NC Music Educator Journal Spring 2021

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

MUSIC EDUCATOR 

Preparing 

Preservice Music 

Educators to 

Teach Diverse 

Student 

Populations 

by Fred P. Spano & 

Jennifer A. Whitaker 

Looking to the 

FUTURE 

by Howell D. Ledford, Jr. 

Connect, Collaborate 

and Inspire Through 

Virtual Performances 

by Angela Mangum 

A Tribute to 

Richard Cox 

Volume 71 Number 4 Spring 2021 

NORTH CAROLINA MUSIC EDUCATOR | 1

these days of separation, we affirm music’s power to bring us together. 

In 

these days of anxiety, we affirm music’s power to lift our spirits. 

In 

EVEN TEACHERS 

NEED TEACHERS 

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CREATE YOUR FUTURE WITH THE UNC CHARLOTTE DEPARTMENT OF MUSIC! 

In these days of uncertainty, we affirm music’s power to point us to a better future. 

music.uncc.edu 

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

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

MUSIC EDUCATOR 

NCMEA Board Directory 

NCMEA Executive Director’s Message 

Pat Hall 

NCMEA President’s Message 

Carol Earnhardt 

Requiem: Richard Cox 

Band Section 

Connect, Collaborate and Inspire Through 


Angela Mangum 

Elementary Choral Section 

Middle School Choral Section 

Looking to the FUTURE 

Howell D. Ledford, Jr. 

Preparing Preservice Music Educators to Teach 

Diverse Student Populations 

Fred P. Spano & Jennifer A. Whitaker 

High School Choral Section 

Orchestra 

Moved Recently? 

4 

6 

8 

10 

12 

14 

16 

18 

20 

22 

26 

27 

A special thank you to all our advertisers who 

support music educators and music education in 

North Carolina. 

Brevard College 

East Carolina University 

Hayes School of Music 

Lenoir-Rhyne University 

NAfME 

UNC Charlotte 

UNC Greensboro 

UNC Pembroke 

UNC Wilmington 

Yamaha 

28 

19 

17 

9 

7, Inside Back Cover, 

Back Cover 

1 

21 

3 

13 

Inside Front Cover 

Editorial: All editorial content should be sent to: Kimberly 

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

Advertising: Information requests and ad orders should 

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

journal_editor@ncmea.net. 

North Carolina Music Educator is copyrighted. Reproduction 

in any form is illegal without the express permission of the 

editor. 

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

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

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

Texas. ISSN Number 0400-3332 EIN number 

20-3325550 

Notify NAfME of your change of address. By doing so, your NCMEA membership address is automatically 

updated as well! 

NAfME: www.nafme.org/login 

STUDY WHAT YOU LOVE. 

• B.M. in Music Education 

• B.M. in Musical Theatre 

• B.A. in Music (Liberal Arts) 

• B.A. in Music w/ Music Industry Emphasis 

STUDY WITH PROFESSIONALS. 

Our faculty are highly credentialed scholars, 

educators and performers. We invite prospective 

students to take a free lesson with a faculty 

member and learn more about what it’s like to 

be a student at UNCP. 

FLOURISH IN AN INSPIRING ENVIRONMENT. 

With just over 100 music majors, students enjoy 

small class sizes and personal attention. Our 

Musical Theatre program was recently ranked in 

the Top 10 BM Programs by OnStage Blog. 

Spring 2021 Online Audition Dates 

April 10 & April 24, 2021 

Learn more at uncp.edu/music 

NC Promise continues! UNCP is one of the most affordable universities in the state. 

In-state tuition is only $500 per semester and out-of-state only $2,500 per semester! 


Board of Directors 

EXECUTIVE OFFICERS 

SECTION CHAIRS 

COMMISSION & COMMITTEE CHAIRS 

President: Carol Earnhardt* 

Forsyth County 

cearnhardt@ncmea.net 

Immediate Past President: 

Jazzmone Sutton* 

Wake County 

jsutton@ncmea.net 

President-Elect: Johnathan Hamiel* 


jhamiel@ncmea.net 

Recording Secretary: 

Ruth Petersen* 

Mecklenburg County 

secretary@ncmea.net 

Member-at-Large: 

Lillie Allmond Harris* 

Guilford County 

member-at-large1@ncmea.net 

Member-at-Large: Quincy Lundy* 



Band: Jamie Bream* 

Scotland County 

band_chair@ncmea.net 

Band Section Delegate: 

Drew Carter* 

band_delegate@ncmea.net 

Collegiate NAfME: Molly Allman* 

Watauga County 

collegiate_president@ncmea.net 

Elementary: Dawn Wilson* 

Beaufort County 

elementary_section@ncmea.net 

High School Choral: 

Roman Brady* 


hschoral_chair@ncmea.net 

Higher Education: 

Jennifer Whitaker* 


higher_education@ncmea.net 

Jazz Education: Kevin Young* 

Buncombe County 

jazz_chair@ncmea.net 

Jazz Section Delegate: 

Ana Bulluck* 

Haywood County 

jazz_delegate@ncmea.net 

Middle School Choral: 

Carla Reid* 

Caldwell County 

mschoral_chair@ncmea.net 

Orchestra: Ryan Ellefsen* 

Orange County 

orchestra_chair@ncmea.net 

Orchestra Section Delegate: 

Corrie Franklin* 

Orange County 

orchestra_delegate@ncmea.net 

Exceptional Children & General 

Music: Rue S. Lee-Holmes 

Sampson County 

exeptionalchildren_generalmusic@ncmea.net 

Conference Chair: Barbara Geer 


conference_chair@ncmea.net 

Asst. Conference Chair: Adam Joiner 


conference_assistant@ncmea.net 

Mentoring: Windy Fullagar 


mentoring_program@ncmea.net 

IVfME: 

Jazzmone Sutton 

Wake County 


AWARDS, GRANTS 

& SCHOLARSHIP CHAIRS 

Music In Our Schools Month: 

Angela Mangum 

Granville County 

miosm_chair@ncmea.net 

Music Program Leaders: 

Andrew Craft 


music_program_leader@ncmea.net 

Research: Tim Nowak 

Pitt County 

research_chair@ncmea.net 

Retired Membership: Libby Brown 


retired_membership@ncmea.net 

Student Activities: 

Johnathan Hamiel 



STANDING COMMITTEE CHAIRS 

Teacher Education: Jose Rivera 

Robeson County 

teacher_education@ncmea.net 

Technology Chair: 

Howell “Howie” Ledford 


technology_chair@ncmea.net 

Tri-M: Jennifer Wells 

Alamance County 

tri-m@ncmea.net 

Webmaster: Mark Healy 

Wake County 

mhealy@ncmea.net 

Young Professionals: Lisa Qualls 

Randolph County 

young_professionals@ncmea.net 

EX-OFFICIO MEMBERS 

DISTRICT PRESIDENTS 

Awards: Lillie Allmond Harris 



Mini Grant: Jazzmone Sutton 

Wake County 


Summer Professional 

Development Grant: Jose Rivera 


teacher_education@ncmea.net 

Scholarships: Quincy Lundy 



Advocacy: James Daugherty 

Davidson County 

jdaugherty@ncmea.net 

Constitution: Maribeth Yoder-White 


constitution_committee@ncmea.net 

Finance: Jazzmone Sutton 

Wake County 


Membership: Johnathan Hamiel 



Publications: Kim Justen 

journal_editor@ncmea.net 

Collegiate NAfME Advisor: 

Lisa Runner 

Randolph County 

collegiate_advisor@ncmea.net 

Editor: Kim Justen 

journal_editor@ncmea.net 

Executive Director: Pat Hall 

Wake County 

pathall@ncmea.net 

Historian: Dr. John Henry, Jr. 


historian@ncmea.net 

District 1: Dawn Rockwell* 

Beaufort County 

district1@ncmea.net 

District 2: Jeffrey Danielson* 

Carteret County 


District 3: Tonya Suggs* 

Wake County 


District 4: Tyler Harper* 



District 5: Tonya Allison* 



District 6: Alice Pounders* 

Lincoln County 


District 7: Janet Berry* 

Burke County 


District 8: James Phillips* 

Henderson County 


* Voting Member 

Counties listed reflect the county taught in 

883-C Washington Street 

Raleigh, NC 27605 

919-424-7008 

www.ncmea.net 

Executive Director: Pat Hall 

pathall@ncmea.net 

NCMEA OFFICE 

Communications Manager: 

Mark Healy 

Wake County 

mhealy@ncmea.net 

Music Industry Rep.: Adam Frank 


music_industry_rep@ncmea.net 

Parlimentarian: Dave Albert 

Wake County 

parlimentarian@ncmea.net 

NCDPI Rep.: Brandon Roeder 

Granville County 

brandon.roeder@dpi.nc.gov 

advancing music education by promoting 

the understanding and making of music by all 


Notes from the Executive Director 

Pat Hall 

This was my opening paragraph for the spring Journal 

exactly one year ago today (as of this writing). “On Tuesday, 

March 10, N.C. Governor Roy Cooper declared a State of 

Emergency due to the first confirmed case of COVID-19 in our 

state. On Saturday, March 14, the Governor closed all schools. 

There are no public events. NCMEA made the decision to cancel 

all music performance adjudication and All-State events for the 

remainder of the school year.” 

We were all devastated. We did not 

know what the future would bring. We all 

learned Zoom quickly. But, this year we 

are seeing the light at the end of the tunnel. 

Teachers are getting vaccinated this month! 

Band, orchestra and choral rehearsals are 

beginning to happen in small groups, inperson! 

We are celebrating Music In Our 

Schools Month! 

