core elements of the R.J. Reynolds piano program,

which serves between 100 – 130 students from beginner to

advanced. We will focus specifically on how students

practice and are assessed on basic piano techniques at

various levels, as well as how they get to choose their own

repertoire, how they practice, and how they are assessed.

Participants will have a chance to practice along with

students. This session is designed for teachers who are

teaching a piano class without training or support, teachers

who are currently teaching group piano and are looking for

new ideas, or teachers who are interested in adding a piano

class or program to their school.

Dr. AmyBith Gardner Harlee is currently the chair of

the performing arts department and the director of the

piano program at R.J. Reynolds High School(RJR). She is

the current chair of the NCMEA Piano Committee. The

piano program at RJR has sustained over 100 students

under her leadership since 2016 and has added a popular

music band class. Harlee started as curriculum coordinator

at RJR. She has a BS in English education from East

Carolina University, a master’s in expressive arts therapy

from Lesley University, Cambridge, Mass., and a Ph.D. in

educational studies with a specialization in cultural studies

from UNC Greensboro. She started her teaching career at

Forbush High School teaching English and theater arts.

After completing her master’s, she moved back to Winston

Salem and began teaching private piano lessons while

working at Kingswood School at The Children’s Home. Her

dissertation focus was using arts inquiry to explore how

identity development impacted white women’s perspective

on social justice.

Improving the Work-Life Balance of the High

School Marching Band Director: A Case Study

Dr. Bill Holmes

Dr. Holmes’ doctoral thesis topic was Improving the

Work-Life Balance of the High School Marching Band

Director: A Case Study. Intended for high school band

directors, pre-service music educators in training to be

marching band directors, and those who lead that training,

this session will share findings from the research case study.

It will present evidence that suggests reducing after-school

marching band rehearsals with negligible effects on judge

scores is possible. Second, the session will demonstrate the

process and strategies for reducing those rehearsals and

increasing practice productivity. These research-based

methods will also address the stress and work-life balance

concerns shared by directors across the state.

Dr. Bill Holmes graduated from UNC

Greensboro as a North Carolina Teaching

Fellow. He taught for nine years and then

attended East Carolina University, earning

a master's in instrumental conducting.

During his twentieth year of teaching, he

graduated from Liberty University with a

doctorate in music education. His doctoral

thesis research was featured in Liberty

University’s annual Research Week, an event to highlight

excellent research and scholarship produced by Liberty

University students. This is his eleventh year as the

Knightdale High School band director.

In the Middle Lane

Suzanne Logue

Take the middle lane and explore a thoughtfully curated

selection of choral repertoire designed for the developing

middle school voice. This multi-publisher reading session

highlights accessible, engaging literature – from unison to

two- and three-part mixed – ideal for the flexible and everchanging

nature of the middle-grades ensemble. Whether

you're guiding young singers through their first harmonies

or balancing changing voices, this session offers practical

programming solutions, teachable moments, and musical

gems to keep your choir moving forward together.

Suzanne Logue is the choral

classroom consultant for J.W. Pepper,

bringing over 30 years of experience as a

middle school choral director in metro

Atlanta. She has been actively involved in

state leadership through both GMEA and

ACDA and has also served as an

accompanist for state and local events,

supporting choral programs throughout

Georgia. Today, she draws on her extensive knowledge of

repertoire and classroom instruction to encourage, equip,

and inspire music educators in their daily work.

Integrating America 250 into Your Music

Classroom with the NC Symphony

Jason Spencer, Maggie Hemedinger and Anthony

Kelley

Your North Carolina Symphony is here to serve all North

Carolina educators and students. Part of our core mission is

to deliver education resources to the state, and we are

committed to that mission. Participants will learn about the

NC Symphony’s Education Concert, featuring pieces that

celebrate America 250 (America’s semiquincentennial) and

discover how it can enhance their classroom, whatever

grade they teach! Come and participate in engaging lessons

from our 2025 Teacher Workshop, teaching the elements of

music through the Education Concert repertoire.

Participants will also learn about the resources we offer for

educators, from free online material to bringing symphony

musicians into your classroom.

Jason Spencer is the assistant vice

president of education and community

engagement at the North Carolina

Symphony. Since 2018, he has led the

orchestra's statewide mission to inspire

young audiences, support music

educators, and expand access to music

education across North Carolina. A native

of North Carolina, he holds degrees in

clarinet performance from UNC Greensboro and the

University of Michigan.

Maggie Hemedinger is the education

and community engagement manager with

the North Carolina Symphony. She studied

at East Carolina University earning a BM

in music education (voice concentration)

and a BA in Hispanic studies. Dedicated to

increasing access and equity in music

education, she taught general music and

choir at Wiley Elementary in Wake County

and now continues this mission with the NC Symphony.

Anthony Kelley was appointed as composer-inresidence

for the North Carolina Symphony in 2021. He

composed a piece of music that will be featured on the NC

Symphony 2025–26 Education Concert. Kelley joined the

Duke University music faculty in 2000 after serving as

composer-in-residence with the Richmond Symphony for

three years under a grant from Meet the Composer, Inc. He

received his Bachelor’s and Master’s degrees from Duke

University, and he earned a Ph.D. in musical composition

from the University of California at Berkeley. Among his

awards and honors are the Charles Ives Scholarship from

the American Institute and Academy of Arts and Letters,

and composition fellowships from the North Carolina Arts

Council, the Virginia Commission for the Arts and the Mid-

Atlantic Arts Foundation.

Jazz Guitar for Rockers

David Tyson

Guitarists seeking performance opportunities in

secondary schools are often limited to the jazz ensemble.


Band Choral Elementary Higher Ed IVfME Jazz Orchestra Piano Technology Popular Music Collegiate Band Choral Elementary Guitar Higher Ed IVfME Jazz Orchestra Piano Technology Popular Music Collegiate

These students may join the ensemble with little or no

experience within the jazz genre but, regrettably, music

teachers have reported feeling underprepared to teach jazz

guitarists. This session will provide pedagogical strategies

for the teacher and introductory materials for the student,

introducing basic jazz concepts to young rock guitarists.

Concepts will include basic equipment choices, chord

voicings, comping rhythms, fingering choices, and

improvisation. Attendees may bring a guitar to participate.

This session is intended for teachers seeking basic strategies

and resources for beginning jazz guitarists. Session

participants will receive physical and electronic resources

for immediate use in the classroom.

A Judge's Perspective: Demystifying the NCBA

MPA Evaluation Instrument

James Daugherty

In this interactive and "learning by doing" session,

participants will consider what they know and what they

think they know about the NCBA Concert Band MPA

evaluation instrument, including common perceptions and

misconceptions. We will review terminology and phrases

associated with the MPA evaluation instrument with the

mindset the MPA evaluation instrument sets the stage for

the core curriculum of band instruction.

Additionally, we will explore use of the evaluation

instrument from a judge’s perspective, particularly how

caption and overall ratings are achieved, by practicing the

judging process as we critique three different (yet real)

recordings of bands performing the same selection: “Two

Celtic Folksongs” arranged by Paul Lavender.

NOTE: Participants are asked to bring a copy of the full

score to “Two Celtic Folksongs” with them to the clinic

session to get the most out of the critique opportunity.

Finally, participants will reflect on how their thoughts of the

MPA evaluation instrument and process may have evolved

because of this learning opportunity.

James G. Daugherty is widely

recognized for his 35 years of service to

Cannon Music Camp at Appalachian State

University, where he is currently director.

In 2025, he was appointed principal

conductor of the Winston-Salem

Community Band. Previously, Daugherty

spent 21 years as band director at Central

Davidson High School, where his

ensembles consistently achieved superior ratings and he

twice earned Teacher of the Year honors.

As arts education and digital learning specialist for

Davidson County Schools, Daugherty advanced K – 12 arts

education and oversaw significant federal funding

initiatives. He is the first in his family to earn a four-year

degree, holding bachelor's and master's degrees in music

education from Appalachian State, along with advanced

leadership certification.

Daugherty’s accolades include induction into Appalachian

State’s prestigious Rhododendron Society, the 2024 Hayes

School of Music Outstanding Alumni award, and NAfME

Southern Division immediate past president (2024–26).

His story, from humble mountain roots to national music

education leadership, offers a compelling testament to

perseverance and passion.

Jump-Start: Energizing Your Music Program with

New and Innovative Ideas

Scott Glasser

Are you looking for new ideas to energize your music

ensemble program? Are you wanting to provide

opportunities that will foster student ownership? Are you

searching for innovative avenues of programming to

recruit/retain students as well as reach individuals who

have not traditionally been involved? Join us for a thoughtprovoking

session in the exploration of practical and

successful innovations for your ensemble program. This

session will address musical, social, and administrative

elements that build a strong organization focused on

nurturing student involvement and leadership. In addition

to programming ideas for existing groups, the creation of

non-traditional ensembles as well as the inclusion of special

education students will be discussed. The material from this

session will be applicable to all school music ensemble

programs, from orchestra, band, and choir to jazz, mariachi,

and beyond!

Scott Glasser joined UNC Greensboro

as assistant professor of string music

education in 2025. Previously, he held

positions as director of the Arizona State

University Mariachi Program, director of

orchestras and mariachi at Marcos de

Niza High School (Ariz.), and director of

orchestras and strings in the Liberty

Central School District (N.Y.). He

completed both his undergraduate and graduate

coursework in music education at the State University of

New York at Fredonia and graduated with a Ph.D. in music

learning and teaching from Arizona State University.

Glasser’s research interests include mariachi education,

history, and pedagogy, teacher identity development and

evolution, and string pedagogy. In addition to his role at

UNCG, he has taught music education courses at Arizona

State University, SUNY Fredonia, the Hartt School of

Music, and the VanderCook College of Music, as well as

presented at the American String Teachers Association

National Conference, Society for Music Teacher Education

Symposium, and Arizona Music Educators Association In-

Service Conference. A preK – 12 music educator for sixteen

years, he aims for his research to be applicable and

accessible to pre-service and practicing teachers.

Junk Food For Band

David Stroud

This session explores “junk food” repertoire – fun, light,

and exciting pieces that students love. While not always

considered core literature, these works have real

educational value: they motivate, build enthusiasm, and

reinforce ensemble skills. Attendees will discover

programming ideas and strategies to balance rigor with joy,

helping students connect with music on a deeper level.

David Stroud, a native of Kinston,

received his Bachelor of Music Education

from East Carolina University. Following

graduation, he taught beginning strings

and instrumental music at Wintergreen

Intermediate in Pitt County, before

moving to Carteret County to teach at

Broad Creek Middle School, 1999–2001.

From 2001–23, Stroud served as director of bands at

Newport Middle School, where he was honored as the

2003–04 Teacher of the Year. Under his direction, his

concert bands consistently received superior ratings at MPA

with both the seventh and eighth-grade bands. The Newport

Middle School Band was selected as one of the performing

ensembles at the NCMEA Professional Development

Conference in Winston-Salem in November 2010.

Since 2023, Stroud has been director of bands at Broad

Creek Middle School, where the band was honored to

perform at the 2024 NCMEA Professional Development

Conference. He is a National Board Certified Teacher, a

member of the American School Band Directors

Association, and an active guest clinician and adjudicator

throughout North Carolina, South Carolina, and Virginia.

He has also served as a director at the East Carolina

University Summer Band Camp in Greenville, N.C.

Kids with Autism CAN

Sandy Lantz and Gretchen Wahlberg

Teaching students with special needs can be challenging

and rewarding. Lantz and Wahlberg will share tried and

true lessons that will reach children with special needs.

From singing games to playing with props and movement,

these activities will help your students become engaged in

your lessons.

