Archive for

Author: Carly Johnson

Updates to NASM Accreditation Standards and Guidelines for Higher Ed Music Programs

Feb 23 2024

In lieu of a post-conference HED recap, I figure no time like the present to review recent changes in philosophy and language being discussed and implemented in higher education at the national level. At the recent annual meeting for the National Association of Schools of Music held last November, several notable changes in language affecting higher education music programs that are accredited by NASM or that are seeking accreditation by NASM were discussed, voted on, and ratified by the NASM membership, Board of Directors, and Commission. Over the holidays, these updates were added to the NASM Handbook that all institutional members adhere to and use to guide curriculum development at their respective institutions. The new 2023-2024 Handbook that includes these recent updates is now available for viewing online at https://nasm.arts-accredit.org

My biggest takeaway from the recent updates to the NASM Handbook is that language choice in the world of music education is very impactful. The language choices used in accreditation materials must be representative of an extremely broad array of music programs existing at higher ed institutions across the nation; institutions that differ greatly in size, scope, and mission, so it is important that national standards are equitable, and representative of all constituents served by the Association. One thing that I was looking forward to at the AMEA conference this year was seeing how an increased emphasis on diversity, equity, and inclusion, and a diverse representation of presenters, ensembles, presentation topics, and panel discussions, would involve and include more members from across the state of Alabama. The sense of community, camaraderie, and fellowship shared by members of the Association during conference week is so important to spurring on further discussion and to forming an identity that encompasses all of our shared goals as music educators, rather than our differences.

One of the most important Handbook language revisions approved by the NASM Commission focuses on historical content and repertory selections for students enrolled in professional Baccalaureate degrees in music and for students enrolled in any undergraduate music program leading to teacher certification.  In other words, standards that guide which composers, genres, and cultural perspectives to include and/or exclude when designing curriculum.

The changes made to section VIII.B.4. are a good example of the new language changes adopted by the Commission. We can see the impact of those wording changes by comparing the 2022-2023 Handbook to the 2023-2024 Handbook. For our purposes, the changes appear in yellow highlight.

VIII.B.4. (2022-2023 Handbook)

History and Repertory: Students must acquire basic knowledge of music history and repertories through the present time, including study and experience of musical language and achievement in addition to that of the primary culture encompassing the area of specialization.

VIII.B.4. (2022-2023 Handbook)

History and Culture: As appropriate to their major field of study, students must acquire basic overview knowledge of music history and various music cultures through the present time, including study and experience of musical language and achievements that extend beyond those associated with the primary specialization.

So, why are these changes in wording significant? In my opinion, these updates acknowledge that there is no one-size-fits-all course of study in music and that music students benefit greatly from being exposed to a variety of composers, genres, and repertoire. Changes in wording effectively create space for and encourage greater diversity, rather than only focusing exclusively on Western European canon composers, genres, and repertoire.

Another important Handbook revision, made to sections XIV.B.3.c., XIV.B.6.c., and XIV.B.7.d., focuses on content choices for students enrolled in Master’s degree programs in Conducting, Performance (general), and Opera Performance. These revisions include modifications to the language proficiencies required in these programs. 

XIV.B.3.c. (2022-2023 Handbook)

Choral conducting majors must be proficient in vocal pedagogy and English, German, French, Italian, and Latin diction. They must have general phonetic knowledge and skills that can be related to other languages. They should have language competencies sufficient to understand texts in the repertory.

XIV.B.3.c. (2023-2024 Handbook)

Choral conducting majors must be proficient in vocal pedagogy and in the diction of various languages (e.g., English, German, French, Italian, Latin, and other world languages as appropriate). They must have general phonetic knowledge and skills that can be related to the various languages. They should have language competencies sufficient to understand texts in the repertory.

XIV.B.6.c. (2022-2023 Handbook)

Voice majors are expected to be proficient in English, German, French, and Italian diction and to have general phonetic knowledge and skills that can be applied to various other languages. They should have language competencies sufficient to understand texts in the repertory.

XIV.B.6.c. (2023-2024 Handbook)

Voice majors are expected to be proficient in the diction of various languages (e.g., English, German, French, Italian, Latin, and other world languages as appropriate) and to have general phonetic knowledge and skills that can be applied to the various languages. They should have language competencies sufficient to understand texts in the repertory.