We promised we would share resources with all NCMEA 

members to help with the new reality of virtual teaching. And we 

did! The NCMEA website Teacher Resources pages are populated 

with COVID-19 News & Resources, Classroom Considerations 

and Professional Development offerings. The NCMEA Leadership 

met weekly and produced recommendations for the opening of 

school in the fall. NAfME provided hundreds of hours of FREE 

ONLINE PD available to EVERYONE! And we even managed to 

pull off a virtual 50 th Anniversary Conference last November. The 

more than 50 live and 20 on demand sessions are still available to 

registered attendees. 

MEMBERSHIP MATTERS 

Last but not least, our advocacy efforts ramped up. The Arts 

Education Graduation Requirement Bill was signed into law by 

Governor Cooper on July 2. We shared our Recommendations 

for Arts Education as North Carolina Opens Schools document 

with the Governors Office and the Secretary of North Carolina 

Department of Health and Human Services. NCMEA made a 

financial contribution to the International Performing Arts Aerosol 

Study. This study is the first of its kind and will be able to supply 

scientific data to allow us to find ways to return to the performing 

arts classrooms and performance halls. We look forward to the 

final publication of the study in the near future. 

All this is looking back. Now we must look forward. NCMEA, 

in consultation with our lobbyists Ashley Perkinson and Racheal 

Beaulieu, will be working with the Legislature and Education 

Leadership on three key issues: 

• NCMEA looks forward to partnering with NCDPI and the 

State Board of Education on the implementation of the Arts 

Education Graduation Requirement. 

• NCMEA is supporting local public school units with all 

aspects of remote learning due to the COVID-19 pandemic 

as they impact the music education of children. 

• NCMEA supports efforts by local and state policymakers to 

hold school districts harmless during enrollment changes in 

music programs moving into 2021 – 2022 as we work hard 

to recover from COVID pandemic. 

Music Education Advocacy Matters! 

NAfME and NCMEA have worked to provide the tools and information to allow teachers to protect their ability to offer a wellrounded 

education. The fall Advocacy Toolkit contains the Arts Education is Essential statement, signed on by nearly 100 arts ed 

organizations and detailing the importance of arts education to a well-rounded education, instrument cleaning guidance created 

jointly by NAfME and NFHS and further guidance on how to safely provide music education. It also has an SEL brochure that 

allows for easy education of stakeholders on the benefits of music education in this area. We have also worked with publishers to 

ensure teachers have access to education materials whilst not violating copyright laws. 

NCMEA leadership and staff is working diligently at the state level to fight against cuts to music programs. We have the 

advocacy resources and support, and are doing everything we can to prevent curriculum and teacher position cuts. 

NAfME and NCMEA are working to provide consistent professional development to our members, including multiple webinars 

on how to teach music in a virtual setting. These links get you to the webinars, the aerosol study page, and sharing lesson plans: 

As a result of the COVID-19 pandemic, there are many challenges to music and arts education as planning begins for the 

2021 – 2022 school year in your communities: 

• Budget shortfalls – local school boards are working on the 2021 – 2022 budgets right now; 

• A focus on remediation – curriculum and scheduling designed to address “learning loss” includes the arts; 

• Continued need for PPE that is unique to the performing arts classroom. 

We need everyone to join the national Arts ARE Education campaign that emphasizes funding, maintaining, and growing 

PreK – 12 arts education programs in the 2021 – 2022 school year and beyond. 

What can YOU do? 

Here are some EASY TOOLS to help you. 

1. Sign the Pledge – the Pledge asserts that the arts are part of a balanced education and asks signees to commit to supporting 

equitable access to arts education that includes instruction in all arts areas. Anyone or any organization can sign it. 

2. Write your local school Board – Ask that decision-making bodies commit to maintaining their arts education programs 

in the 2021 – 2022 school year and beyond, by passing the Resolution as it reads, or a customized version that aligns with your 

schools’ existing programs. 

3. Write your State Legislator – Having states commit adequate funding for public education will be the first step toward 

maintaining, rebuilding, and growing arts programs to reach more students in the 2021 – 2022 school year and beyond. 

Doing these three things will only take you a few minutes, but by using the links above, you will make a BIG impact and keep 

music education in our schools! Thank you for your help! 

Music education will prevail. We are all (still) in this together! 

ENTER THE 2021 NAfME 

STUDENT SONGWRITERS 

COMPETITION 

The NAfME Student Songwriters Competition 

invites students to submit original music for 

the 2021 competition. Up to ten selected 

composers will receive cash awards. All 

entrants will receive written evaluations of 

their compositions. 

Age categories: 

• Grades K–8 

• Grades 9–12 

Deadline: April 9, 2021, 11:59 PM ET 

Apply: bit.ly/NAfMEStudentSongwriters 

Questions? nafme@nafme.org 

NAfME Online Professional Learning Community 

NCMEA Teacher Resources during COVID-19 

NCMEA Repository of Lesson Plans and Teaching Tips by NC Music Educators 


President’s Message 

One of my favorite poems is If by Rudyard Kipling. My fifth 

grade teacher, Ms. Norman, introduced me to the poem. 

She assigned each class member to a group and each group 

was to interpret the poem into “fifth grade language” through 

words, song, or pictures. I was ten years old, but I still remember 

working on interpreting the poetry with my group and to this day, 

I can remember the poem nearly word for word. There have been 

situations in my life when I’ve thought of this poem before making 

a decision. Especially this past year, Rudyard Kipling’s advice has 

been on repeat in my brain. 

If you can keep your head when all about you are losing 

theirs and blaming it on you... 

For the past year, it has been easy to drown in despair. We 

have all felt the same way this year – 

grieving lost performances, anxious 

about the future of music education, 

and missing the company of a room 

full of chatty, energetic students. 

I have realized in my moments of 

despair that I AM NOT ALONE. 

And, oddly enough, the realization of 

our joint journey has snapped me out 

of self-pity and forced me to work 

harder and find creative ways to forge 

through to the end of this long tunnel. 

Hearing the countless stories 

from music teachers around the state 

who are finding creative ways to 

continue music education through the 

pandemic is proof that you have done 

the same! It’s been a tough year but 

we are all hanging on, “keeping our 

heads” and forging through. Not only 

that, but when others are shouting 

that the students are falling behind, 

we have realized what is important in 

their lives right now. As Scott Edgar 

reminded us at the 2020 NCMEA Virtual 

Conference, now is the time to be concerned 

with needs before notes. 

NCMEA’s philosophy for advocacy has always been to build 

relationships with legislators and use those bonds to encourage 

support for music education. That credo has laid the groundwork 

for these times. Legislators and education leaders view our 

organization as professional and steady – the voice of reason in 

a time of chaos – a voice that is for the students! Throughout 

Although it may feel like it, we are not alone. 

Carol Earnhardt 

this year, our leadership team has spoken with countless 

administrators, public health officials, school board members, 

principals, and legislators both in Raleigh and in Washington. 

We’ve expressed our unwavering belief in the power of music 

education in the lives of our students – especially in this time of 

pandemic. We’ve shared the mitigation strategies proposed by 

science to enable a continuation of music through the threat of 

COVID-19. And, we continue to advocate for their support and 

leadership to ensure the continuation of music education through 

budget cuts and other repercussions caused by the events of this 

past year. 

Or watch the things you gave your life to, broken, and stoop 

to build ‘em up with worn-out tools... 

“Music teachers are resilient.” At a 

meeting with Superintendent Catherine 

Truitt this past month, those words were 

used by her to describe you! She speaks 

from experience as the child of two music 

educators. She told the NCMEA leadership 

team how her father, a band teacher, is 

continuing music education over ZOOM. 

Our team told her similar stories of your 

resilience and creativity throughout the 

pandemic. And, we expressed our concern 

that music teachers will need support from 

NCDPI in the coming years as we rebuild 

music programs. 

All of us have spent our lives building 

strong music programs. The events of this 

past year have been terrifying as we’ve 

felt powerless in many ways. But, with the 

valiant efforts of the leadership team of 

NCMEA, I believe we all will be given a 

chance to build our programs again. I don’t 

think things will ever be as they once were 

– because we’ve learned so many lessons 

this past year that make us better. To 

support you as “stoop to build ‘em up with 

worn-out tools,” NCMEA leaders will have 

a voice in the implementation of the new arts credit requirement. 

We are also asking legislators to hold school districts harmless 

during enrollment changes in music programs moving into 2021 – 

2022 as we work hard to recover from the COVID pandemic. 

At the last board meeting, NCMEA members met in several 

committees with a goal of envisioning the possibilities of NCMEA 

and of music education in the post-COVID world. Brilliant 

ideas were introduced and implemented. These discussions will 

continue, and will guide us in rewriting our strategic plan. 

If you can fill the unforgiving minute with sixty seconds 

worth of distance run… 

Recently, I attended zoom rehearsals by the South Central 

All-District Bands. I was in awe of the work music teachers 

accomplished to coordinate a state-level performance in a time 

of travel restrictions and isolation. The most powerful moments 

of the gatherings were when students were asked to give their 

opinion of the event: 

“I participated in All-District last year and was afraid 

COVID would prevent me from performing this year. I am 

so thankful to be offered this opportunity!” 

“I auditioned but didn’t make the group last year. This year, 

I felt more at ease and more confident with my audition. I 

am so glad I made it and so thankful that you all put this 

together.” 

“I have been so excited about playing in All-District this 

year. I’ve had something to look forward to.” 

You will not want to miss their powerful virtual performances 

and the Music in Our School Month Virtual Choir that will be 

released at the end of March. Thank you to all of the teachers in 

our state that are continuing NCMEA events for our students! 

Yours is the earth and everything that’s in it, and – which is 

more – you’ll be a Man, my son! 

I encourage you to continue supporting your students through 

this tough time. Things are changing. Yesterday, I was talking to 

a friend who lives in the eastern part of the state – a nonmusician. 

She heard the marching band practicing in a nearby school and 

said it was the most beautiful sound she’d heard in a very long 

time. She said somehow it made her feel normal again and she 

felt hope bubble up in her heart. I believe years from now, we will 

look back and see this as a time when music education persevered 

through some very tough obstacles and our work through these 

hardships added a glimmer of hope, peace, and promise to our 

community. 