Sandy Lantz taught in Lee County, Florida, for over 35

years. She is a published composer with Eldridge Publishing

and co-recipient of the Zornio Memorial Playwriting Award

from the University of New Hampshire. In 2004, Lantz was

the recipient of the FMEA Music Educator of the Year

Award. In 2007, she became a National Board Certified

Teacher. Lantz and

Wahlberg have both served

as president of the

Southwest Floria Orff

Chapter. They co-taught at

the University of South

Florida, Barry University,

and Florida Gulf Coast

University as adjunct

professors. They have successfully co-taught level 1 teacher

training courses in Florida, Arkansas, Illinois, and Michigan

for over 20 years. They continue to present workshops at

state and national conferences, as well as Orff chapters

throughout the U.S. Together, they have published five

books with Beatin’ Path publishers.

Gretchen Wahlberg taught elementary music in Lee

County, Florida, for over 37 years. She has presented

numerous workshops in Florida, New York, Georgia,

Alabama, and Texas. She won the Golden Apple Award from

the Lee County Teacher Recognition Program in 1996. In

2006, she received the Lee County Music Teacher of the

Year Award. In 2011, Wahlberg was the recipient of the

FMEA Elementary Music Educator of the Year Award. She

was a National Board Certified Teacher.

Laying the Foundation: Healthy Habits for

Beginner to Advanced Woodwinds

UNC Charlotte Department of Music Woodwind Faculty

The music faculty from the UNC Charlotte department of

music will present a woodwind pedagogy session designed

for directors working with students at all levels, from

beginners to advanced. This session will feature dynamic

new approaches alongside proven strategies to improve

performance habits in flute, oboe, clarinet, bassoon, and

saxophone within the rehearsal setting. We will offer

practical guidance on foundational exercises, affordable

equipment, and effective instructional language. Our goal is

to equip you with tools to refine your students’

fundamentals so their creative efforts can be channeled

toward expressive, artistic performance.

The UNC Charlotte

department of music

woodwind faculty is a

Notes

team of accomplished performers and educators. Dr. Will

Campbell (saxophone), a Conn-Selmer Artist, is a nationally

respected jazz saxophonist, composer, and educator who

toured with the Harry Connick, Jr. Orchestra and has

directed All-State jazz ensembles across the country. Dr.

Elizabeth Sullivan (oboe) is a frequent presenter across the

Americas and a founding member of Trio Village, a chamber

group dedicated to promoting underrepresented composers.

Dr. Ben Still (saxophone), a Conn-Selmer Artist, is a prizewinning

soloist and chamber musician, including a Fischoff

Gold Medalist. Jennifer Dior (flute) has performed with the



Charlotte Symphony and South Carolina Philharmonic and

brings over 30 years of teaching experience. Nick Ritter

(bassoon) performs with the Charlotte and Richmond

Symphonies and has appeared with major ensembles

including the Chicago Symphony. Dr. Jessica Lindsey

(clarinet) is a nationally recognized performer and teacher

whose work focuses on chamber music, new music, and

interdisciplinary collaboration. Together, they bring a broad

range of experience and a shared commitment to

innovative, inclusive pedagogy.

Leading with Your Spirit: An Interactive

Rehearsal and Workshop

Coty Raven Morris

Welcome to choir! This workshop is a mix of a reading

session, choir rehearsal, and classroom management best

practices. One of the best ways to learn is to participate!

Come ready to learn some new tunes, tips and tricks for

quick musical and behavior corrections, and tap into your

inner child. Professor Coty is excited to work with you!

Lessons to Engage Upper Elementary Students

Rebecca Davis

Teaching elementary music can be difficult, especially

when trying to engage upper elementary students. Fourth

grade and fifth grade music students pose a specific

problem, in that they can feel too old for “little kid stuff.” So

how do we keep them engaged through the whole school

year? In this session, we will learn about the top 4 ways to

get upper elementary music students engaged:

• Start with movement

• Games and instruments

• Kids doing things

• Group + partner work

We will learn about a few different activities for each of

these categories, and then we will talk about some of the

best music lessons for fourth and fifth graders – according

to fourth and fifth grades. This includes movement, games,

songs, and more activities that your students will love. Plus,

you'll be able to actually teach them musical concepts even

while they are having fun.

Becca Davis is an elementary music

teacher in Savannah, Ga. She received her

bachelor's in music education from

Armstrong State University and has been

teaching in the Savannah-Chatham County

Public School System for nine years. She is

passionate about using music as a tool to

help students learn about cultures from all

around the world. She currently teaches at

the only STEAM-certified elementary school in the state of

Georgia, so she has recently been expanding her lessons to

include science, technology, engineering, arts, and math.

She has presented at the Georgia Music Educators'

Conference, as well as local sessions for her school and

other teachers in her district. In addition to teaching, she

conducts an after-school choir comprised of fourth and fifth

graders, sings alto in the chamber choir I Cantori, and

enjoys long walks with her dog. She shares music lessons on

her website, BeccasMusicRoom.com, as well as on her

YouTube channel (Becca's Music Room) and Instagram

(@BeccasMusicRoom).

Lick Mastery – How to Learn, Internalize, and

Improvise with Licks

Jeff Schneider

Licks are more than flashy lines; they are building blocks

of musical language. In this clinic, you will learn a complete

system for making licks your own. We will cover how to

analyze and break licks into smaller ideas, internalize them

so they come out naturally, and string them together to

create longer phrases. You will learn practical strategies for

transposing licks into all 12 keys, practicing them

effectively, and weaving them into solos so they sound

authentic. By the end, you will know how to use licks as

springboards for true improvisation.

Jeff Schneider is a saxophonist,

pianist, composer, and educator known for

his clear, practical approach to

improvisation and chord theory. A

DownBeat Magazine award winner and

three-time recipient of the ASCAP Young

Jazz Composer Award, he reached millions

of musicians worldwide through his

popular YouTube channel, which has more

than 300,000 subscribers, as well as through his online

courses. A graduate of the New England Conservatory, he

has built a career helping players of all levels unlock their

creativity, strengthen their musical foundation, and develop

authentic, personal voices on their instruments.

Little Ears, Big Impact

Corynn York

Do you want new ideas to engage your students in active

listening? Join us for a hands-on session where we’ll

explore innovative ways to listen to pop, classical, folk, and

more! You’ll leave this session with tools you can

immediately implement in your classroom.

Corynn York taught elementary

general music for 7.5 years in middle

Tennessee. She earned her Bachelor of

Music and Master of Education degrees

from Middle Tennessee State University.

In 2022, she was recognized as the

Tennessee Music Education Association

Outstanding Young Music Educator of

the Year. York is also a certified Orff-Schulwerk educator.

She completed her level coursework at the University of

Kentucky. Currently, she is a music training specialist for

QuaverEd.

Making Texts Musical

Dr. Zadda Bazzy

In this session, elementary general music teachers will

learn how to create their own standards-based lessons using

a favorite picture book, poem, or other source material. The

presenter will share practical composition strategies

inspired by the Orff approach. Session participants will

spend time creating original compositions. Teachers may

bring a favorite book or use the materials provided at the

session. Let’s get those creative juices flowing as we

compose new literature-based music lessons!

Dr. Zadda Bazzy has over 25 years of

experience in education. She currently

teaches general music at Queens Creek

Elementary School in Swansboro. She

holds a B.F.A. in musical theater, an M.A.

and a Ph.D. in music education, and a

second M.A. in educational leadership.

She has maintained her certification

through the National Board for Professional Teaching

Standards since 2003. Additionally, she completed her

post-level III certification in the Orff-Schulwerk approach to

music education. She regularly offers professional

development for her colleagues.

She writes lessons for the North Carolina Symphony’s

Education Concerts and the Sarasota Orchestra’s Young

Persons Concerts. For the past two years, she has worked

closely with the North Carolina Department of Public

Instruction by serving on the Data Review Committee and

the Standards Resources Team for the new state standards.

Bazzy was a contributing author of The Learner-Centered

Music Classroom: Models and Possibilities. She has

received multiple recognitions, including the NCMEA

Elementary Music Educator of the Year Award (2024), the

North Carolina Symphony’s Maxine Swalin Award for

Outstanding Music Educator (2023), Teacher of the Year for

Onslow County Schools (2020), and the Provost’s Award for

Outstanding Teaching by a Graduate Teaching Assistant at

the University of South Florida (2010).

Mastering All-State Percussion Auditions:

Practical Strategies and Live Demonstrations

Justin Johnson

This session provides music educators with effective

strategies to help middle and high school percussion

students succeed in All-State auditions. Attendees will gain

insight into breaking down technical and musical challenges

across snare drum, accessories, mallets, and timpani, with

live performance demonstrations. Practical teaching

techniques, efficient practice methods, and student

confidence-building strategies will be emphasized, ensuring

educators leave with actionable tools to enhance their

percussion instruction.

Justin Johnson is an accomplished

performer, clinician, adjudicator, and

composer specializing in concert and

marching percussion. He is currently

pursuing a Doctor of Musical Arts in

percussion performance at UNC

Greensboro, where he studies under Dr.

Eric Willie.

He holds a Master’s in percussion performance from UNC

Greensboro and a Bachelor of Science in music with an

emphasis on music education and performance from

Radford University. He also marched for Virginia

Helmsmen and Atlanta CV Drum and Bugle Corps.

Johnson is currently the adjunct professor of percussion at

Catawba College and Livingstone College. He also serves as

president of the North Carolina Chapter of the Percussive

Arts Society and is a member of the Marching and

Rudimental Percussion Committee. As a proud endorser of

Pearl/Adams Instruments, Vic Firth Sticks and Mallets,

Zildjian Cymbals, Black Swamp Percussion and Prologix

Percussion, Johnson remains actively engaged in advancing

the field of percussion through performance and education.

Middle School Magic: Music for Developing

Voices


Looking for choral music that will engage your middle

school singers and is also pedagogically appropriate? We'll

read through a complimentary packet of new music

designed specifically for developing voices. Music in this

session will address your big concerns, like choosing music

for changing voices, balancing fun selections with

educational repertoire, motivating students, and more.

Mixing It Up with Children's Lit!

Sandy Lantz and Gretchen Wahlberg

Incorporating children’s literature in your music

curriculum is exciting and rewarding. Lantz and Wahlberg

will offer three children’s books with music activities that

integrate barred instruments, recorder, singing, ukulele and

movement. Scaffolding instruction will provide strategies

for teaching music to students of all ability levels. Come and

enjoy the integration of children’s literature in your

elementary music classroom.

Modern Band 101 (Special Workshop)

Scott Burstein

This hands-on course is an introduction to modern band

and the Music as a Second Language ® pedagogy. We will



cover the basic core values of Music Will: how we teach

music-making, improvisation, and composition by getting

our students into a comfort zone using student-centered

instruction, approximation, and scaffolding. Participants

are introduced to the instruments of modern band: guitar,

keyboard, drums, vocals, bass, and technology, and learn

basic playing skills and pedagogy for each. Participants will

also use their new musical skills to compose and perform an

original song in a collaborative setting.

Scott Burstein taught music in the Los

Angeles public school system for 12 years

before joining the Music Will team in 2012

as full-time Los Angeles County regional

program director. He was introduced to

Music Will in 2004 at one of their first

workshops, and has been involved ever

since! As director of teaching and learning,

he manages all musical content of the

organization, including training, professional development,

and curriculum.

While primarily a guitarist, Burstein has played a variety

of instruments as a performer in the fields of classical, jazz,

mariachi, and salsa music. He’s taught music theory,

marching band, concert band, guitar, rock band, jazz band,

mariachi ensemble, and keyboards. He misses working

directly with students, but loves working with educators and

helping them reach their students through Music Will!