Ms. Norman was one of those teachers who you remember 

forever. She was so creative and fun! I wish she could know the 

effect Rudyard Kipling’s poem has had on my life. I hope you 

will read the entire poem when you get a chance. It is incredibly 

inspiring. Since that week in Ms. Norman’s class, it has been 

difficult to forget the words of this beautiful poem – and at no time 

in my life has Rudyard Kipling’s advice rung more clearly in my 

ears than in this past year. 

Listen to South Central All-District Band Performances 

“Pipe and Thistle”, 9 – 10 grade: 

www.youtube.com/watch?v=iwm0YyEgdgg 

“Off the Edge”, Middle School: 

www.youtube.com/watch?v=PCyiSI6gaa8&t=1s 

MUSIC AT 

LENOIR-RHYNE 

Preparing Educators, Performers, 

and Sacred Musicians for Service 

BACHELOR OF MUSIC 

Music Education 

(including a Master of Arts in Teaching) 

Performance 

BACHELOR OF ARTS 

Music 

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Learn more about merit-based scholarships 

at lr.edu/musicscholarships. 

LR.EDU/MUSIC 


A Tribute to Richard Cox 

by Carol Earnhardt 

Dr. Cox spent his entire career in North Carolina and 

used that time to improve the condition of choral music 

education in this state. Besides his years as a music 

education professor and as a choral conductor at UNC Greensboro 

(UNCG), his countless publications in choral pedagogy are used 

worldwide to guide the teaching practices of music educators and 

choir conductors. 

As a young music education 

student at UNCG, I was a member 

of the University Chorale, which was 

directed by Dr. Cox, and a student in 

some of the classes he taught. I was 

inspired by his abilities as a choral 

conductor and as a teacher. Countless 

music teachers in North Carolina and 

throughout the United States were 

motivated by this professor’s love for 

music, his willingness to freely share 

his gifts and knowledge, and his desire 

to serve others through service to 

NCMEA and the American Choral 

Directors Association. 

Cox was a member of NCMEA 

for 30 years and in that time, served 

as a leader on the executive board of 

the choral section. During his tenure, 

he envisioned an auditioned choir for the high school students of 

North Carolina. He wanted to create an event for the most talented 

choral students in North Carolina, allowing them to experience the 

highest level of choral performance and to rehearse and perform 

under the direction of some of the most talented names in choral 

education. 

Thirty-nine years ago, driven by his vision, leadership and 

service, the first North Carolina Honors Chorus performed at 

the NCMEA conference. Since that time, the North Carolina 

Honors Chorus has grown into one of the premier choral events 

in North Carolina and is recognized as one of the finest honor 

choir experiences in the country. The high school choral section 

Dr. Richard Cox, with Anna Cox Trude, at his induction 

to the NCMEA Hall of Fame. 

and the countless honors chorus students since 1977 – many of 

whom decided to become choral music educators because of the 

honors chorus experience – are indebted to Cox for his vision and 

determination in developing this event. 

In 2015, Dr. Richard Cox was awarded the NCMEA Hall of 

Fame Award. The North Carolina Honors Chorus performed “We 

Are the Music Makers” by Dr. Eric Nelson, a piece commissioned 

by the high school choral section 

to honor Cox in the year of his 

induction into the NCMEA Hall of 

Fame. Dr. Hilary Apfelstadt wrote 

these words about Dr. Cox in her 

recommendation of him for this 

honor: 

Dr. Cox’s stellar reputation 

is based on his superior choral 

skills, the dissemination of his 

vast knowledge through a variety 

of publications, and his teaching 

influence. His lengthy and 

distinguished career at UNCG 

allowed him to come in contact 

with hundreds of students who 

sang in Chorale or the Women’s 

Choir, who studied conducting 

or choral literature with him, or 

worked on graduate degrees under his able leadership. 

As a young faculty member, I sang in the Chorale for one 

year and was in awe of his aural skills; he heard everything. 

His ability to connect vocal pedagogy to diction in a variety 

of languages left a lasting impression with me. His overall 

emphasis was on the color of sound and the shape of the 

music, but every rehearsal was like a voice lesson. Some of the 

students around me, not yet having responsibility for choral 

groups as I had then, really did not recognize the significance 

of what he was doing, but many of them did eventually 

because they went on to conduct fine choirs themselves. 

Dr. Cox has influenced more than one generation of choral 

music educators and how fortunate they are. One of the 

most remarkable things about this man, in my opinion, is his 

humility. He never put himself at the center of any musical 

experience, but rather focused on the music. 

Soft-spoken but impassioned in rehearsal and teaching, he 

served the composer and the music. This is a powerful model 

for conductors in a world where self-centeredness can become 

the norm. I can think of no one who has served choral music 

in the state of North Carolina for as long or in as dedicated a 

way as Richard Cox. 

Cox was a highly admired and respected music educator 

throughout the nation, but most of all, he was recognized 

nationwide for his selfless service to organizations that desired 

to elevate excellence in choral music performance and that 

encouraged the development and inspiration of future music 

educators. He was one of the most talented, honorable, and humble 

choral directors I have ever met. 

Despite the number of accolades received for his work, each 

time we met, he remembered my name, greeted me with a warm 

heartfelt smile, and offered words that encouraged my work as a 

music teacher. The work done by Dr. Richard Cox for NCMEA 

continues to benefit the organization and the teachers in North 

Carolina. And knowing Dr. Cox, he would agree that is the most 

fitting tribute to his memory. 

Richard G. Cox 

by John Cox and Anna Cox Trude 

Reprinted with permission from NC ACDA. This article first appeared in the NC ACDA Caroler. 

Richard G. Cox left this world in 

peace, surrounded by his family 

and by the sounds of his favorite 

music, on the night of December 25. He 

was 92 years old. 

A native North Carolinian with 

degrees from UNC Chapel Hill and 

a diploma in Voice from the Paris 

Conservatory, he completed the Ph.D. 

in music history and literature from 

Northwestern University, where he met his future wife, Mary 

Alicia. 

Having taught at High Point University for five years, 

Richard joined the faculty of UNC Greensboro, where he 

remained from 1960 – 2002. Under his leadership, the School 

of Music developed a national reputation in the choral arena. 

As conductor of the UNCG Women’s Choir and Chorale, he led 

performances at a national ACDA convention in 1973, as well 

as five Southern Region conventions. From 1963 – 2013, he 

served as choirmaster at Holy Trinity Episcopal Church. 

Richard edited choral works and wrote three books related 

to vocal and choral music: Singers’ Manual of German and 

French Diction (Schirmer Books, 1970); Singing in English 

The song is ended 

but the melody lingers on 

Irving Berlin 

(ACDA, 1990); and The Choral Music of Benjamin Britten 

(Hinshaw Music, Inc., 2011.) 

Richard founded and directed the Bel Canto Company 

(1982 – 1987), and for many years guided choral preparation 

for the Greensboro Opera Company. He was president of 

the Southern Division of the ACDA from 1967 – 1971 and 

the NC chapter from 1984 – 1986, and for decades served 

on the National Committee on Research and Publications. 

Awards include NC ACDA’s Lara Hoggard Award, the Choral 

Excellence Award (Southern Region) and induction into the 

North Carolina Music Educators Association Hall of Fame. 

Never truly “retiring,” Richard remained active, attending 

ACDA and NCMEA conventions, volunteering at his church 

and elsewhere, advocating for human rights causes, and visiting 

his children and grandchildren. 

Richard profoundly influenced several generations of 

students, colleagues, and friends. “A fitting tribute to Richard 

Cox” wrote by Welborn Young, current conductor of the Bel 

Canto Company, would be “to strive to learn more, teach with 

compassion, make beautiful music from the heart, and, most 

importantly, strive to be a better person by loving more fully 

with a respect for all people with whom we share this brief 

journey.” 


Band 

Jamie Bream, Chair 

Making music for today and a lifetime. 

UNC WILMINGTON 

DEPARTMENT OF MUSIC 

Most of us remember March 13, 2020 like it was yesterday. 

We remember what we were working on and what 

we left unfinished with our students. Many of us were 

in the middle of our MPA preparations, 

tuning notes, balancing our ensembles 

Then 

and bringing in people to listen for final 

feedback. It is hard to believe that was 

a year ago and many of us are just now 

beginning to have students step back into 

our classrooms. 

This past year has brought about many 

changes in the way we teach band. We 

have found we can teach the notes and 

rhythms virtually, but we cannot teach 

passion and evoke the emotions we could 

with a full ensemble in front of us. This has 

taught many of us that what we do extends 

far beyond the notes on the page but 

emotionally connects our students. 

This is why they are in our ensembles. 

They enjoy the camaraderie of playing 

music with their peers and being involved 

in the synergistic process found in music. 

While working on solos with my students, 

I heard comments like “this just isn’t the 

same as playing together” and I realized 

the social emotional learning that comes 

naturally when we are teaching a large 

ensemble was missing from teaching band 

in a virtual world. 

Now 

Soon 

Despite all of the challenges we have 

faced over the past year teaching band, the 

directors of North Carolina have been very 

innovative and downright visionary on how 

to keep students interested in band. We 

have given them the same opportunities 

they would have received if we were in 

a “normal” situation. I have seen virtual 

concerts, guest clinicians, virtual private 

lessons, and teachers working outside in freezing temperatures just 

to give students these opportunities. 

I am most impressed with how directors have come together 

from every corner of the state to have virtual meetings, share ideas 

and provide support for each other, especially when it has come 

to the planning of All-Districts and 

All-State auditions. While this has not 

been ideal, it has given the band students 

in North Carolina a chance to not lose 

out on one more experience due to the 

pandemic. 

I want to personally thank Kyler Zary, 

Matthew Dowell, Susan Fritz and Eddie 

Deaton for taking on the challenge of 

planning our virtual All-State auditions. I 

have already been a part of several virtual 

planning meetings and their hard work 

does not go unnoticed. 

As schools are beginning the 

planning process for the next school year, 

we need to be very active in advocating 

for our programs. If you have not 

taken the time yet, check out the Arts 

ARE Education National Campaign 

(www.artsareeducation.org). This is a 

great resource for you to use as you are 

planning meetings with your school 

and district administration. It includes 

templates to use – even templates for 

advocating to your state representatives! 

With recruitment being a challenge, we 

want to encourage our administration 

to fund our programs at pre-pandemic 

levels. 

With vaccines going out to teachers, 

we see a light at the end of the tunnel. 

Bands will survive this! Students will be 

yearning for the opportunity to be part 

of a group and will need the emotional 

outlet that only music education will 

give them. I cannot wait for the first 

post- pandemic concert. What a marvelous feeling this will be for 

everyone involved! 

UNDERGRADUATE STUDY 

BACHELOR OF MUSIC 

IN MUSIC EDUCATION 

BACHELOR OF ARTS 

IN MUSIC 

• PERFORMANCE: 

instrumental 

piano 

vocal 

• GENERAL MUSIC 

• JAZZ STUDIES 

• MUSIC TECHNOLOGY 

• MINORS 

choral music 

general music 

jazz studies 

Check online 

for our 2021 - 22 

audition dates: 

uncw.edu/music 

for more information: 

910.962.3415 

uncwmus@uncw.edu 

uncw.edu/music 

AN EEO/AA INSTITUTION. 

Questions regarding UNCW’s Title IX compliance 

12 | NORTH CAROLINA MUSIC EDUCATOR 

should be directed to titleix@uncw.edu. 


Connect, Collaborate 

and Inspire Through 


by Angela Mangum 

It started with a comment, and an idea was discussed. Then, 

a music professional was willing to collaborate and share 

resources. Next, an advocacy leader was inspired; connections 

were made and new relationships developed. Isolated music leaders 

were invited and empowered through music. New resources and 

additional leaders emerged. Children’s voices from the mountains to 

the sea were once again engaged in singing a powerful melody with 

lyrics that touched their hearts on a very personal level. 

In celebration of Music In Our Schools Month 2021, composer 

and NCMEA member, Adam Mitchell shared his virtual choir 

composition, “We Rise” with the NCMEA community. Country 

Music Association (CMA) board member and guitarist Biff Watson 

created and donated a special accompaniment track. Liz May 

of SoundLizzard Productions joined the effort to engineer and 

produce the virtual performance. One hundred elementary, middle 

and high school students and over thirty music educators from 

all eight NCMEA districts began singing again for a real world 

application, a real opportunity to make and share beautiful music 

through participation in a virtual choir. 

As music teachers, it brings us great joy to bring communities 

together through music. Currently, many N.C. school hallways 

and stages are silent. The sounds of joyfully singing voices and 

thunderous applause are missing. We’re exploring new approaches 

to engage, connect and inspire. 

Stepping into the world of virtual performances provides 

opportunities to sing and share voices, gifts, and messages with 

the greater community. Whether a simple compilation or a more 

technical approach of a multi-window virtual choir, collaborating 

and connecting students with their greater communities through 

music can engage and inspire through song. 

Teachers and students who participated in the “We Rise” NCMEA 

Virtual Choir reflected on the impact of music on their lives. “There 

is something magical about a room full of people singing together. 

You can feel the energy – it is electric,” stated a teacher. Students 

shared: 

“There are some emotions I can only express through music, and 

having an outlet like that is such a gift.” 

“We Rise” NCMEA Virtual Choir 

“Music can help people stay happy when times are hard.” 

“[Music] gives me a purpose to wake up in the morning.” 

Yes, our dream is to gather and sing together so our beautiful 

harmonies can blend into one gorgeous sound floating throughout 

the room. Until then, creating opportunities to sing with others, to 

unite in song virtually, helps fill our hearts with music. 

Thank you to everyone who collaborated in the effort to make 

NCMEA’s MIOSM and the “We Rise” NCMEA Virtual Choir a 

reality. See the performance here. A huge Shout Out to Liz May of 

SoundLizzard Productions for her sponsorship and bringing us 

together for our performance! 

I had an opportunity to chat with Mitchell and Watson about 

their experience creating this Music In Our Schools Month piece. 

My first conversation was with Mitchell. 

Mangum: From your perspective, as a composer and music 

educator, what are some of the most powerful benefits you 

witnessed while creating music for virtual choirs and going through 

the virtual process with your community and NCMEA? 

Mitchell: Virtual choirs are unique in that they remove the 

factor of distance. Anyone around the world can 

be a part of bringing a piece to life, transcending 

the traditional constraint of a choir based in a 

certain location. You can sing in a virtual choir 

with your aunt in Canada at the same time as 

your next door neighbor. Also, given they are 

posted online, virtual choirs help expand the 

reach of a performance because it can be viewed 

repeatedly and is not restricted to a concert 

hall. It’s this aspect of a virtual choir that was so 

exciting for my students, who have grown up watching YouTube. 

In a world where YouTube is a frequent source of entertainment, 

being in a music video hosted there and on social media made 

my students feel like they were on the same playing field as their 

YouTube idols. It is really fulfilling to see how far a virtual choir can 

go. My students and I are so proud “We Rise” has reached audiences 

around the world, with choirs as far away as Indonesia and South 

Korea programming versions of “We Rise” in the coming months. 

As an educator, I think the process allows students to really 

think critically about their own singing. Instead of learning to 

sing in a choir, they must work on their own technique, and think 

critically about the sounds they are making as they record. This 

definitely presents a unique challenge to directors, as the scaffold of 

having other singers to support them has been removed. 

However, this also gives directors the opportunity to give more 

direct feedback to individual singers, which is not always easy to 

do with a large group. Lastly, I feel the virtual rehearsal format, and 

the availability of the chat feature, helps more timid students to 

find their voice in an environment where the bigger personalities 

would normally drown them out. Virtual choirs are definitely not 

the same as a live choir, but I do think there are some educational 

opportunities to be found in creating one. 

Mangum: The connection “We Rise” has to the world began 

with the Kernersville Virtual Choir Project, continued with the 

Music In Our Schools Month NCMEA Statewide Virtual Choir and 

is now being performed internationally. In your piece, the lyrics say, 

“And we will dream together, change our world for better.” What is 

your dream for a better world? 

Mitchell: I dream of living in a world that 

walks in kindness, where everyone cares for 

their fellow humans. We need this right now. We 

must rise together toward the common goal of 

bettering humanity, or we will fall apart, isolated 

and alone. 

Mangum: What advice would you give to 

a teacher who was interested but apprehensive 

about creating their very first collaborative music 

video with their students or community? 

Mitchell: Go for it! But start with small, 

manageable chunks. Make your own short, 30-second virtual choir 

with just you. Virtual choirs are a process, and many skills are 

involved to pull one off. If you can experiment on yourself and be 

excited about what you produce, your ensemble will see this when 

you show them and want to buy in more when you pitch it to them. 

You can do it, but you won’t learn how overnight. 

Mangum: Do you have any additional thoughts to share? 

Mitchell: I would like to thank NCMEA for helping to spread 

our message of hope across the state. My students and I are so 

excited to see what started in our town grow and spread, and I 

cannot wait to see how far this will go. 

Later, talking to Biff Watson, I was able to discuss what working 

on “We Rise” meant to him. 

Mangum: I want to thank you, Biff, for sharing your talents 

with NCMEA and all of the music teachers and students in N.C. 

Your guitar playing mixed with the layer of strings created a 

heavenly layer of sound! What a pleasure it was for us to have the 

opportunity to add our voices to your audio mix, which was also the 

accompaniment track for the “We Rise” NCMEA Virtual Choir. 

You’ve had a broad musical career in Nashville, including 

performing, composing, recording, video production and music 

advocacy. What have you enjoyed most in the music industry? 

Watson: When I came to Nashville I resisted saying I was in 

the music industry – I am a MUSICIAN! But then, when asked 

how I paid for rent and groceries 

and I remarked I played the guitar, 

it became evident to me that it 

was a business. But I have always 

loved playing musical instruments, 

especially guitar, so it has never 

seemed like a business to me. What 

I have enjoyed most in my career is 

the ability to make a living doing what I love, with fellow musicians, 

singers, songwriters and engineers who have extraordinary talent. I 

am humbled and honored to be in that community. 

Mangum: After being selected as a CMA Teacher of Excellence, 

my Title I school and community were positively impacted by the 

generous grant and support we received. NCMEA has also received 

grant funding which provided important training opportunities 

for teachers. Would you share a few words about the mission of the 

CMA and their Foundation? 

Watson: I am increasingly passionate about mentoring young 

musicians and singers. I’ve had a long, successful and satisfying 

career as a musician and it’s gratifying to pass 

on the knowledge I have gained from the 

experience. I have seen what the Foundation can 

do for music teachers and students – even my 

granddaughter – and it is such a joy to see their 

potential brought to life. And I learn something 

from them, as well! 

Mangum: What advice would you like 

to share with music teachers and students in 

North Carolina who are interested in a path that 

includes music recording or production? 

Watson: Believe in yourselves and the power 

of creating, and follow your dream. Find an aspect of the music 

world that brings you happiness and work on it constantly. You will 

get better and better and want to do it more and more, and others 

will be inspired and want to help you. My guitar was my voice for 

many years, my means of expressing my feelings, and as my skill 

improved, I paid more attention to the “T’s” – tone, timing, timbre, 

tuning, temperament and tenacity. 

I say those last two because you will always be working with 

others and there will be many days of frustration and rejection! 

That’s why I go back to my first statement: believe in yourself! 