Modern Band Made Easy: Engaging Students

with Popular Music

MacKenzie Craig

Learn practical, budget-friendly strategies for bringing

modern band into your upper elementary, middle, or high

school music program. This session will cover how to teach

students to read and use chord charts, explore free and lowcost

online tools that make learning more accessible, and

share rehearsal structures like “bandmate reviews” that

build collaboration and purpose. We will also discuss how

modern band naturally supports social-emotional learning

by fostering preparation, creativity, and kindness. You will

leave with ready-to-use resources and lesson ideas you can

implement in your classroom right away.

MacKenzie Craig is a music educator

and performer who believes students

learn music best when they’re making

music that excites them. She teaches

music history, music theory, and musical

theater at Weaver Academy for the Visual

and Performing Arts in Greensboro. As a

member of the Guilford County Schools

popular music professional learning

community, she helps bring modern band and popular

music programs to classrooms across the district.

A trained classical and musical theater vocalist, Craig also

has years of experience performing contemporary pop and

indie music as a live musician with local bands, often

accompanying on guitar, ukulele, bass, and keyboard. She

has music directed numerous productions for the

Community Theatre of Greensboro, guiding casts through

challenging vocal scores and helping create performances

that connect with audiences.

In the classroom, Craig is known for blending modern

band with music theory instruction, using hands-on,

collaborative band settings to reinforce concepts like

harmony, form, and rhythm in real time. Students learn

guitar, bass, drums, keys, and vocals while applying

theoretical knowledge directly to the music they play,

building both technical skill and creative confidence. This

approach has been central to every school she’s taught at,

where she has built modern band programs that are

rigorous, relevant, and deeply engaging for students.

Music Careers Unleashed: Exploring Diverse

Possibilities

Dr. Mike Phillips

This session is designed for collegiate students

considering careers in music both within and beyond

education, as well as current teachers exploring new career

opportunities. It also aims to equip educators with the

knowledge to inspire high school students to consider music

as a viable career path. Music influences career

opportunities beyond teaching, performing, composing, and

recording. When you consider interdisciplinary skills,

experience, and degrees, the possibilities are vast. By

examining careers through the lenses of products, services,

interactive goods, people, and culture, you'll discover that

opportunities in music are abundant and diverse.

Dr. Mike Phillips is a distinguished

conductor and educator whose career

spans from elementary and beginning

band instruction to university-level

instrumental band leadership. He has

been involved with NCAA Division I

athletic bands, working with conferences

including the SEC, Sun Belt, Big South,

CAA, and NAIA.

Phillips has led programs and taught in New York,

Georgia, Alabama, Florida, Kentucky, and North Carolina,

and served in leadership roles with the New York State

Band Directors Association. Internationally, his work

includes work with the International Bands of America Tour

in Europe and, most recently, the Sherborne Summer

School of Music in England. He managed the University of

Florida Wind Symphony’s performance at Carnegie Hall

and served as an instructor with the UF marching band

during its 2012 Olympic Games appearance in London.

In addition to his educational and performance work,

Phillips is an active adjudicator, clinician, and guest

conductor for honor bands across the country, including

appearances at the Van Doren Clarinet Festival. He has

presented at conferences such as the National Jazz

Education Network, NCMEA, and NAMM, with recent focus

on guiding emerging musicians through interdisciplinary

pathways in the music industry.

Music Education in Rural America: Perspectives

and Practices

Daniel Johnson and Timothy Nowak

This session presents essential background information

and practical guidance for K – 12 music teachers to be

successful in rural schools. The presenters will summarize

ideas from a forthcoming two-volume book publication:

Music Education in Rural America (2026). The first volume

explores policies and perspectives from the related research

literature; the second volume is a teacher guidebook with

practical advice for rural, K – 12 music teachers. Taken

together, they orient attendees to the many challenges faced

by rural music teachers across the state, while also

providing specific and practical problem-solving strategies.

Daniel Johnson is a professor at UNC

Wilmington, where he coordinates the

graduate certificate in music education.

With a focus on teaching general music,

his scholarship includes numerous

research journal and book publications on

rural music education, integrated arts

education, and teachers’ professional

development.

Timothy Nowak is associate professor of music

education at East Carolina University, where he teaches

string methods, large ensemble methods, and supervises

student teachers. A former orchestra director, his research

interests include sociology in music education, music

teacher education, and the history of string/orchestra

education in the United States.

Music Educators on the Front Lines

of Vocal Health

Leda Scearce

Singers are vocal athletes, and as such, are at risk for

developing voice problems. Many music educators have had

the experience of a star student succumbing to a voice

injury just when peak performance is needed, whether

embarking on a choir tour or the opening of the school

musical.

Fortunately, music educators are uniquely positioned to

identify voice problems at an early stage and help students

seek appropriate care. Moreover, including education on

vocal health and wellness as part of a music curriculum can

help students avoid developing a voice problem and achieve

optimal vocal health.

This presentation will provide information on signs and

symptoms of a voice problem, how to identify an

appropriate medical voice care team, how to make

appropriate referrals when students develop voice

problems, and how to collaborate with students, parents,

and medical providers to help recovery. The presenter will

also provide a basic outline of what information to include

in a music education curriculum to teach students about

vocal health and help them prevent voice problems.

Leda Scearce is a singer, singing

teacher, and speech-language pathologist.

She provides voice evaluation and

rehabilitation therapy to singers, actors,

and other vocal performers with voice

injuries at Duke Voice Care Center, where

she is director of performing voice

programs. She is clinical associate faculty

and director of community engagement in

the department of head and neck surgery and

communication sciences at Duke University school of

medicine, where she leads community engagement

activities for the entire department including outreach and

education, community engaged research, and community

service.

She holds bachelor’s and master’s degrees in voice

performance from Indiana University, and a master’s

degree in speech pathology from Boston University. Scearce

is a frequent speaker at national and international voice

conferences. Her performance experience includes

appearances as leading soprano and soloist with opera

companies, orchestras, and music festivals across the U.S.,

and she has taught voice at numerous colleges and

universities. She is the author of Manual of Singing Voice

Rehabilitation: A Practical Approach to Vocal Health and

Wellness (Plural) and co-editor of The Oxford Handbook of

Voice Pedagogy, to be released in 2026. She is a founding

member of the Pan American Vocology Association and

served as president from 2017–19.

Networking with Music Educators

Who Teach Piano

The Piano Committee invites you to come network with

other music educators who teach piano and give feedback to

the piano committee about how they can support you and

your piano students.

One Day… I Want to Teach at the College

Level… and How to Get There

Drs. Jonathan Poquette, Kelly Poquette, Evan Harger

and Mike Phillips

Is teaching at the college level your ultimate goal? Do the



degrees you earn and the institutions you attend matter? Is

teaching at the college level more lucrative than K – 12?

Join us to debunk the myths and legends surrounding the

path to becoming a collegiate music teacher. Learn how to

best navigate your long-term journey in higher education.

This session is open to all, not just band or choir directors!

Our presenters have pursued their educational journeys

across more than six universities in six different states,

culminating in their doctoral degrees and careers.

Dr. Jonathan Poquette is the Fletcher

Moore Distinguished Emerging Scholar,

director of bands, and assistant professor

of music at Elon University. He leads the

Elon Wind Ensemble, “Fire of the

Carolinas” Marching Band, and Elon Pep

Band, while serving as a leadership

education faculty scholar and servant

leader scholar. A dedicated music educator

and clinician, he has conducted honor bands, presented

leadership workshops, and worked with music programs

nationwide.

He founded and directed the Elon Contemporary Chamber

Ensemble for four seasons and is an active adjudicator and

guest conductor. Prior to his graduate studies, he taught

middle and high school bands in Illinois and Wisconsin,

expanding program size and earning top honors at festivals.

He holds a Doctor of Musical Arts from the University of

Georgia, a Master of Arts from the University of Central

Missouri, and a Bachelor of Music in music education from

Southern Illinois University Carbondale.

Dr. Evan Harger is the music director

and conductor of the UNC Symphony

Orchestra at UNC Chapel Hill. A

dedicated advocate for new music and

living composers, he serves as a staff

conductor for Global Arts United,

collaborating with ensembles and artists

worldwide. Harger has guest conducted

and taught at international festivals in

Bulgaria, Austria, and Brazil. He is also associate conductor

and producer of the Newfound Chamber Winds, an

ensemble of professional musicians from across the United

States and Canada. In 2026, he will serve as a teaching

artist for the Harmony Honors Festival in New York City

and at Carnegie Hall.

He earned his Doctor of Musical Arts in orchestral

conducting from Michigan State University, where he

studied with Professor Kevin Noe.

Orff Meets Gordon: Laying Foundations for

Creative and Sequential General Music

Daniel Johnson and Herbert Marshall

This session is a joint presentation about two wellestablished

music education pedagogies: Orff-Schulwerk

and Gordon’s Music Learning Theory. The presenters, both

expert teacher-educators in their respective fields, will

present the fundamentals of each approach along with a

comparison of how each approach addresses creativity and

sequential music instruction. Participants will experience

how these two approaches differ but also share ideas for

effective elementary (K – 5) music pedagogy. Competition

between music teaching methods is often a discussion topic

at professional conferences. Instead, this session will

demonstrate commonalities and ways that Orff-Schulwerk

and Music Learning Theory share fundamentals of active

music-making. As shown in this session, both approaches

move beyond the notes to shape students’ musical futures

through creative and sequential instruction.

Herbert Marshall, Ph.D., is a

specialist in early childhood and general

music teacher education and is an

associate professor of music education at

Kent State University. He earned degrees

from Michigan State, Syracuse, and

Temple Universities, and taught for 11

years in New York. He is a member of the

editorial board for Research and Issues in

Music Education and authored Strategies for Success in

Musical Theatre. His other publications include book

chapters for Oxford, GIA, and Rowman & Littlefield, along

with numerous journal articles. He is a proactive clinician,

consultant, and conductor, and conducts workshops for the

Gordon Institute for Music Learning.

Participatory Popular Guitar for Beginners

David Tyson

The research literature is dense with suggestions to

connect in-school music to out-of-school experiences.

Including guitar in music curricula might provide this

valuable connection while, at the same time, providing

access to a diverse population that is not represented in

large ensembles. Guitars are among the most common

instruments in American households; thus, their inclusion

in curricula connects directly to potential musical

experiences outside of school. Additionally, guitar

ensembles can be an effective way to teach musical concepts

to students that might not be interested in traditional large

ensembles. However, few undergraduate music educator

programs offer instruction in guitar. The presenter will

share one approach to teaching guitar to beginners.

Attendees are encouraged to bring their own guitars to

engage with the material.

Performance-Based Assessments

Brian Myers

I will discuss an effective and efficient way to implement a

weekly performance-based assessment system. This is a

description of what I use and how I implement it in my

band room, but it should work (with adaptations as desired

or needed) in any performing arts classroom.

Popular Music Jam Session

Andrew Beach

This jam session is open to attendees of all skill levels. If

you are interested in experiencing informal music learning,

this will be an opportunity to experience the process – and

fun – of jamming together in a band firsthand. Teachers are

encouraged to bring their own instruments, but there will

be guitars, ukuleles, basses, keyboards, and drum kits

available to play. Microphones will be available for singers.

There will be chord charts to help follow along and play

together, but don’t be surprised if we learn to play parts and

riffs “off book” in this session. This will be a space to make

mistakes and explore an alternative approach to traditional

school ensemble musicianship.

Andrew Beach is a music educator

and performer. He teaches orchestra,

class piano, and modern band at

Southwest Guilford High School in

Greensboro. He serves as co-chair of the

NCMEA Popular Music Education

Committee as well as the board secretary

for ACE: A Celebration of Excellence.

He plays double bass with the Fayetteville Symphony

Orchestra and gigs as a freelance electric and double bassist

in the Piedmont Triad, mainly playing theater, classical,

jazz, country, and rock music primarily. He has performed

in masterclasses and workshops for Mike Bloch (Silk Road

Ensemble), Kurt Muroki (Indiana University), and Victor

Wooten (Bela Fleck & the Flecktones).