Much of the work done in music is collaborative, so getting 

along well with others is a key ingredient to success. I have known 

many incredible players who didn’t understand this and they are 

now doing something else for a living. I have tried to balance my 

career and my family; the “voice” became a “tool” and I was able 

to raise a family, buy a house and afford many things in life by 

remaining dedicated to my craft. In the recording and production 

world, this means after a satisfying day in the studio I can come 

home to my family. The best of both worlds! 

Mangum: Is there anything else you would like to share? 

Watson: I want to stay in touch with the teachers and 

students I reached through this project, so please email me: 

biffwatson@me.com. I have been, and will continue to be, offering 

online consulting and development, remotely due to COVID and 

long distance, but hopefully in person soon, as well. 


Elementary 

Dawn Wilson, Chair 

Fourth Quarter. We made it! This crazy year is nearing the 

end. I remember in my band days, the fourth quarter was 

always so unique for each game; sometimes the team that 

had been losing found their fight and made a comeback, finishing 

strong. Occasionally you had the games that were blowouts, and 

the winning team would put in their “B” players to get some time 

on the field. Fourth quarter often had injuries, more timeouts, 

and spectators leaving early. While some people were pumped 

throughout the fourth quarter (those crazy band members!), the 

athletes were tired. Where and how do they find that last bit of 

energy to end strong? Put forth that over the top 1000%? They dig 

in, knowing others are counting on them, like they are counting on 

others. It’s a TEAM effort. 

Your coworkers need your light. The community needs your 

spirit. Your students need to know you will not give up. You will 

continue to provide as much musical instruction and experiences 

as your school system allows. You will continue to show them the 

heart of education is, indeed, in the arts. 

Music can heal, music provides hope, music gives each 

individual a sense of self. Music allows expression, all while 

sneaking information about academics and life. I love teaching 

elementary music because I love teaching such an amazing allencompassing 

subject to every student in the building. Not only 

do we teach math, reading, social studies and science, we teach 

children how to listen, sing, dance, and play instruments. We teach 

children how to be respectful, responsible, accountable, and get 

along with others. We teach children how to connect with one 

another through music, and to express themselves through sounds 

and/or song lyrics. What an honor to be chosen to teach such an 

important subject. 

This winter and spring I was unable to teach my ‘normal’ 

lessons. It has been a challenge adapting to a week-long schedule of 

the same classes on a five-week rotation instead of a daily schedule 

seeing students each week. It has been a challenge for all of us to 

keep our virtual students engaged. I chose to embrace the concept 

and explore new teaching methods and topics. 

We cannot play as many instruments, so we use a great deal of 

body percussion. The kids love the movement. We are using more 

boomwhackers (and let me tell you, investing in the chromatic 

tubes is worth it!!!) for melodies. The virtual kids are making 

instruments at home and playing along with excitement. If you 

haven’t seen Elementary Groove Tracks on YouTube, please check 

it out. I have PLCs with other music teachers who have created 

shared documents/drives full of “my kids love these activities”. 

I have sought out opportunities for PD, including joining one 

specifically for rural music teachers to share ideas and resources 

for our unique situations. Here is one great resource: The 

American Pops Orchestra, www.theamericanpops.org. I have 

added many more items to my bag of tricks, and feel confident that 

whatever comes next, I’ll be ready to adapt. 

I don’t know about you, but I am smiling now. Sometimes we 

need reminders about how important we are, how much we do, 

how much we are NEEDED. And those reminders can give us that 

extra push to finish the fourth quarter strong. During MIOSM, 

teaching the song “We Rise” by Adam Mitchell gave me such 

renewal, and such… hope for the future. The opening lines would 

grab anyone’s attention: 

When the world is broken and we must stand apart, 

if we dream together, it can change our hearts. 

When we dream together, a dream can change the whole 

world forever, 

for better… and we will rise… 

The next word? TOGETHER. 

It’s the fourth quarter... Which are you? Are you finishing 

strong? Are you putting in your “B” lessons to take it easy? Are 

you exhausted and losing the fight? Are you mentally leaving 

early? Some days I feel all of these, depending on the classes that 

come in my door. No doubt, it has been a challenging year for all 

of us, but I encourage you – urge you – to find the fight and finish 

strong. Dig in, and give it your all; for yourself, your students, your 

community, your team. OUR team. 

We made it this far through the year; let’s finish strong! 

Together. NCMEA is here to support you. Do you have great 

ideas and resources to share? We want to know! Do you need 

some ideas and motivation? “Teamwork makes the dream work,” 

so please let us know how we can help. You can contact me at 

elementary_section@ncmea.net. 


Middle School Choral 

Carla Reid, Chair 

Greetings and Happy spring! This season represents 

renewal, rebirth, and hope. The light at the end of the 

tunnel is brightening slightly and I can’t wait to see what 

is in store for the Middle School Choral teachers of NCMEA! 

In this issue, I would like to highlight our 2020 Richard 

Keasler Middle School Teacher of the Year. Angel Rudd was 

presented this honor at our general business meeting in 

November at the virtual Professional Development Conference. 

She is an amazing teacher and an 

inspiration to her students and her 

colleagues. 

Rudd has been a choral director 

for schools in North Carolina since 

August, 2008. Previously having taught 

at Rockingham County Middle School 

in Wentworth, she currently teaches at 

Southeast Middle School in Kernersville. 

She obtained her Bachelor of Music from 

UNC Greensboro, where she focused on 

choral music education and piano. 

She has successfully prepared choirs to 

perform at Lincoln Center and assorted 

venues in New York City; Alabama 

Theatre, and Legends in Concert, both at 

Myrtle Beach; and the Biltmore Estate. Her 

choirs also frequently participate in local 

and state events such as All-County Chorus, Music Performance 

Adjudication, Honors Chorus, and All-State Chorus. 

The Southeast Middle School choirs have also been chosen to 

be a North Carolina Music Educators Association performance 

choir and participated in the 2021 Music in Our Schools Month 

NCMEA Virtual Choir. Always seeking to expose her children 

to different musical opportunities, she is excited to be building a 

piano lab program for Southeast Middle School. 

In addition to her educational responsibilities at Southeast, 

Rudd serves on the NCMEA executive board as the All-State 

coordinator. Through her organizational and coordinating 

efforts, she seeks to offer positive musical opportunities for the 

600 students from across the state of North Carolina who come 

to participate in the choirs. She also works with the American 

Choral Directors Association, organizing and planning concert 

performances for invited choirs across the United States at 

regional and national conferences. 

In the summer, she is a staff member for the North Carolina 

Summer Institute of Choral Arts at Warren Wilson College in 

Asheville, where she serves as a board member for the Traveling 

Choirs in Residence program. In this role 

she works throughout the year as a liaison 

for traveling choirs who attend from all 

over the United States. In her free time, 

she enjoys painting, beach and mountain 

vacations, watching college basketball (Go 

Duke!), NFL football and spending time 

with her family. 

As we come to the close of this 

“different” school year, please know what 

you are doing is important and it matters 

to your students. Our classes are often 

the reason the children get out of bed in 

the morning. Concerts, MPA, All-State, 

Angel Rudd, Middle School Choral 

and our conference are all wonderful, 

Teacher of the Year 

and one day we will be back to enjoying 

those experiences. However, what we do 

day to day inside our classrooms make an 

enormous impact on our students. If you made a difference in one 

life, then it was all worth it. Stay Strong. 

Online Master’s Degree 

in Music Education 

East Carolina University® established the online MM in music 

education program in 2004, making it the oldest online music 

education curriculum in North Carolina. 

Master of Music distance education classes are taught by the 

same excellent East Carolina University School of Music faculty 

that teach campus-based students. 

For more information, contact Dr. Jay Juchniewicz, Coordinator 

of Graduate Studies, at juchniewiczj@ecu.edu or 252-328-1251, 

or visit ecu.edu/music. 


Looking to the 

FUTURE 

bringing our tech tools into our 

traditional classrooms 

by Howell D. Ledford, Jr. 

Many technology products are mentioned in this article. NCMEA realizes these and many other products may be available to music 

educators. NCMEA does not endorse specific technology products. 

Technology is a tool or set of tools people use to make 

life easier. As this pandemic has taught us, technology 

will never replace a teacher. As teachers, we need to use 

technology to help our students and ourselves. 

A couple of years ago, I wrote an article about taking the 

summer and learning something new pertaining to technology. 

In the last year, we learned about all the tools 

available to us. So. Many. Tools. Just figuring 

out what was available to us – never mind 

using it effectively – while trying to finish 

out the school year was overwhelming. This 

summer, I recommend we all make a new plan 

because we have all discovered and developed 

new tools from this year. 

With this new plan, there should be one 

overarching question: How can I be a better 

teacher with all the new digital skills I have 

learned? Here is a step-by-step plan. This plan 

is not exhaustive. Each major section could 

have many subsections. As with any fullystocked 

toolbox, pick the tools that work for 

you for the job ahead. If you think you have a 

better idea, by all means use it, and share it. 

• Stop and breathe 

• Take inventory of your digital tool kit 

• Take inventory of your program 

• Make a plan 

• Implement and evaluate your plan. 

Stop and breathe 

This has been a year. We all need to step away from the 

computer. Put the laptop lid down and don’t open it for a while. 

This time should be for self-maintenance. Many, if not all of us, 

have looked at a computer screen much more than is considered 

healthy. But at this point, stop and look at what you have 

So. Many. Tools. To sort through last year. 

accomplished. I bet you’ve accomplished a lot more than you think. 

Pat yourself on the shoulder and say, “Good Job!” You’ve earned 

this moment! 

Take inventory of your digital tool kit 

Now is the time to take inventory. What new skills have you 

developed during our COVID time? Which of those skills have you 

mastered? What would you want to improve? 

What do you want to get rid of? Here is a 

general list of things you might have learned: 

• Learning management systems: Canvas, 

Google Classroom, Seesaw, Class Dojo, etc. 

• Digital audio workstations: Audacity, Band 

Lab, Soundtrap, Soundation, or Pro Tools 

First 

• Educational/organizational programs: 

Flipgrid, Jamboard, Nearpod, Smore, Toby, 

and Back Channel 

• Video conferencing: Zoom, Teams, Google 

Meet and Duo, WebEx, and others 

• Communication tools: Remind and Band. 

• Music Notation Tools: Noteflight, MuseScore, Sibelius and 

Sibelius First, Finale, Dorico, etc. 

• Video capture tools: Quicktime, ScreenCasitfy, Canvas Video, etc. 

• Video editing: iMovie, Filmora, Windows Media Editor, Adobe 

Premiere, Final Cut, etc. 

• Video presenting: YouTube, Loom, School Tube, Quicktime, 

Zoom Webinar 

• Podcasting: Apple Music 

• Collaborative documents: Google Education Suite and 

Microsoft Office Tools 

• Music assessment programs: MusicFirst Suite, Smart Music, 

Breezin’ Thru Theory 

Looking at this non-comprehensive list, what you have used? 

I guarantee you didn’t use them all, and that’s okay. If you used 

something different, add it. These tools will still come in handy 

when we start teaching in the new, improved normal. 

Take inventory of your program 

Our programs are not going to be like they were before. Many 

students haven’t spent time practicing, or have lost motivation. 

Our programs are feeling the effects of COVID. Triage the major 

parts of your program. Make a list of what needs to be fixed. Then 

prioritize the list. No one knows your program better than you. 

Right now, the main priority of your program should be 

students’ social and emotional learning and health. Their learning 

how to be with people again and how to act is the first thing 

we must realize. Dr. Joel Reed at Mars Hill University told us a 

story. His education teacher went around the room and asked 

every student what they were going to teach. The students in the 

class listed their respective disciplines, “Music, science, math, 

English...” At the end, the professor looked at them and said, “No, 

you are going to teach students.” Without good SEL right now, our 

programs are still going to suffer. 

I recently had to proctor the ACT in my county. I had a room 

with four students. One said, “I would rather take the ACT with 

everyone than be at home.” Those words would have never have 

come out of a student’s mouth before COVID. This is a true sign 

students need to be back with each other in a positive environment. 

Make a realistic plan 

Plan your year with all the new equipment, software, and ideas 

you have developed and/or bought. Use the tools from your tool 

Degree Programs 

Bachelor of Arts 

Bachelor of Music 

Master of Music 

Doctor of Musical Arts 

Doctor of Philosophy in Music Education 

Post-Baccalaureate Certificates 

Post-Masters Certificate 

For complete degree offerings, application information, and 

audition requirements, please visit: vpa.uncg.edu/music/apply 

kit. Just because we will be back in-person does not mean you 

should get rid of all those skills you learned. You will have had a 

year and five months (March 2020 – August 2021) to develop your 

technological tool kit. And just like you have your go to hammer 

and screwdriver in your home toolkit, now you also have your go 

to technical tools for your classroom, whether it’s virtual or inperson. 

Use those tools to help you strengthen your program. For 

example, do playing/singing tests in Flipgrid. Sightread with 

Sight Reading Factory. Have kids compose using MuseScore or 

Sibelius First. Use Smart Music or MusicFirst products to help 

your students learn. Many of the skills you developed are going to 

be very useful. Apply those tools to help students enhance their 

learning. Use the tools and skills you have developed to be a better 

teacher and speed your program’s recovery. 

Implement and evaluate your plan 

Good teaching puts a plan in motion and sees what is working 

and what isn’t. Then it’s our responsibility to fix or throw out what 

doesn’t. Be honest in this step. With technology, use what works. 

Not every tool in your toolbox fits every situation. Pick the one that 

offers the best solution for the situation at hand. 

In conclusion, every dark cloud has a silver lining. I feel 

like the silver lining for this pandemic is people became more 

technologically savvy. For some it was by sheer force of will, and 

for others it was as natural as a fish in water. We are better at 

technology now than we were then. Like my first COVID shot, this 

gives me hope that we will use our newly developed skills and use 

them to better our students and ourselves. 


Preparing Preservice 

Music Educators to 

Teach Diverse Student 

Populations 

lesson planning process. 

Preservice music teachers must also be aware of cultural 

appropriation. This occurs when one does not carefully present, 

discuss, honor, and respectfully acknowledge the culture to 

which the music they are teaching belongs. Rogers (2006) defines 

cultural appropriation as “…the use of one’s culture’s symbols, 

artifacts, genres, rituals, or technologies by members of another 

culture –regardless of intent, ethics, function or outcome” (p. 474). 

Rollo Dilworth (2019) further delineates between “acceptable” 

and “objectionable” cultural appropriation. According to Dilworth 

(2019), acceptable cultural appropriation involves cultural 

exchange, or “the reciprocal exchange of symbols, artifacts, rituals, 

genres, and/or technologies between cultures with roughly equal 

levels of power” (Rogers, 2006, p. 474). This supports cultural 

appreciation where “elements of a culture are used [to honor] the 

source they came from…. appreciation involves respect and value” 

(Fragoso, 2016, paragraph 13). 

Finally, culture consumption (Dilworth, 2018) is the harmless 

interaction with a culture outside of our own, such as watching a 

film, listening to music, or eating food. To meet these aspirations, 

we must guide and teach our preservice music educators to 

research their musical selections thoroughly: the history, context, 

and performance practice of the piece. When programming, they 

by Fred P. Spano & Jennifer A. Whitaker 

Since the passing of the Individuals with Disabilities Education 

Act, higher education faculty have included required 

coursework in teacher preparation programs centered on 

furthering preservice music teachers’ knowledge of, and ability 

to support, learners with exceptionalities. Without this teacher 

training, their future students with exceptionalities could 

encounter barriers when participating in musical activities. 

Systemic barriers to musical participation also exist for other 

marginalized populations (e.g., based on race, ethnicity, gender 

identity) and training teachers to support these students’ learning 

based on their diverse experiences should also be part of a 

well-rounded teacher preparation program (Fortunato, Mena, 

Sorainen, 2018). 

Culp and Salvador (2021) recently reported 52.5% of 

undergraduate music teacher education programs (N = 156) 

require at least one music-specific course focused on diverse 

learners. These included courses focused on teaching music 

for diverse learners (34%) and on culturally responsive music 

instruction (23.1%). Additionally, 61.9% of undergraduate music 

education programs specifically integrated content throughout 

coursework. However, some integration “was determined by and 

dependent on specific faculty members” (p. 57), especially where 

content of equity and inclusion was concerned. 

The National Association for Music Education addresses the 

need for inclusivity and diversity in that “a well-rounded and 

comprehensive music education program… should be built on a 

curricular framework that promotes awareness of, respect for, and 

responsiveness to the variety and diversity of cultures; and should 

be delivered by teachers whose culturally responsive pedagogy 

enable them to successfully design and implement such an 

inclusive curricular framework.” 

Their plan for implementation includes “providing members 

with the skills, information and collegial support necessary 

to work with and support an increasingly diverse society…” 

(paragraph 5). Teacher training programs can support this 

objective by redesigning programs to embed diversity, equity, 

and inclusion (DEI) content throughout their music education 

coursework (Bond, 2017). Below are some topics and potential 

ways that may be helpful when addressing the needs of all 

students. 

The principles of Universal Design in Learning (UDL) were 

first applied to architectural models to create barrier-free spaces 

and structures (Darrow, 2010). Doors with latches instead of 

traditional handles or plug outlets located higher up a wall are 

examples of universal design in action. These design elements 

allow individuals with physical challenges or disabilities to easily 

use the space. 

UDL is a way of thinking about teaching and learning in 

order that all learners in a classroom have an equal opportunity 

to succeed. The main principles of UDL, sometimes referred to as 

Universal Design in Instruction (UDI), include: 

• Multiple means of representation – providing students with 

various ways of acquiring information and knowledge; 

• Multiple means of action and expression – providing 

students with alternative ways to demonstrate the 

knowledge they know; and 

• Multiple means of engagement – connecting with students’ 

interests, challenging them appropriately, and motivating 

them to learn (Adamek & Darrow, 2018; CAST, 2021; 

Darrow, 2010). 

Teaching students about UDL and having them incorporate it 

in their lesson planning ensures they understand how to address 

as many learners’ needs as possible. For example, in a general 

music methods class, a lesson on melody could incorporate the 

rote learning of a song, along with a visual representation of the 

melodic contour and students’ use of Curwen hand signs. This 

would address the needs of aural, visual, and kinesthetic learners 

within the same lesson. 

Incorporating strategies of culturally responsive teaching (see 

Lind & McKoy, 2016; McKoy, 2009) that honors the learners in 

a music classroom should also be part of universal design. To 

that end, literature selection, its social context and function, and 

performance practice can increase cross-cultural competence in 

the process of teaching and should be part of preservice teachers’ 

Figure 1. Choral Analysis Project & Outline: Secondary Choral Methods 

Title of Piece Composer/Edition/Availability Genre Notable Features 

“Villancicos from 

Mexico City” 

Please research the following to present to your colleagues in class. You will also submit this in written form. 

I. The historical context of the period/country: For example, what was happening in this country at this time? What political 

issues were unfolding? 

II. The composer’s information: Who is this composer and their musical influences? Other pieces by the composer? Schooling, 

notable accomplishments, etc. 

III. The genre: What is the genre of this piece and is it a cultural one? If so, how did it function and what is its evolution? 

IV. Period of the piece: Does the piece belong to a specific period in music history (tied to historical context above)? If so, were the 

conventions of that style period followed or were there other influences? 