His teaching background includes UNCG Summer Music

Camp, GCS Summer Arts Institute, Young Musicians of

Alamance, Mark Wood Rock Orchestra Camp, Gant School

of Music and Jazz, and Claxton Elementary.

Beach earned his B.M. in K – 12 instrumental music

education from UNC Greensboro with a minor in

philosophy. While there, he was the 2019 recipient of the

Thomas J. Stone Award for Most Outstanding Music

Performer Among Graduating Music Education Students.

Popular Music Open Jam

Raychl Smith

The popular music open jam is a place where beginners

and participants of any ability level are welcome to come

sing and make music on a variety of instruments including

guitar, bass, drum kit, keyboard, and ukulele. While

participants are encouraged to bring their own instrument,

there will be plenty of instruments on hand to pick up and

play. The community will decide what songs they would like

to play from a list of available lead sheets projected on a

large screen for all to see. The session will be loosely

facilitated and relies on informal music learning practices.

Dr. Raychl Smith is associate

professor of music education at East

Carolina University. She previously

served as program coordinator and

assistant professor of music education at

Minnesota State University Moorhead

and instructor of music education at Elon

University. Prior to teaching at the

collegiate level, she taught in North

Carolina public schools as an elementary general music

teacher, elementary choral director, and middle school band

director. Smith is a recipient of the North Carolina Board of

Governors Distinguished Professor for Teaching Award.

The Power of Patterns in Piano Teaching: Jump-

Starting Improvisation, Technical Development,

and Repertoire Learning

Ekin Ustunel and Scarlette Kerr

A widely accepted definition of music literacy includes

fluency in music reading, therefore there are many

methodologies that emphasize notational reading from the

very first lesson. The goal of fluency in music reading can be

an overwhelming task for teachers as they try to incorporate

other skills of musicianship including: improvisation,

transposition, repertoire, and ensemble playing, among

many other important skills. This presentation will

introduce the concept of the integrating the use of patterns

in instruction that will not only apply to reading but also

other core concepts of music making. This will also

introduce how pattern instruction can be seamlessly

integrated into various types of instructional settings. Three

core types of musical patterns, rhythm patterns, tonal

patterns, and kinesthetic patterns are foundational for

developing musical fluency in students.

Ekin Cemre Üstünel holds Master of

Music degrees from UNC Greensboro and

Salem College, and a Bachelor of Music

from Mimar Sinan Fine Arts University.

She currently teaches at Westchester

Country Day School in High Point and

works with injured keyboardists and string

players. As a performer, educator, and interdisciplinary

researcher, her work focuses on integrating the cognitive,

physical, emotional, and artistic components of

musicianship for development and recovery.

Scarlette Kerr received her Master of

Music from Salem College and Bachelor

of Music from James Madison University.

She has certifications from the Gordon

Institute for Music Learning and the

Music Teachers National Association. She



teaches from her private piano studio, Music at 906, in

Winston-Salem.

Preparing for edTPA: Strategies for Success

Drs. Karen S. Thomas and Dr. Debra Seykora O’Connell

The edTPA portfolio is a summative, performance-based

assessment used by many teacher preparation programs

across the country to evaluate the readiness of pre-service

teacher candidates. This session is specifically designed for

collegiate music education students, as well as early-career

music educators, who are preparing to complete their

edTPA portfolio. Attendees will receive information and

strategies about completing the Performing Arts edTPA

portfolio including time management, writing, academic

language definitions and examples, and assessment ideas. A

handout with resources will be provided.

Dr. Debbie Seykora O’Connell is a

professor of music education at Winston-

Salem State University and the program

coordinator for music education. She

holds a B.M. in music education from the

University of South Carolina in Columbia,

an M.M. in music education from East

Carolina, and a Ph.D. in music education

from UNC Greensboro. O’Connell worked

in a post-doctoral research position with Sounds of

Learning: The Impact of Music Education, a major research

initiative designed to examine the roles of music education

in the lives of school age children.

Prior to Winston-Salem State University, she taught at the

University of North Florida as a visiting professor of music

education. Additionally, O’Connell has taught elementary,

middle, and high school band and middle school orchestra

in North Carolina. She serves as the Southern Division

representative for NAfME Collegiate. She has presented at

state, national, and international conferences in music

education. Research interests include musicians’ health and

wellness, music-related hearing loss, pre-service music

teacher preparation, and world flute music.

Reading Between the Lines: Energizing Literacy

with Rap

Lindsay Williams

In this interactive session, participants will design a

hands-on lesson plan blending music, literacy, and digital

technology tools. You’ll walk away with a ready-to-use

activity that can be adapted for any grade level; one that

excites students and impresses administrators by

connecting across multiple areas of the curriculum. Bring

your laptop and be prepared to unleash your rap-tastic side

as we explore creative ways to energize general music

instruction.

Lindsay Williams currently teaches

chorus and general music at Swansboro

Middle School in Onslow County. She

holds a master’s in music education from

Boston University, and her bachelor's from

The Crane School of Music at SUNY

Potsdam, with a vocal focus. Over the last

20 years, Williams has experience at K – 8

levels of chorus, general music, world

music drumming, and drama.

She is an avid member of NCMEA. Currently, she serves

as the co-chair of the Music in Our Schools Month

committee. She is a member of AOSA, and level 2 Orff-

Schulwerk certified. She is currently working toward her

National Board Certification. Williams was the Onslow

County Arts Teacher of the Year for the 2020–21 school

year. In November of 2022, she was presented with the

North Carolina Elementary Music Teacher of the Year

award during the NCMEA Professional Development

Conference. She has conducted All-County Clinics for Pitt,

Pender, Craven, Duplin and Franklin Counties.

Rehearsal Strategies for the Middle School

Classroom

Dr. Andrea VanDeusen

In this active, hands-on session, we will explore strategies

for engaging middle school singers in the choral rehearsal.

Participants will explore resources and activities to increase

student focus, energy, and engagement in the choral

rehearsal, and will leave with a toolkit to enhance their

rehearsals and the musical experiences of their singers.

Dr. Andrea VanDeusen is an

associate professor and music education

area coordinator at East Carolina

University, where she teaches

undergraduate and graduate courses in

choral music education and supervises

student teachers. Previously, she taught

secondary school vocal music for twelve

years, both nationally and internationally,

having held teaching positions in Michigan, New Jersey,

and Switzerland.

VanDeusen is active as a guest conductor and choral

clinician, and as a research scholar in music education. She

also sings in mirabai, a professional women’s ensemble

conducted by Dr. Sandra Snow. VanDeusen’s research

explores the ways in which sociocultural and political

contexts influence music teaching and learning and their

intersections with choral music education. She regularly

presents at research and practitioner conferences across the

United States and internationally, and her work is

published in the Journal of Research in Music Education,

Journal for Music Teacher Education, Action, Criticism,

and Theory for Music Education, and Arts Education

Policy Review. She also serves on the editorial board for

Arts Education Policy Review.

VanDeusen holds a Ph.D. in music education (choral

conducting cognate) from Michigan State University, and

Master of Music and Bachelor of Music degrees in music

education from Western Michigan University.

Rhythm First – Why Great Solos Start

with Time and Phrasing

Jeff Schneider

Notes matter less than you think. What separates a

beginner from a pro is not the scale they choose but how

they place their ideas in time. This clinic focuses on why

rhythm and phrasing should be your top priority when

improvising. You will learn how to make even the simplest

lines sound professional, how to shape phrases so they feel

natural, and how to sound good even when the chord

changes are complex or unfamiliar. We will cover practical

strategies for improving your rhythmic vocabulary,

strengthening your time feel, and developing phrasing that

makes your solos connect with listeners.

Rhythms in Life: Connecting Rhythms Across

the K – 5 Curriculum

Sara Burner

Studies show when teachers make cross-curricular

connections within lessons, students are more engaged in

the lesson, and mastery can be achieved much faster (for

the music and general education teacher). As music

teachers teaching every child in the school, we sometimes

try to make these connections, which can be overwhelming.

We will connect ideas from the general classroom with the

current music curriculum. These ideas will teach you how to

allow students to create rhythmic patterns and movements,

progressing toward more complex ideas based on different

grade-level vocabulary. Come ready to sing, move, play,

create, and most importantly, make connections.

Sara Burner is the current music

teacher at Sand Ridge Elementary in

Onslow County, where she teaches K – 5

general music and leads an afterschool

chorus. Burner graduated in 2010 from

Meredith College with her degree in music

education. She has spent 15 years teaching

in various counties across North Carolina

and Virginia, covering all grades (K – 12)

in general music, chorus, guitar, percussion, and band. At

each school, Burner has helped build and develop the music

programs by starting afterschool choruses, growing class

sizes, and taking students to audition for various All-County

ensembles. She loves to challenge her students to be the

best musicians they can be and encourages them to learn

new instruments and songs outside of the classroom.

Burner has completed the first two levels of her Orff-

Schulwerk education and looks forward to completing the

certification soon.

Rural Doesn’t Mean Small! Strategies for

Recruiting and Developing Healthy School

Music Programs

Joshua Tew and Jesse Shelton

Rural music programs often face unique challenges –

limited resources, dispersed populations, and isolation. But

“rural” doesn't have to mean “small” in ambition,

opportunity, size, or impact. This session explores

innovative, practical strategies for growing and sustaining

healthy music programs in rural schools based upon

experiences. Learn practical strategies to build your

programs with limited funding, establish a thriving parent

booster organization, and increase student enrollment. This

session will assist all types of music programs, regardless of

the geographical context of the schools and various

situations. Every school needs healthy music programs!

Joshua Tew is a graduate of UNC

Pembroke. He has taught band, chorus,

and general music to all age groups in

K – 12 private and public schools. Tew is

currently the director of bands and chorus

at Midway High School, where he was the

2015–16 Teacher of the Year. Before being

full-time at Midway High School, he

served as the band director at Midway

Middle School in a itinerant position.

He enjoys conducting honor band/choir clinics, as well as

judging talent shows and marching band competitions. Tew

is a member of the NAfME and the Southeastern District

Band Directors Association, where he serves as a board

member. He served as the 2019 ninth/tenth grade All-

District Band clinician for the district. He also serves as the

chair and host of the Southeastern District Band Directors

Association Solo and Ensemble MPA.

Jesse Shelton is the assistant director

of bands and director of jazz ensembles at

Midway High School. He is a classical and

jazz saxophonist, clarinetist, and flautist

from Dover, Pa. He holds a master’s in

jazz pedagogy from the University of

Miami and a bachelor’s in saxophone

performance and jazz studies from East

Carolina University.

As a jazz saxophonist, Shelton has performed with the

likes of Rod Stewart, Bobby Watson, Dafnis Prieto, Carroll

Dashiell, Jr., Michael Friend, Lenora Helm-Hammonds,

and Marcus Parker among others. He has also performed as

a member of the Downbeat Award-winning Frost School of

Music Concert Jazz Band.



Shelton enjoys working with music students of all ages

and backgrounds. He was a guest clinician for the East

Carolina University Summer Band Camp and the Harnett

County All-County Jazz Ensemble. He has a detailed and

thorough approach to music education and helps his

students step out of their comfort zone in the classroom.

The Seven Year Itch: Surviving the Beginning

Years as an Educator in a Title I School

Amanda Irby and Matthew Rubenstein

What do I say? What do I do? What should I expect? Join

us for real talk on surviving – and thriving – in your early

years teaching music, especially in Title I schools. We'll

share practical tips, tools, and truths to help you stay

grounded, organized, and supported in your journey.