V. Analysis of the piece: 

A. Form 

B. Melody/Harmony 

C. Accompaniment and instrumentation 

D. Textures 

E. Translation of the text and IPA 

VI. Vocal aspects of the piece: 

A. Vocal parts: union, two-part, treble, tenor/bass, SATB, divisi, etc.? 

B. Tessituras/ranges of the parts. Indicate each of these on staff. 

C. Areas where vocal development to be taught (messa di voce, dynamic management, mixing of registers, breath management, 

etc.). 

VII. Teaching Considerations 

Manuel de Sumaya (1678-1755) 

Ed. by D. E. Davies 

A-R Editions 

www.areditions.com/sumaya-villancicos-frommexico-city-b206.html 

Literature Project components 

Villancico 

Italian Baroque; colonial 

period for Mexico; sacred 

pieces; collection of pieces 

A. Literacy skills: sight-singing, form, etc. 

B. Expressive elements and textual teaching 

C. Difficult areas to sing, hear, or execute 

D. Cadence points and how they function 

E. Is movement part of the performance practice and if so, who will teach? 

F. Function in the culture, historical function (if it exists or noteworthy); reason for programming, and for use in the class/ 

ensemble. 

G. How will I make this relatable to my students? 

H. Other considerations 


must examine their intent and predetermine educational, cultural, 

and musical outcomes. 

Cho (2015) believes when singing cultural choral music, 

directors and ensemble members (in this case, preservice teachers 

and their future ensembles) should recognize their own relative 

privilege and be cognizant the ensemble may have a greater 

responsibility to show respect when borrowing elements of a less 

powerful culture than their own. Additionally, Cho recommends 

supporting cultural communities from which the music comes 

and committing to performing the music well. Robinson (2017) 

suggests preservice music teachers increase their ability to support 

learning in increasingly diverse classrooms by: 

• Developing an awareness of differences in ease of access to 

resources; 

• Examining the intersectionality of participants’ cultural 

categories (e.g., gender, race, social class, ability) and how 

power shifts within systems of domination/oppression based 

on those categories; and 

• How socioeconomic factors impact the academic 

achievement of students of color. 

For preservice music teachers to expand their DEI knowledge, 

it is important for students in methods classes to be exposed to 

composers from other cultures who do not write “idiomatic” 

pieces. For example, only studying spirituals by BIPOC (Black, 

Indigenous, and People of Color) composers and discounting 

other genres in which they compose can purport a racist 

stereotype of these composers. This pitfall can be avoided by 

requiring students to develop a library of BIPOC composers and 

their works that are not idiomatic. 

Additionally, preservice music teachers could prepare 

presentations on BIPOC composers and a sampling of their 

pieces. The online database provided by the Institute for 

Composer Diversity (www.composerdiversity.com) is an excellent 

resource for discovering music by composers from historically 

underrepresented groups. Another example is pairing a music 

education student from an underrepresented heritage with one 

from a dominant culture to catalog works for a middle school 

or high school ensemble that are non-idiomatic and idiomatic 

(www.naxos.com and www.folkways.si.edu provide resources to 

investigate classical, pop, jazz, and folk side music from various 

cultures and countries). 

In this way, the methods class is not reinforcing the 

objectionable side of cultural appropriation, but rather modeling 

its acceptable tenets, and honing skills for presenting this music 

to their future ensembles. Thus, a deep dive into the music as well 

as the teaching is symbiotically formed. Figure 1 outlines a sample 

choral literature project for secondary choral methods, which can 

be adjusted for any methods class. 

Along with the websites previously mentioned, there are 

additional resources for enhancing our instruction in music 

education classes (see sidebar). Although not an exhaustive 

list, this is a great point of departure for creating meaningful 

experiences for UDL and DEI inclusion for our preservice music 

educators. 

Fred P. Spano, Ph.D., is coordinator of music education at the 

University of North Carolina Charlotte. Spano has K – 12 taught 

music in the U.S., Iraq, and Ecuador, and researches marginalized 

populations in music education. He is the co-author of two textbooks, 

Incorporating Music into the Elementary Music Classroom and 

Teaching General Music: AA K – 12 Experience with Suzanne Hall and 

Nicole Robinson. 

References 

Adamek, M., & Darrow, A-A. (2018). Music in special education (3rd ed.). 

Silver Spring, MD: The American Music Therapy Association, Inc. 

Bond, V. L. (2017). Culturally responsive education in music education: A 

literature review. 

Contributions to Music Education, 42, 153–180. 

Center for Applied Special Technology (CAST). (2021, February 26). 

About Universal Design for Learning. www.cast.org/impact/universal-designfor-learning-udl 

Cho, R. (2015). Cultural appropriation and choral music: A Conversation 

that can make both our music and community better. The Choral Journal, 

55(10), 59–63. 

Culp, M. E., & Salvador, K. (2021). Music teacher education program 

practices: Preparing teachers to work with diverse learners. Journal of Music 

Teacher Education, 30(2), 51–64. doi.org/10.177/1057083720984365 

Darrow, A-A. (2010). Music education for all: Employing the principles of 

universal design to educational practice. General Music Today, 24(1), 43–45. 

doi.org/10.1177/1048371310376901 

Dilworth, R. (2019, 28 March). Examining cultural appropriation in the 

preparation and performance of choral music [Webinar]. Chorus America. 

www.chorusamerica.org/resource/demand-learning/exploring-culturalappropriation-choral-music 

Fortunato, I., Mena, J., & Sorainen, A. (2018). Teacher education for 

gender, sexuality, diversity and globalization policies. Policy Futures in 

Education, 16(5), 515–523. doi.org/10.1177/1478210318770515 

Fragoso, B. (2016, April 18). Cultural appropriation vs. cultural 

appreciation. The Odyssey. www.theodysseyonline.com/culturalappropriation-vs-cultural-appreciation. 

Lind, V. R., & McKoy, C. L. (2016). Culturally responsive teaching in music 

education: From understanding to application. Taylor & Francis (Routledge). 

McKoy, C. L. (2009). Cross-cultural competence of student teachers 

in music education. In Cooper, S. (Ed.), The Proceedings of the Desert Skies 

Symposium on Research in Music Education (pp. 128–144). University of 

Arizona. libres.uncg.edu/ir/uncg/f/C_McKoy_Cross_2009.pdf. 

Robinson, N. R. (2017). Developing a critical consciousness for diversity 

and equity among preservice music teachers. Journal of Music Teacher 

Education, 26(3), 11–26. doi.org/10.1177/1057083716643349 

Rogers, R. A. (2006). From cultural exchange to transculturation: A 

review and reconceptualization of cultural appropriation. Communication 

Theory, 16(4), 474–503. doi.org/10.1111/j.1468-2885.2006.00277.x 

Table 1. Selected Web Resources for Diversity, Equity, and Inclusion 

General Websites 

Organization Web Address Description/Notes 

Association for Cultural Equity www.culturalequity.org Lessons are under resources 

Multicultural Music Education 

Music and the Child 

NAfME 

Tufts University Resource Guide 

https://milnepublishing.geneseo.edu/music-and-the-child/ 

chapter/chapter-13/ 

https://researchguides.library.tufts.edu/c. 

php?g=1056283&p=7674258 

Links to several organizations for music and music 

educators 

Free and open online textbook with chapter on ADEI: 

Chapter 13, “Musical Multiculturalism and Diversity” 

Resources for Diversity, Equity, Inclusion, Access in 

Music Education 

Music resources for diversity, equity, and antiracism 

We Are Teachers https://www.weareteachers.com/culturally-diverse-music/ Lessons and Resources for general music 


American Orff-Schulwerk 

Association 

“Celebrating Diversity in the 

Music Classroom, René Boyer 

(2020, November) 

Organization of American Kodály 

Educators: www.oake.org 

www.aosa.org 

General Music Resources 

https://www.tmea.org/wp-content/uploads/Southwestern_ 

Musician/Articles/CelebratingDiversity-Nov2020.pdf 

Instrumental Music – Band & Orchestra 

See also https://aosa.org/resources/diversity-matters/ for 

diversity resources/statements 

Online article with sample songs/resources 

This link brings you to the 2021 virtual conference with 

six session on different aspects of DEI 


Institute for Composer Diversity https://www.composerdiversity.com Curated by the SUNY at Fre-donia; database resources 

and programming analysis music created by composers 

from his-torically underrepresented groups 

“Celebrating Diversity in the 

Music Classroom, René Boyer 

(2020, November) 

Organization of American Kodály 

Educators: www.oake.org 

ACDA 

https://www.tmea.org/wp-content/uploads/Southwestern_ 

Musician/Articles/CelebratingDiversity-Nov2020.pdf 

National Association for Music Education. (2021, February 27). 

Inclusivity and Diversity in Music Education. nafme.org/about/positionstatements/inclusivity-diversity/ 

https://multiculturalmusiceducation.weebly.com/onlineresources.html 

https://nafme.org/my-classroom/resources-for-diversityequity-inclusion-and-access-in-music-education/ 

https://www.oake.org/conferences/sessions-andpresenters/#crt 

https://www.oake.org/conferences/sessions-andpresenters/#crt 

Choral Music 

Online article with sample songs/resources 

This link brings you to the 2021 virtual conference with 

six session on different aspects of DEI 


https://acda.org/?s=diversity (American Choral Directors 

Association) 

Several articles and links for members dealing with DEI 

topics 

ChoralNet www.choralnet.org Professional networking site of ACDA 

Chorus America www.chorusamerica.org Several resources on equity, diversity, and inclusion 

GALA Choruses 

www.galachoruses.org (Gay and Lesbian Association of 

Choruses) 

See document: A new harmony: Equity, access, 

belonging—A workbook for GALA choruses 


High School Choral 

Roman Brady, Chair 

O 

rchestra 

Ryan Ellefsen, Chair 

Virtual Performance Commentary 

We, as teachers, are always dissecting the way we teach. 

“What did my students know before the lesson? Did 

the presentation of my lesson make sense for all my 

students? What growth happened between then and now?” 