Amanda Irby is the director of bands at

Burney Harris Lyons Middle School in

Athens, Ga. She serves as the Connections

Department chair and mentor within her

school for new teachers. Additionally, she

is the director of the North Georgia Youth

Winds and an adjunct professor at Truett

McConnell University. Irby earned her

bachelor’s in music education from

Valdosta State University, master’s in music education from

the University of Georgia, and her specialist’s degree in

music education from Piedmont University.

Matthew Rubenstein is the director

of string programs at Burney Harris

Lyons Middle School in Athens, Ga. He

earned his bachelor’s in music education

from Georgia Southern University,

master’s in music education from Georgia

College and State University, and his

specialist’s degree in music education

from Piedmont University.

Sing, Move, Play! Music & Materials for Kids


Prepare to be dazzled by the latest publications from

Alfred Music! Discover new two-part chorals, vibrant

songbooks, accessible musicals, classroom collections, and

other fantastic resources tailor-made for your energetic

young singers. Don't miss this opportunity to enhance your

library and ignite your students' passion for music. A

complimentary music packet will be given to each director

in attendance.

Singing Music from Latin America: Accessible

Choral Music and Effective Pedagogial Practices

for Teachers and Singers

Dr. José Rivera

This session is designed to empower music teachers

(K – 12) to discover accessible Latin American choral

literature and focus on effective pedagogical practices to

engage students in singing, moving, and experiencing Latin

American music from folk songs to choral music. This

session is designed for elementary, middle and high school

music teachers looking for developmental literature and

practical ways to engage students in singing. Music will be

provided for this session.

Dr. José Rivera, professor of choral

music education at UNC Pembroke,

serves as the coordinator of music

education and conducts the University

Chorale. He has conducted numerous

Honor and All-State Choirs across the

U.S. and abroad including Cantaré, Latin-

American Honor Choir at the ACDA

Southern Region Conference, and All-

State choirs in North Carolina, Florida, California, and

Alabama. He conducted a concert of Latin American choral

music at Carnegie Hall and conducted and presented choral

workshops at the Universidad National Autónoma de

Mexico in Mexico City, Universidad de Las Americas in

Puebla, Mexico, Instituto Superior de las Artes in Havana,

Cuba, Universidad de Mendoza in Argentina, and the

DoDEA High School Chorus Festival in Germany.

He has published research articles of Latin American

choral music in the ACDA Choral Journal. Rivera has

previously served as the ACDA repertoire resource for world

musics and cultures Southern Division and National chair.

He recently co-founded La Voz Music Publishing, a music

publisher specializing in Latin American choral music. He

received his Ph.D, MM.E, and undergraduate degrees from

Florida State University. He currently serves as the NC-

ACDA past president.

Singing with Children: Tools for Instrumentalists

in an Elementary General Music Classroom

Claire Jurs

Although many instrumental music education majors seek

middle or high school instrumental positions, the jobs

available to them at first might be in the elementary general

music classroom, where singing with children is a must.

This session will help teachers gain confidence in their own

singing as they adapt to this learning environment, while

also providing information on children’s voices, vocal

health, and vocal pedagogy fundamentals, and best

practices for guiding children to develop their singing voice.

Activities include singing games for various age levels,

vocal exploration and breath work through using helpful

manipulatives and visuals, and repertoire suggestions of

various styles that best support children’s voices.

Participants will leave with the confidence to make singing a

consistent part of their elementary music instruction.

Claire Jurs is the director of the Greensboro Youth

Chorus and a Ph.D. candidate in music

education at UNC Greensboro. She holds

a bachelor's in music education from

Furman University and a master's in

vocal performance from the Cleveland

Institute of Music. She also completed

level 1 Kodály certification at DePaul

University. Jurs has taught general music

in both public and private schools across

Wisconsin and Pennsylvania. She served on the voice

faculty at Elon University, Allegheny College, and Abraham

Baldwin Agricultural College and has been a clinician for

various elementary honor choirs and workshops. While

teaching at Allegheny College in Meadville, Pa., Jurs

founded early childhood music classes, which later

developed into a community children's choir that she

directed. In addition to her work with youth choirs, she has

extensive experience directing choirs of all ages in churches

and is currently the Children and Youth Music and

Handbell director at Elon Community Church in Elon.

Skillsets for the Successful Student Musician

Aaron Lafreniere and Matthew Van Dyke

Do you find yourself adding assessments to your

gradebook at the end of the quarter? Does your county

require you to have a specified number of assessments in

different categories (formal, informal, etc.)? Can we

approach assessments in the gradebook more creatively?

What if we thought of our assessments more as objective

skill-checks rather than grades to fill your gradebook and

check the boxes?

This session will provide ideas and strategies to add

assessments to your gradebook that seek to develop the

holistic student musician, from self-assessments and music

theory, to rehearsal skills and score study, and more. We

hope to provide you with ideas for assessments that are not

entirely performance-based or subjective in nature.

Although planning can be a daunting task, we will provide

you with strategies to think with the end goal in mind with a

creative approach that can be repeated (and scaffolded)

from quarter to quarter.

Aaron F. Lafreniere is high school

choral and handbells director at Northwest

School of the Arts (NWSA) in Charlotte.

His NWSA choirs have consistently

received superior ratings at MPA Festival

and his students regularly participate in

NC Honors Chorus, CMS Chorus Honors

Ensemble, All-Carolinas Select Choirs,

Mars Hill Choral Festival and NC Western

Regional Chorus.

Prior to working at NWSA, Lafreniere taught chorus,

handbells, piano and band in Catawba County and

Columbus County Schools. He was the clinician and guest

conductor of the Richmond All-County Chorus in 2015, the

Moore All-County Middle School Chorus in 2022, and the

CMS Elementary School Honors Chorus in 2024. He was

the 2021 NCMEA Middle School Choral Section Richard E.

Keasler Teacher of the Year.

Lafreniere received a Bachelor of Music in music

education from Appalachian State University and a Master

of Music in music education from UNC Greensboro. He

served as member-at-large from 2014–15, Music List chair

from 2015–16, chair-elect from 2016–1818, chair from

2018–20, immediate past chair from 2020–22, and

currently serves as the Elections chair on the NCMEA

Middle School Choral board.

Matthew Van Dyke teaches middle

school chorus and music theory,

beginning high school piano, high school

music theory, and AP music theory at

Northwest School of the Arts. He served

as director of high school choirs at Ocean

Township High School, N.J. (2011–14)

and Cambridge High School, Ga. (2016–

23). In Georgia, his students were

consistently selected to participate in Georgia All-State,

ACDA All-Region and All-National, District Honors Chorus,

and maintained a superior rating at Georgia Music

Educators Association Large Group Performance

Evaluation in Performance and Sight Reading. His choirs

were invited to perform at the Georgia Southern University

Choral Invitational and Talladega Speedway. In 2022, he

presented a workshop at the GMEA State Convention,

served as High School Mixed Chorus clinician for the

District 5 Honor Chorus, and was nominated for Cambridge

High School Teacher of the Year.

Van Dyke received his Bachelor of Music in music

education from the University of Delaware in and his

Master of Music in choral conducting from Westminster

Choir College.

Small and Rural Schools Roundtable: Real Talk,

Real Solutions

Michael Henderson and Dr. Tim Nowak

Music educators in small schools often wear many hats,

managing multiple ensembles, teaching across disciplines,

and working with limited resources – all while striving to

build strong, sustainable programs. This interactive

roundtable is designed for music educators in small, rural,

or geographically isolated schools looking for practical

solutions, new ideas, and a supportive network of colleagues

facing similar challenges.

A panel of experienced small school directors will share

insights and answer attendee questions on topics such as

recruitment and retention, balancing multiple teaching



roles, creative scheduling, funding, performance

opportunities, and designing effective marching band shows

for small ensembles. Attendees can bring questions, but the

panel will also be prepared with broad discussion topics to

ensure a meaningful and productive conversation. Whether

you’re a veteran educator, new to teaching in a small school,

or a future music educator, we will provide real-world

strategies, fresh perspectives, and a sense of community

among those who understand the joys and struggles of

small-school music education.

Small Ensembles, Big Results: Using Chamber

Music to Foster Comprehensive Musicianship

and Successful Large Ensembles

Drs. Hunter Kopczynski and Brian Taylor

We will consider how to improve the large ensemble

through chamber music. We’ll explore the merits,

application, and benefits of a chamber music program

within the band program. Geared towards ensemble

directors of all levels, we will discuss logistical details

including instrumentation possibilities (including flexible

instrumentation), creative rehearsal spaces, and scheduling.

We’ll share instructional practices to strengthen your

student leadership, ensemble listening, tone production,

and individual and ensemble musicianship; as well as

repertoire ideas, performance opportunities, and

application to large ensemble rehearsals.

Hunter Kopczynski serves as


of music at UNC Charlotte, where he

conducts the UNC Charlotte Wind

Ensemble, teaches courses in conducting

and music education, and conducts and

administers the Charlotte Youth Wind

Ensembles. Kopczynski comes to

Charlotte after holding similar positions

at Mars Hill University and in the public schools of Virginia.

At MHU, he coordinated the band program, conducted the

wind symphony, and taught courses in the department of

music. Additionally, he served as conductor of the Asheville

Symphony Youth Orchestra.

Prior to graduate study, he taught middle and high school

music in Virginia. There, he successfully led high school and

middle school bands in Roanoke County and Williamsburg-

James City County. He is an active adjudicator, clinician,

and guest conductor, and has presented and led ensembles

at state and regional music education conferences.

Kopczynski earned the Doctor of Musical Arts and Master

of Music in wind conducting from Michigan State

University. He also completed a Master of Arts in education

and a Bachelor of Arts summa cum laude in music from

Virginia Tech.

Brian Taylor serves as director of athletic bands and

associate director of bands at the UNC

Charlotte. He directs the Pride of Niner

Nation Marching Band, 49er Basketball

Band and symphonic band, along with

teaching woodwind methods and

marching band methods. He recently

earned his Doctor of Musical Arts in wind

conducting at Michigan State University.

He completed an MM in conducting at

MSU and his BM and BA from the University of Texas.

Taylor taught high school and middle school band in the

Dallas-Fort Worth area for four years. In 2020, Taylor has

presented at NCMEA, KMEA, and TMEA on rehearsal

strategies that develop independent and collaborative

individual musicians.

So You Just Installed the ForScore App on Your

iPad. Now What?

This is a session for those of us who are not tech people,

but are curious about scanning our scores using the

ForScore app so that we can conduct using our iPad instead

of paper scores. How do we get started with scanning our

first score? What are useful tips and tricks we should know?

To get the most out of this session, you should bring your

iPad and a score you want to scan.

Songwriter and Music Producer Showcase

Dr. Jonathan Kladder

NCMEA’s Singer/Songwriter and Music Producer

Showcase is designed to encourage individual musical

creativity, the development of music writing skills, and

collaboration with professionals from the music industry to

enhance musicianship and creativity.

Students share their original songs for the experience of

learning ways to develop their songs with professional

singer/songwriters and music producers from the music

industry at the annual NCMEA’s state conference.

Jonathan Kladder is assistant

professor of music education at UNC

Wilmington. His degrees are from the

University of South Florida (Ph.D.),

Boston University (M.M.Ed.) and Hope

College (B.M.Ed). He currently teaches

music courses at UNC Wilmington and is

interested in the intersections of music

and technology, interrogating the issues

of equity and access in undergraduate music admissions

and diversifying the music curricula.

The Sounds of Success: Using MakeMusic to

Empower Every Learner, Everywhere

Annie Ray

Discover how MakeMusic Cloud can revolutionize your

music classroom, starting tomorrow. This clinic offers

practical, ready-to-use strategies to integrate MakeMusic

Cloud’s powerful tools into your daily teaching. From

engaging practice assignments to real-time assessment and

customizable content, learn how to enhance student

learning, streamline instruction, and foster independent

musicianship with immediate results. Whether you're new

to MakeMusic Cloud or looking to maximize it, walk away

with impactful ideas you can implement instantly.

Annie Ray currently serves as the

orchestra director and performing arts

department chair at Annandale High

School in the Fairfax County Public

School (FCPS) system. She is an advocate

for providing universal access to quality

music education and is known for

founding and developing creative

opportunities to make music accessible to

all students.

Ray is a highly sought after keynote speaker and headliner

at music and general education conferences, regular guest

lecturer and artist-in-residence at the collegiate level, and

an impactful performing arts advocate. Her accolades

include the 2024 GRAMMY Music Educator Award,

Yamaha 40 Under 40 class of 2025, recipient of the Dr.

Alice M. Hammel Inclusion in Music Education Award, and

a four time Teacher of the Year winner including the 2023

FCPS Outstanding Secondary Teacher of the Year for her

work with historically resilient communities and equity in

education. Ray is an active professional harpist, proud

University of North Texas alumna, and currently resides in

Arlington, Va.

Stem-Split Your Popular Music for Simple

Rehearsal (Logic Pro)

Have you ever wished you knew the artist of a piece of

popular music or you could just make an easy vocal track by

taking the singer off of your audio file? Well, using Apple's

Logic Pro you can swiftly remove Taylor out of Taylor Swift

so you can live your karaoke dreams! This session highlights

effective techniques for editing audio to fit your needs. You

can remove parts, or isolate instruments by category all

from a simple audio file using Stem-Splitter. Stems are the

separate tracks in a multitrack recording project. Now you

can click a few buttons and re-separate instrument and

vocal tracks from your favorite popular music (and choral/

wind ensemble recordings). Bring your MacBook with or

without Logic Pro installed and you will practice separating

audio files into stems and mixing them to your advantage.

You will learn to cut the singers from an audio file so you

can have a rehearsal accompaniment track, you will bounce

the vocal only file without accompaniment. You will

separate the trumpet from your rhythm section. You will

pull Jimi Hendrix off of the full-band recording and you can

pull the drums off of Led Zeppelin (sorry, John Bonham).

Strategies for Passing Music Praxis II

Dr. Ran Whitley

Preparation for Music Praxis II (#5114) can produce both

apprehension and anxiety for collegiate students entering

the profession of music education. This session will provide

insight into strategies for students preparing to take the

Music Praxis II including how the test is constructed, how it

is scored, and particular content areas most essential for

review. We will interpret test statistics and examine

multiple test questions and sample constructed essay

questions. The goal is to help alleviate the apprehension and

anxiety for taking the test, and developing a practical

personal strategy for passing the test.

Ran Whitley is professor emeritus of

music education at Campbell University,

Buies Creek, where he held the Alma Dark

Howard chair of music. His course

offerings at Campbell University included

music theory, elementary music methods

and children’s music ministry.

He holds a DM in music ministry from

Southeastern Baptist Theological Seminary, as well as a

Ph.D. in music education from the UNC Greensboro. His

Orff training includes Orff levels I – III and the Orff Master

Class from the University of Memphis. Whitley continues to

hold current teacher licensure in North Carolina in both

music education (K – 12) and ESL (K – 12). He has over 45

years of experience in music including public school

teaching, church music ministry, theory/counterpoint

instruction, teacher education and professional jazz

performance. His music publications are offered by Macie

Publishing, Cherry Classics Music, Xlibris Press, Xulon

Press, Mercer Press, Alpha Omega SoundScapes and C.

Alan Publications.

Whitley continues to conduct professional development

workshops for elementary music education around the

nation and spends his summers teaching elementary music

in Honduras and Cuba.

Strategies for Teaching Part-Singing in the

Elementary Classroom

Seth N. McKnight

Elementary music teachers aim to have their students sing

in two or more parts by the time they reach the fifth grade.

Teaching a group of children to sing more than one melodic

line is difficult and can lead to frustration for all. Teaching

children to be musically independent is essential to partsinging.

What do elementary music teachers need to do

starting in kindergarten to enable their fifth graders to sing

in harmony successfully? This session will provide preservice

and in-service teachers with the skills and



knowledge to teach students part-singing. Attendees will

also learn about the relevant learning theories (e.g., spiral

curriculum and constructivism) supporting this teaching

sequence by being active singing participants.

Seth N. McKnight, Ph.D., is from

Lexington, and spent seven years teaching

elementary general music in North

Carolina public schools before

transitioning to higher education. He is an

assistant professor of music education at

Texas A&M University – Corpus Christi,

where he teaches courses in music

education sequence, music appreciation,

and music theory and supervises student teachers.

McKnight graduated high school from UNC School of the

Arts, earned his Bachelor of Music in music education

degree from UNC Charlotte, and his graduate degrees from

UNC Greensboro.

Structured Creativity: Unlocking BandLab’s

Drum Machine

Dr. Michelle Rose

Do you want your students to create music in a DAW but

struggle with how to structure your lessons? Have you

found that student compositions/beats sometimes feel more

random than intentional? This session will focus on using

the Drum Machine feature in BandLab to help students

create beats with purpose. BandLab for Education is a free

DAW available to all music educators. In this session, we

will explore the history and significance of the four-on-thefloor

pattern, as well as the basic parts of a drum set and

how they translate to the Drum Machine feature. We will

discuss ideas for introducing BandLab’s Drum Machine and

how to scaffold your lessons so students create beats with

intentionality and musicality. Attendees will have the

opportunity to explore the tool hands on, so bring a device.

Dr. Michelle Rose is a music

educator, author, and researcher. She is

assistant professor of music education

and music theory at Catawba College, a

teaching artist for the Young Musicians of

Alamance, and director of curriculum

development at Pitch Publications.

Prior to her current positions, Rose had

experience teaching in brick-and-mortar and online

settings. She taught community college music appreciation,

elementary and secondary general music, high school band,

music production, and middle and school choir.

She is the author of the bestselling book, Teaching Music

Online: A Comprehensive Guide for K – 12 Music

Educators, which she wrote to help teachers transition into

online music education. In addition to teaching and writing,

she is a sought after clinician, presenter, and panelist.

Rose holds a B.S. in music education and a B.A. in music

performance from Elon University, and a M.M. and Ph.D. in

music education from UNC Greensboro.

The Struggle is Real but so is the Joy

Michael Henderson and Daniel Trivette

Teaching in a small school presents unique challenges, but

offers incredible opportunities for connection, creativity,

and program ownership. This session is designed for music

educators in small or rural schools who often balance

multiple roles and responsibilities while striving to build

strong, sustainable programs. The discussion will focus on

embracing the strengths of small-school teaching, such as

stronger student relationships, greater program retention,

and the ability to shape a music program in a deeply

personal way. Attendees will also be guided through the

process of crafting and implementing their own vision for

their program, empowering them to take ownership of their

curriculum, traditions, and goals. The session will provide

practical strategies for recruitment, retention, and

community engagement, while also addressing the realities

of teaching multiple disciplines or grade levels. This session

will be both inspirational and practical, equipping educators

with the mindset and tools to create the program they want,

not just the one they inherited.

Daniel Trivette is the music teacher at Bethel Middle

School in Waynesville, where he teaches band and choir.

With a passion for empowering small school music

programs, he brings valuable experience in recruitment,

retention, and creative problem-solving in limited-resource

environments. His insights help educators navigate the

challenges of teaching multiple disciplines while

maintaining strong student engagement.

Student-Centered Culture:

Building Engagement in Your Ensemble

Dr. Jonathan Poquette and Dr. J. Ben Jones

As an ensemble director, we want more students involved,

more time devoted to learning musical skills, and deeper

dedication in all aspects of our programs. In this session, we

will explore a philosophy of student engagement that is

rooted in student relationships and student leadership, so

that we can create a stronger community inside and outside

of the rehearsal. These strategies, which can be

implemented at all levels, often lead to more effective

rehearsal practices, artistic risk taking, and student

accountability. Attendees will leave this session thinking

about their personal philosophy, strategies to implement

more student engagement in their program, and tools to

empower student decision making within rehearsals.

Student-Led Sightreading: Helping Your

Students Own the Process!

Raine Hollingsworth

As MPA season approaches, sight-reading can strike fear

and dread into the hearts of teachers and students. Fear

not! This session will provide tried-and-true techniques that

empower your students to take ownership of the sightreading

process with outstanding results.

Raine Hollingsworth is the director of

orchestras at Dr. Phillips High School in

Orlando. She earned her bachelor's in

instrumental music education, and her

master's in music education, both from

Florida State University, both magna cum

laude. She has contributed prolifically to

the Florida music education community

through publishing articles, presenting

sessions, serving in professional organizations, and serving

as an adjudicator and clinician throughout the state of

Florida. She has over a decade of experience in the

classroom and is highly sought-after for her expertise,

education, and experience. The orchestras under her

direction consistently receive superior ratings at district,

state, and national events, and are active in the community

through arts outreach performances.

Surviving a Transition: Being Politically Savvy

in a New Job

Rodney Workman

Whether you’re a college student starting your job search,

a new director in your first few years, or a seasoned leader

transitioning to a new school, stepping into a new program

doesn’t have to be stressful or chaotic. Even with wellmeaning

parents, supportive administrators, motivated

students, and experienced directors, misalignment can lead

to conflict. The strongest programs can stumble when all

parts aren’t moving in the same direction.

Join this session for a practical and insightful discussion

on strategies to bring all your stakeholders – students,

parents, colleagues, and administrators – onto the same

team and set your program up for lasting success.

Rodney K. Workman serves as the

director of bands at Asheville High

School, where he leads the wind

symphony, marching band, and jazz

ensemble II. He also assists with all other

high school and middle school bands in

Asheville City Schools. Workman holds

degrees in music performance and music

education from Appalachian State

University, as well as a master’s in music education from

East Carolina University.

Since arriving at Asheville High School, Workman has

overseen significant growth and achievement in the band

program, which has doubled in size since 2019 and has only

earned superior ratings in both marching and concert band.

Workman is an active adjudicator and clinician having

presented at the NCMEA Professional Development

Conference and WCU Summer Symposium. He has

conducted at the USC Band Clinic, UNC Wilmington Band

Clinic, Cannon Music Camp, UNCG Summer Music Camp,

and over 60 All-County and All-District Honor Bands in

recent years in N.C., Va., Ga., and Al. He is deeply involved

in professional service and advocacy for music education in

North Carolina, having served as the NCBA president, State

chair of NC-NBA, and State chair for NC-ASBDA.

Teaching a Percussion Ensemble Class: Tips for

Non-Percussionists

Greg Dills

This clinic will provide tips and ideas to the nonpercussionist

band director on how to design a percussion

curriculum along with other rehearsal techniques. You will

leave this clinic with ideas on how to strategize how to

structure your class to fit your circumstances as everyone’s

setup is different. Following the Jay M. Robinson

Percussion Ensemble Concert, this ensemble will

demonstrate some things we do daily to help improve our

members including ways to differentiate teaching.

Teaching and Creating Hip-Hop

(Special Workshop)

Dasan Ahanu

This session focuses on using hip-hop culture and its

impact as a classroom teaching tool. Participants will

analyze and discuss ways of using hip-hop in the classroom,

models and approaches to integrating hip-hop into the

curriculum, interdisciplinary approaches to lesson creation,

and tactics for research gathering and use of information.

This session will give participants a new perspective on hiphop

as pedagogy and empower educators to use hip-hop as

a teaching tool without having to become an authority on

the culture. Participants will begin to envision lesson plans

and activities centered on hip-hop’s place in our society and

its impact. When completed, each participant should have

greater efficacy in integrating hip-hop into their teaching

and a more profound sense of the possibilities.

A self-described introvert with a very

public profession, Dasan Ahanu is an

award-winning poet, playwright, cultural

organizer, performing artist, and scholar.