Yes, the cycle continues, but now with the extra layer of some 

virtual learning. Well... needless to say, COVID has schooled us 

as teachers, regardless if we were 

ready (or willing). How did we teach 

pre-pandemic? And the even bigger 

question what have we learned? Of all 

the resources we have come to use 

this past year, how many of them will 

we continue to use as the pandemic 

fades and we start to get back to 

“business as usual”? 

The NCMEA High School Choral 

board has created a phenomenal 

resource I feel will be great this year, 

and for years to come. It is a way for 

directors to submit performances for 

some general feedback (no score) 

that could help you and your singers 

in creating a more meaningful performance. We hope that even 

though COVID has inspired us to offer this option this year, that 

we can find a way to offer this resource to ensembles and soloists 

year round. This first year is for choirs only and is free to submit. 

Below are the details for the Virtual Performance Commentary. 

Virtual Performance Commentary (VPC) 

• There is no registration fee this year for participating in 

VPC, but participating directors must have a current 

NAfME membership (you may renew any time prior to 

submitting your form to participate). After this year, there 

will be a small fee for VPC. 

• Participating directors will submit their ensemble’s 

performance (this may be a video or audio only) between 

April 16 – 30. 

• As of now, performances will only be one song per 

ensemble. 

• Directors may submit performances from any genre. 

• A PDF of the performed sheet music must also be 

submitted for the commenter to view while listening. 

• Videos will need to uploaded to 

YouTube as an unlisted video. Then 

you will share that link in the form 

for VPC. 

• Audio recordings must be in a 

.mp3 format to submit. Google 

has a great resource called Cloud 

Convert which can convert the 

.mov file to .mp3 

• Once you submit your 

performance, it will be shared 

with a listener for feedback and 

comments. 

• The listener will view and make 

comments on the performance 

within ten days of receiving the performance 

• Comments will then be shared with the submitting director 

via email 

• Listeners (this year) are voluntary participants consisting of 

current adjudicators. 

• The submission form (where directors submit the YouTube 

links or upload the mp3s) will be emailed the week 

submissions may begin. 

On behalf of the NCMEA High School Choral board, we 

urge you to consider participating in this inaugural VPC! This 

will be an excellent opportunity for students to work towards a 

performing goal and to receive outside feedback. 

By all measures, the 2020 school year has been a challenge for 

teachers of all disciplines. When discussing this topic with 

others, they often marvel at the level of difficulty I must 

face as a music teacher. When we started down this road back in 

summer of 2020, there was a lot of uncertainty and we all had more 

questions than answers. But at the same time, this unique set of 

challenges created an equally unique set of opportunities. 

For one unique group of educators, the challenge was not only 

“How am I going to teach my kids in this virtual space?” but also 

“How am I going to survive my first year of teaching?” And yet 

for another group “How am I going to change what I am familiar 

with and continue to reach my students?” I had the pleasure of 

interviewing two NC String Educators who are at very different 

moments in their careers, yet connected by a special bond to get 

their take on the challenges and opportunities they face. 

Matthew Laird is a first year educator at Phillips Middle 

School in Chapel Hill. Currently Phillips is 100% virtual and will 

move to a hybrid model in April. To contrast the view of a new 

teacher finding their way, I talked with a veteran teacher, Matt’s 

father, Scott Laird. He’s been teaching at North Carolina School 

of Science and Mathematics since 2001 and 34 years overall. 

NCSSM is currently using a low-density hybrid model, where half 

the students come in person for six weeks, there’s one week for 

cleaning dorms, and then the other half of the students attend. 

In July 2020, what challenges did you anticipate as the school 

year approached? Looking back, would you say those challenges 

came to pass, or were you actually challenged by unforeseen 

challenges? 

Matt: Back in July, we were not yet sure if school would be 

in-person, hybrid, or online. I was expecting my biggest challenge 

to be classroom management. In all of my previous experience of 

classroom teaching, I have been co-teaching or student teaching, 

so I knew classroom management was going to need to be a focus. 

Classroom management while fully online has not been one of my 

top priorities. I think the biggest challenge has been creating ways 

for students to play their instruments and stay active participants 

in class each day. I feel like each week is a new experiment of 

finding ways to get more cameras on and giving students a reason 

to stay engaged in the music. 

Scott: Knowing it would be difficult to run an orchestra in this 

hybrid model, the biggest challenge I anticipated was the fact that 

we would never be together in the same room. That has definitely 

proven to be true. Obviously, I am never able to conduct the 

ensemble. I create guide tracks, playing all five parts of the string 

orchestra, with a click track in the background. So, all corporate 

playing is done to an audio guide. 

I feel like the school year has gone just about as I anticipated 

and things have gone pretty well for me and my classes. I pivoted 

quickly to a virtual orchestra format. We are not using video at all; 

it is strictly a virtual audio orchestra. I knew my top priority was 

going to be developing caring relationships with students. I wanted 

to make sure every student knew I put their well-being over the 

well-being of the orchestra. At the same time, I wanted them to 

know they would have challenging and interesting repertoire and 

have some kind of product at the end that they could be proud of. 

What things were easier than you expected them to be with 

remote learning? What things were harder than you expected? 

Matt: I have found building relationships with students is 

easier than expected. I was really worried that never having 

met the students in person would be a huge roadblock and they 

would not be willing to interact much. I still find this to be a huge 

challenge, but it has been much more manageable than expected. 

I have gotten to see student’s personalities in video submissions, 

sent memes back and forth in class, and learned about the general 

school/orchestra culture. I have found teaching by myself at home 

is a lot more difficult than I anticipated. I was not aware of how 

important the small interactions with people throughout the day 

were for my well-being. Going into virtual learning, I thought it 

might be nice to have time to cook a warm lunch or play some 

scales between meetings, but I am really looking forward to being 

in a building with others soon. 

Scott: I feel like the easiest part of remote and hybrid teaching 

has been student satisfaction. My students seem to really appreciate 

the effort I put into class preparation. They seem to like the 

repertoire I’ve chosen and have done a pretty good job in this 

environment. I would say the most difficult part of this teaching 

environment is my own feelings about class. I want to do more for 

students and know we are not replicating a traditional orchestra. 

We have to find new successes and also we must put relationships 

first. 


As a first-year or veteran teacher, what advantages do you 

think you have over experienced teachers when approaching the 

challenges of hybrid/virtual teaching? 

Matt: One advantage I might have as a younger teacher is my 

experience with creating content. A lot of virtual learning is about 

making videos, slideshows, and lessons that are easily digestible 

and clear for students. I have had a lot of experience doing this 

type of content creation through social media platforms. I really 

enjoy using Protools to create audio and piecing together video 

clips on Tiktok. These experiences have definitely saved me a lot of 

time over the course of the year and allowed me to make effective 

content for students. 

Scott: First, given there is not real-time musical feedback like 

in a traditional orchestra, I believe I am well equipped to anticipate 

mistakes students may be making. Many times, I must give 

instructions or feedback without actually hearing the students play 

a part. Another advantage is my experience with technology. I am 

very comfortable with digital audio workstations and the recording 

process. I have used these skills virtually every day. I also have all 

the equipment I need both at work and at home. This has proven to 

be a huge advantage. 

In light of everything that has happened with the current 

school year, one of my goals for the 2021 – 2022 school year is... 

Matt: My biggest goal is to build a strong community in our 

orchestra program. Most of the this year’s sixth graders have never 

even met each other before and the same will be true for many of 

the rising sixth graders next year. I cannot wait to learn more about 

what activities students enjoy doing in their free time, what jokes 

they think are funny, and what type of music they listen to when 

they are at home. Getting to hear the orchestra play in person next 

year is going to be amazing, but just getting to know the students 

is really what I am excited for. I want to encourage myself to be 

grateful for the opportunity to make music every day with students 

and remember that what we are doing is a lot bigger than just the 

notes on the page! 

Scott: I certainly plan to continue creating audio guides for 

my students, even when we are back to in person orchestra. I have 

been creating practice tools for students with a click track and 

each individual part. These practice tools have proven to be very 

effective in helping students learn their individual parts outside 

of the orchestra rehearsal. Also, the pandemic has given me a 

great deal of opportunity to reevaluate virtually every facet of my 

orchestra program. I intend to take the opportunity to tweak a 

variety of norms and “traditions” that may have outlasted their 

effectiveness. The key, in my opinion, is to be mindful as we move 

forward. I definitely feel there have been positive lessons in the 

midst of the difficulties of teaching during the pandemic. 

I want to thank both Matt and Scott Laird for providing their 

candid responses to my questions. I think we can see how all of us 

are facing similar challenges and meeting them head on. Whether 

it’s Saturday string tuning in the school parking lot, or surprising 

our students with lawn signs, our colleagues of all experience 

levels are making connections with our students in ways we hadn’t 

before. It’s tiring work, but invigorating! 

What is Social Emotional Learning? 

Why is it important for students? 

How does music education make a difference? 

Now more than ever, music education is critical for all students. One significant 

impact is how it helps students with social emotional learning. 

This brochure includes key talking points for music education advocates to use as 

they communicate with decision-makers about the place of music education in any 

school setting. It answers: 

Music Matters 

• How are music educators well-suited to help students develop socially 

and emotionally? 

• What does research tell us? 

• How can public policy support music education and Social Emotional Learning? 

Download your brochure at bit.ly/MusicEduSEL 

Questions? Email advocacy@nafme.org 

Audition Dates: www.brevard.edu/music 

Information: musicinfo@brevard.edu 

nafme.org 


883-C Washington Street 

Raleigh, NC 27605 

NAfME 

GRASSROOTS 

ACTION CENTER 

Add Your Voice to the Legislative Process 

On the NAfME Grassroots Action Center page, you can: 

• Support music education in federal education policy 

• Get involved with the legislative process 

• Engage your members of Congress 

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

take action today.

NC Music Educator Journal Spring 2021

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