He is a Southern storyteller who uses

stories to deepen our understanding and

awareness of what’s happening around

us. Ahanu is a visiting lecturer at UNC

Chapel Hill, an alumnus of Harvard

University’s Nasir Jones Fellowship, and North Carolina’s

2023 Piedmont Laureate for poetry.

A respected recording artist, Ahanu has collaborated with

many jazz, soul, and hip-hop artists in North Carolina. He is



a Recording Academy member who has released several

singles, EPs, and albums. He has published extensively,

performed nationwide, and authored seven poetry

collections. He is the co-founder and managing director of

Black Poetry Theatre, an African American theater company

that creates and presents productions centering on spoken

word and hip hop. Ahanu is a scholar whose academic work

focuses on critical writing, creative writing, Hip-Hop, and

popular culture.

Teaching Transitioning Singers: Vocal

Pedagogy for Gender-Affirming Voice Work

Dr. Susan Durham-Lozaw

Whether you're a seasoned voice teacher or just beginning

your journey in vocal pedagogy, this workshop will expand

your understanding of how to support transgender,

nonbinary, and gender-diverse singers with compassion,

confidence, and clarity.

Led by Dr. Susan Durham-Lozaw, this interactive session

explores the unique vocal challenges and opportunities

faced by singers undergoing gender transition, whether

through hormone therapy, social transition, or personal

exploration. You'll gain insight into the physiological

changes affecting the singing voice, learn gender-affirming

best practices, and discover adaptable techniques that

prioritize vocal health while honoring identity.

From building chest voice in transmasculine students to

shaping resonance and speech patterns in transfeminine

singers, this workshop offers practical tools, warmups, and

repertoire strategies tailored to each singer’s evolving

instrument. You’ll also leave with guidance on how to create

a safe, supportive studio environment that allows every

student to explore and express their most authentic voice.

Come ready to learn, listen, and make your teaching more

inclusive, one beautiful voice at a time.

Susan Durham-Lozaw spent nearly

25 years in collegiate teaching and

administration, guiding singers toward

their fullest artistic potential. She holds a

Bachelor of Music in vocal pedagogy from

East Carolina University, a Master of

Music in vocal pedagogy and voice

performance from Meredith College, and a

Doctor of Musical Arts from Boston

University, with a specialization in music theater vocal

pedagogy.

Passionate about both classical and music theater styles,

Durham-Lozaw is certified in all three levels of Somatic

Voicework, and has completed advanced training at the

Contemporary Commercial Vocal Pedagogy Institute in the

diagnosis and treatment of injured voices. Her professional

growth also includes completion of studies at the Richard

Miller Institute for Vocal Pedagogy, the Vocal Pedagogy

Professional Workshop, Lisa Popeil’s Voiceworks, and Joan

Melton’s One Voice.

Often called upon as a singing voice specialist, Durham-

Lozaw is known for combining technical precision with

creativity, warmth, and encouragement. Whether working

with aspiring singers, experienced performers, or fellow

educators, she strives to create an environment where

artistry flourishes. Her career reflects a deep belief in the

power of music to inspire, connect, and build community,

both within the arts and far beyond the stage.

Teamwork Makes the Dream Work: Creating

Partnerships with Administrators

Ashley Brady

It takes a village to raise a child, and it takes a village to

run a music program. This session will provide strategies to

build partnerships with your administrators so you can

work as a team to ensure the best for your students!

After graduating with a Bachelor of

Music from UNC Greensboro, Ashley

Brady began her career teaching general

music at North Hills Elementary School

in Forsyth County. In her first year, she

was elected 2016–17 Teacher of the Year,

and won Teacher of Promise for the

WSFC School System. She began teaching

high school chorus at North Davidson

High School in 2017. In her time there, the chorus

department has performed throughout the community,

participated in festivals across the state, performed at St.

Patrick's Cathedral in New York City, and performed with

Miss America 2019 at the NCMEA Music in Our Schools

Month celebration at the N.C. state capitol. Her choirs

participate in festivals throughout the state and consistently

receive high marks at MPA. She was elected 2020–21

Student Council Teacher of the Year, an award given by the

student body. She served as a clinician for Cannon Summer

Music Camp at Appalachian State University in 2024,

conducting the concert choir, treble choir, and chamber

singers. Brady is an active member of NAfME and ACDA.

Tech-Savvy Ensembles: Using Technology

to Enhance Rehearsal Engagement

Tired of the same old rehearsal routine? In this session,

we’ll introduce practical ways to integrate technology into

ensemble rehearsals, making them more engaging,

interactive, and student-centered. Discover how to leverage

digital tools to foster collaboration, encourage student

agency, and inspire creativity. We’ll explore general

education tech tools like Pear Deck, Mentimeter, and

Screencastify Submit, alongside music-specific tech tools

such as Hookpad, Chrome Music Lab, and Music Snippet.

These tools can be used for a variety of purposes, including

warm ups, assessments, improvisation, composition

projects, and more! Session attendees are encouraged to

bring a device to explore these tools hands-on.

“That's me!” Shaping instruction through

Children’s Literature

Dr. Kelly Poquette

Children’s literature is an excellent springboard for music

learning, especially when students see themselves reflected

in the books! This session will go beyond the notes and

includes singing, playing, and composing through

individual and collaborative group work. Attendees will

leave the session with lesson plans based on inclusive and

diverse literature.

They Just Aren’t Listening! How to Cultivate

Students’ Error Detection

Raine Hollingsworth

A common frustration among music educators is students

who seem oblivious to their playing errors, and how they

impact the ensemble's overall sound. We’ll tackle the

challenge of students' lack of error detection by exploring

the root causes and offering practical strategies for

cultivating active listening and aural awareness. It will cover

techniques for developing critical listening skills,

empowering self-correction, and integrating error detection

into daily rehearsals. Audience members will leave with new

methods for improving ensemble sound quality and

developing more engaged, self-reliant student musicians.

Tuba and Euphonium from Day One

Drs. Nick Beltchev and Kevin Fenske

The tuba and euphonium sections form the foundation of

any strong concert band. It's vital for young players to

develop good habits from the start. This session will provide

essential guidance on starting tuba and euphonium players,

including recommended equipment, breathing and buzzing

exercises, etude and method books, and troubleshooting

common issues in young tuba and euphonium players.

Dr. Nick Beltchev is assistant

professor of tuba and euphonium at

Western Carolina University. He has been

a member of the Grammy-nominated

Dallas Winds since 2019.

Dr. Kevin Fenske, a

Houston-based music

educator and performer, is affiliate

professor of euphonium at the University

of Houston’s Moores School of Music. He

teaches applied lessons, coaches brass

chamber music, and is founder/director

of the Texas Low Brass Academy.

The Undiscovered Potential of Stroke Quality

Dr. Brady Spitz

Percussion pedagogy, whether at the level of individual

instruction or in a heterogenous classroom setting, has

historically focused on developing a set of foundational

skills that doesn’t correspond to the evolution in windinstrument

pedagogy that has arisen in the last 30 years.

This lightning session will illuminate some of the outdated

and dogmatic approaches to grip and sound production,

then proceed to show how stroke quality should be the

foundation of a new pedagogy for percussion.

In this approach, stroke quality is a corollary to breath

support in a wind instrument and helps in the improvement

of all other facets of a player’s development – grip, sound

production, touch and phrasing, and ensemble cohesion. An

audience member will come away with an understanding of

how to incorporate this new paradigm into a classroom

setting that helps young percussionists feel engaged with

the same vocabulary and musicianship as their nonpercussionist

peers.

Dr. Brady Spitz is a percussionist,

timpanist, and educator based in Boone,

where he is coordinator of percussion at

Appalachian State University. He has

extensive performance experience with

classical, contemporary, and world

percussion in a diverse group of musical

environments. He has performed with the

Houston Symphony, Hawaii Symphony,

and the Louisiana Philharmonic Orchestras, among many

others. Spitz maintains an active freelance percussion

schedule and has appeared on stage alongside artists such

as Idina Menzel, Weird Al Yankovic, and The Who. As a

chamber musician, he has worked with a diverse group of

artists, including Claire Chase and Mario Davidovsky.

He has given performances and clinics across the United

States, as well as performing at the Percussive Arts Society’s

International Conventions in 2005, 2008, and as a featured

soloist with Hamiruge’s 2009 appearance. He was the

director for the Houston Baptist University Gamelan

Ensemble’s appearance at PASIC in 2019 and is formerly

artist-in-residence at the Indonesian Consulate in Houston.

Spitz holds a Doctorate of Musical Arts from Rice

University, where he was awarded the Benjamin Armistead

Shepherd Teaching Fellowship. He holds a Bachelor of

Music Performance in percussion, magna cum laude, from

the University of North Texas College of Music and a Master

of Music in percussion performance from LSU.

Using Your Teacher Voice

Marna Dodson and Angela McHenry

As teachers, especially music teachers, using our voice is a

key part of our occupation; whether talking or singing. In



this session we will discuss types of vocal disorders that are

prevalent in music teachers, studies and data on vocal

health in teachers, and vocal health tips to preserve a

healthy voice. This session will also include interactive

classroom management tools to help save your voice and

demonstrate healthy vocal habits for your students. This

session is applicable for new and veteran teachers, because

we all have a teacher voice to take care of!

Marna Leigh Dodson is a second-year

teacher at Junaluska Elementary School,

where she teaches all things music to

grades K – 5. She enjoys creating,

experiencing, and performing with choirs,

her students, and teaching her students to

share joy through their music. She has had

students accepted into Haywood All-

County Chorus and NCMEA Honors

Choirs. She is also a collaborative pianist with the Voices in

the Laurel children's and adult choirs under the direction of

Martha Brown.

Dodson is a 2024 graduate of Western Carolina

University, where she earned a Bachelor of Music and

Bachelor of Science in music education. She was the

recipient of the Maxie E. Beaver Outstanding Music

Education Award, the Western Carolina University

Outstanding Perspective Teacher Award, and was

nominated for the 2024 North Carolina Student Teacher of

the Year.

Angela McHenry is a seasoned music

educator of twenty-two years. She is

currently the general music/choral

specialist at Bethel Elementary School in

the N.C. mountains. She had several

students participate in Haywood County

Elementary All-County choirs and the

NCMEA Elementary Honors Chorus.

McHenry graduated from UNC

Greensboro with a bachelor’s degree in choral/general

music education. She was a 1987 N.C. Teaching Fellow

Scholar. She earned her National Board Certification in

early and middle childhood music education. She earned

her level I Orff certification from Appalachian State

University and achieved level II Orff certification from the

University of Missouri, St. Louis. She enjoys accompanying

various church groups, the Deerfield Community Chorus,

and singing in the Morning Song ensemble.

Virtual Immersion in Choral Rehearsal: Using

360-Degree Video for Remote Participation

In this interactive session, we will present an innovative

rehearsal technique using 360-degree video technology and

virtual reality (VR) headsets to enable remote choral

rehearsal participation. Originally developed in response to

the challenges of preparing a national choir for Carnegie

Hall performances in 2022 and 2023, this method allows

absent singers or prospective choir members to immerse

themselves in a live rehearsal environment as if they were

physically present. Participants will learn how strategically

placed 360-degree cameras within choir sections (soprano,

alto, tenor, bass) can capture an interactive rehearsal

experience. Through VR headsets, singers can: sit within

their vocal section and see/hear their peers around them:

observe the conductor’s gestures and conducting patterns as

if they were in the room; and rehearse along with the choir

in real time from anywhere with internet access. This

method is a game-changer for rehearsal accessibility,

recruitment, and virtual learning, providing singers with a

fully immersive choral experience even when remote.

Vocal Health for Singers: Diagnosis, Treatment

and Maintenance Strategies

Vocal Health in the choral ensemble is extremely

important, because singers are their own instrument. Due

to the daily speaking and singing demands of modern

musicians, vocal ailments are more common than ever. This

session will address many common vocal maladies

developed by singers and directors, and we will highlight

methods for overcoming them. Based upon the foundational

vocal research of Linklater, Vennard, Garcia and others, this

session will provide attendees with multiple tool for

diagnosing vocal health issues. We will use visualization

software (VoceVista) to verify any anecdotal observations in

an ailing voice and then we will work through a variety of

solutions to help heal and maintain the voices of singers and

directors who have become maligned. This hands-on

seminar will require participants to sing, to evaluate one

another and to have the experience of a vocal diagnosis insession.

We will end by highlighting some common choral

rehearsal strategies that may be leading to vocal health

deficits. This vocal use analysis is relevant to all classroom

teachers, as some of the common diagnosis found in singers

are also regularly found in teachers.

We Didn’t Cover Anxiety in My Music Degree

Dr. Milt Allen

Has stress, anxiety, depression, or fear pushed you to the

brink of collapse, resignation or career change? And where

does your music education degree fall in all of this? You’re

not alone! Take time to laugh a little, think a little and get a

few tips on navigating the new normal in these

unprecedented times.

Dr. Milt Allen has worked with

hundreds of schools, community groups

and organizations, reaching thousands of

students, directors and community

members during his career. He is often

described as being one of the most

creative, innovative, inspiring and non-

traditional music educators today. Conductor, clinician,

speaker, author and tireless advocate on behalf of music

education, his passion for reaching more musicians at a

grass-roots level includes extensive experiences in both

public schools and universities in addition to founding a

non-profit: The Music Guerrilla, which works with

underfunded/underserviced programs in Rwanda, Zambia,

Haiti and Compton, Calif., as well as other schools across

the United States.

Allen’s cross-genre music interests effectively combine

with previous teaching positions in rural/suburban, large/

small and public/parochial environments to create a truly

unique ability to connect to those he serves. His experiences

range from teaching beginning instrumentalists in a boiler

room to premiering new works at the university level, to

working with young African musicians learning to play an

instrument. Yet always, from Glasgow, Scotland to Zambia,

Africa, and at regional, state, national and international

conferences, his humor, passion and experience combine to

illuminate the possibilities of both music and the live art of

performance.

If I Knew Then What I Know Now…!

Dr. Tim Lautzenheiser

For college students and young teachers, this clinic

focuses on the cornerstones of teaching excellence. We

come to the profession with a wealth of information; the key

is to communicate it in a way that keeps the interest of the

students.

Dr. Tim Lautzenheiser is a trusted

friend to anyone interested in working

with young people in the pursuit of

excellence. His own career involves ten

years as a band director at Northern

Michigan University, the University of

Missouri, and New Mexico State

University.

In 1981, he created Attitude Concepts for Today, Inc., an

organization that manages the requests for student

leadership workshops, teacher seminars, and convention

speaking engagements focusing on the critical importance

of the teacher as a leader/role model.

He presently serves as the senior vice president of

education for Conn-Selmer, Inc. Lautzenheiser is a cowriter

of Hal Leonard’s popular band method, Essential

Elements. His books, published by GIA Publications

include: The Art of Successful Teaching, The Joy of

Inspired Teaching, Classic Leadership, Pathway to

Success, and many others are best-sellers in the music

profession.

What You Need to Know as a New Choir Director

Dr. Kyle Gray and Aj Calpo

During this session a panel of choral music educators at

various stages in their career will share insights for the

future of choral music education in North Carolina.

Panelists will range from new directors to experienced

educators with over a decade of diverse classroom

experiences, offering a broad spectrum of perspectives. The

discussion will address topics relevant to pre-service

teachers, new educators, and seasoned professionals

looking to share their experiences. Key topics will include,

starting a new program, building a choral community,

mentorship, involvement in local and state events,

classroom management, leadership, and more. Attendees

are welcome to bring questions from their own classrooms.

Dr. Kyle T. Gray is assistant professor

of choral music education and director of

the Mountaineer Chorus at West Virginia

University. He began his career directing

secondary school choirs in Tampa,

Florida, where his ensembles were

regularly featured at district, state, and

regional events. He remains active as a

clinician for honor choirs, workshops,

and conferences, and frequently visits classrooms in the

local choral community. As a performer and conductor,

Gray has collaborated with featured ensembles across

Europe, Asia, South America, and Africa.

His research focuses on motivation and self-regulated

learning in choral settings, as well as the role of digital

media in music teacher professional development. He

presents at national and state conferences, including

NAfME, ACDA, FMEA, NCMEA, and the SMTE

Symposium, and he has been published in both state and

national journals.

Gray holds a Bachelor of Music in music education from

the University of Florida, a Master of Music Education from

Florida State University, and a Ph.D. in Music Education

and a post-baccalaureate certificate in choral conducting

from UNC Greensboro.

Aj Calpo is the chorus director and

piano instructor at Sun Valley High School

and in his tenth year of teaching. He

serves as technology chair for the NCMEA

High School Choral Section and the

education coordinator for the Charlotte

Master chorale. He obtained his Bachelor

of Music Education at Wingate University,

and is currently pursuing his Masters in

Music Education at Florida State University. He resides in

Matthews, North Carolina.



What’s In Your Warm-Up Folder?

Joseph Walker

This session will introduce materials ideal for developing

and refining fundamental ensemble skills in the string

orchestra classroom. Bring an instrument, play along, and

grab some new ideas for you and your students!

Joseph Walker, a graduate of East

Carolina University (BM and MM), is in

his 18 th year of teaching in the public

schools of North Carolina, currently serves

as the associate director of orchestras at

Durham School of the Arts. After

completing music education studies at

East Carolina University, he began his

teaching career in Onslow County Schools,

founding the programs at Southwest Middle School and

Southwest High School in Jacksonville, where he received

the 2013 Teacher of the Year Award. Following his tenure in

Jacksonville, Walker accepted his current position at

Durham School of the Arts in 2018, where he is honored to

teach in a flourishing orchestra program. Recognized as the

2019 NCMEA Orchestra Section Regional Teacher of the

Year, he has served NCMEA in many capacities, most

recently as Orchestra Section chair. Walker is an active

clinician in North Carolina, regularly invited to conduct

honors ensembles and adjudicate events across the state.

Whole-Part-Whole Instruction When Teaching

Piano Repertoire

Ekin Ustunel and Scarlette Kerr

This session will explore whole-part-whole instruction and

its effectiveness in guiding students through the process of

learning new piano repertoire. The whole-part-whole

process includes: 1) introducing and establishing familiarity

with new pieces through listening and movement; 2)

exploring different elements of a piece such as: rhythm

patterns, harmonic progressions, melodic sections, and

technical challenges; and 3) reintegrating and discovering

those elements in the complete work.

Participants will explore how to apply this approach

across different styles and difficulty levels, from beginner

through advanced repertoire. It will also address how

whole–part–whole teaching supports audiation, deepens

structural awareness, and improves retention by helping

students recognize recurring tonal, rhythmic, and

kinesthetic elements. This kind of instruction prioritizes

establishing contextual understanding at each stage of

learning and can lead to more confident, expressive

performances.

Your Voice, Your Career

Leda Scearce

Teachers have a higher risk of developing a voice injury or

voice problem than the general public. Around 60% of

teachers will experience a voice problem during their

careers. Music educators are at even greater risk, with up to

86% reporting a voice problem in some studies. The

extremely high vocal demands as well as the high caliber of

vocal ability required by the job are among the factors

contributing to this risk. The good news is many voice

problems can be avoided with appropriate prevention

strategies, and most voice problems can be resolved through

evaluation and treatment by a medical voice care team.

Armed with the right information, music educators can

achieve and maintain vocal health throughout their careers.

This presentation will review typical voice injuries

experienced by music educators, risk factors for developing

voice problems, prevention of voice problems through

optimizing vocal hygiene, vocal pacing, classroom

strategies, and vocal conditioning, and how and when to

seek care from a medical voice care team.

NAfME Music Teacher Profession Initiative

“The process of preparing music educators to meet the needs of a nation with

rich diverse needs, cultures, and resources embodies the challenges colleges

and universities must recognize to improve candidate readiness to enter and

thrive in any community.”

—A Blueprint for Strengthening the Music Teacher Profession, June 2023

NAfME formed the Music Teacher Profession Initiative in 2021 to identify barriers

to equity in music teacher recruitment, education, and retention. A task force of

NAfME leaders representing institutions of higher education across the country

conducted research related to the challenges facing high school students as

they make the decision to pursue a career in music education, preservice music

educators in their undergraduate degree programs, and novice music educators

in their first five years in the profession.

The project was executed with the perspective of

widening the path to the profession by cultivating and

strengthening more inclusive and equitable processes in

recruiting, teaching, and nurturing a robust music teacher

workforce. A Blueprint for Strengthening the Music

Teacher Profession (released in June 2023) describes the

task force’s process, outcomes, and recommendations

for action. The report reveals the deeply complex nature

of tackling evolution in music teaching and learning.

The issues addressed are not easily remedied. We call on

educators and administrators who have a vested interest

in music teaching and learning to take an active role in

moving our culture forward in ways that are inspiring,

inviting, and inclusive.

The Future of Music Education

https://bit.ly/NAfMEMTPI

BEFORE

THE

DEGREE

PROGRAM

DURING

THE

DEGREE

PROGRAM

DURING THE

FIRST 5

YEARS OF

PROFESSIONAL

LIFE

Challenge

Solution

Inequitable distribution of

funding, physical resources, and

human resources

Federal policymakers should increase

funding for Titles I and IV-A of the

Every Student Succeeds Act to ensure

students have equitable access to

a well-rounded education that

includes music.

Persistent inequities in how

students are recruited,

auditioned, and enrolled

Higher education should expand

audition/interview requirements to be

more inclusive of diverse ways of being

musical and demonstrating musical

knowledge.

Low teacher pay and professional

expenses (student loan debt,

certification, etc.)

Federal, state, and local policymakers

should position salaries, raises, bonus

structures, tax credits, and other

financial incentives to entice new music

teachers into the field.

Challenge

Solution

Participation, transportation, and

private instruction expenses

School districts should offer free or

highly subsidized rental programs and

private lessons for students from

low-income families.

Lack of alignment between

university program content and

professional expectations in PK12

instruction

Higher education should revise music

education curriculum to be more

culturally sustaining, equitable, and

reflective of the needs of schools and

communities.

Isolation stemming from

geography or being the only

music teacher in a building

State and national music education

organizations should promote the

institution of affinity groups to serve as

safe spaces in which educators’

identities are reflected and open and

honest discourse is fostered.

Challenge

Limited curricular offerings

Lack of funding and time for

meaningful professional

development and mentoring.

Solution

Music educators should create new

courses that engage a wider array of

students.

State and national music education

organizations should prioritize

programs, professional development,

and conferences for new-career music

educators.

© 2023 National Association for Music Education

bit.ly/NAfMEMTPI | #MoreTeachersMoreMusic


883-C Washington Street

Raleigh, NC 27605

The NAfME Equity Resource Center

for Music Educators and

Music Education Supporters

The NAfME Equity Resource Center is a collection

of Diversity, Equity, Inclusion, Access, and Belonging

(DEIAB) resources to support our members in their

continuing efforts to make DEIAB actionable in the

music education profession. Selections for the Resource

Center include webinars, blogs, journal articles, personal

stories, and frequently asked questions.

Content in the Resource Center will be updated as new

resources become available.

Special thanks to the members of the NAfME Equity

Committee and Equity Leadership Institute for their work

bringing the NAfME Equity Resource Center to life.

Learn more at nafme.org

Questions? Call 1-800-336-3678

or email nafme@nafme.org

90 | NORTH CAROLINA MUSIC EDUCATOR

NC Music Educator Conference 2025

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