XIV.B.7.d. (2022-2023 Handbook)

Students must develop advanced competence in English, Italian, French, and German diction and general phonetic knowledge and skills that can be applied to other languages. They should have language competencies sufficient to understand texts in the repertory.

XIV.B.7.d. (2023-2024 Handbook)

Students must develop advanced competence in the diction of various languages (e.g., English, German, French, Italian, Latin, and other world languages as appropriate), and general phonetic knowledge and skills that can be applied to the various languages. They should have language competencies sufficient to understand texts in the repertory.

The same type of modifications to language proficiencies can also be seen in the revisions made to Appendix I.D., Standards and Guidelines for the Education and Training of Conductors: Choral, Orchestral, Wind, and to Appendix I.D., Standards and Guidelines for the Education and Training of Conductors: Choral, Orchestral, Wind, pertaining to the Master’s degree in Conducting.

Appendix I.D.1.C.2. (2022-2023 Handbook)

For choral and orchestral conductors, language and diction skills sufficient to coach singers in French, German, Italian, English, and Latin, as well as general phonetic knowledge that can be related to other languages are essential. For orchestral conductors, skills sufficient to conduct rehearsals in modern European languages are desirable.

Appendix I.D.1.C.2. (2023-2024 Handbook)

For choral and orchestral conductors, language and diction skills, and general phonetic knowledge sufficient to coach singers in various languages including as appropriate, but not limited to, French, German, Italian, English, Latin, and other world languages, are essential. For orchestral conductors, skills sufficient to conduct rehearsals in various world languages are desirable.

Appendix I.D.4.E.1.c. (2022-2023 Handbook)

Choral conducting majors must be proficient in vocal pedagogy and English, German, French, Italian, and Latin diction. They must have general phonetic knowledge and skills that can be related to other languages. They should have language competencies sufficient to understand texts in the repertory.

Appendix I.D.4.E.1.c. (2023-2024 Handbook)

Choral conducting majors must be proficient in vocal pedagogy and in the diction of various languages (e.g., English, German, French, Italian, Latin, and other world languages as appropriate). They must have general phonetic knowledge and skills that can be related to the various languages. They should have language competencies sufficient to understand texts in the repertory.

So, why are these changes in wording significant? These changes help open doors to welcome students from a diverse array of backgrounds and cultures. The beauty of these changes is that the revised standards do not detract from the importance of the languages that vocalists have been expected to be proficient in, instead, they merely create space for the study and practice of additional languages outside of the big four, or big five if you will.

In conclusion, I look forward to seeing how additional changes in philosophy and language at the national level continue to open doors for more students from diverse backgrounds, and I wish all of my HED colleagues from across the state much success during the spring semester. See you at next year’s conference!urs.

Crafting a New Vision for Music Education in Montgomery

Oct 13 2023

This past summer, I was excited to learn about the addition of Mrs. Natalie Roig-McKnight, Ed.S, who is serving as the new education specialist for fine arts programs for the Montgomery Public Schools. What better way to introduce Mrs. Roig-McKnight to our broader AMEA membership than to engage in a brief interview; many thanks to Mrs. Roig-McKnight for graciously agreeing to participate and for sharing her vision for music programs and Arts education in Montgomery!

Q:  What are a few of your main priorities and goals for the music programs in the Montgomery Public Schools for the 2023-2024 school year?

A:  The main priorities and goals for the K-12 music programs are: (1) to ensure that music education is accessible to all students in our district. We have increased the number of music educators in our system since this past spring and are continuing to increase the number of music educators in our system, (2) to provide ongoing training and support for music teachers to enhance their skills, teaching methods, and knowledge of best practices in music education. We will accomplish this with strong, ongoing partnerships within our local community, including partnerships with Alabama State University, Huntingdon College, and the Montgomery Symphony Orchestra. As we implement professional learning communities for each of our fine arts disciplines, including music, our community partners will aid in helping our music educators by hosting PLCs and by providing teaching strategies to improve best practices, and (3) to provide students with opportunities to showcase their musical talents through concerts, recitals, competitions, and assessments to build student confidence and stage presence. These activities will be key opportunities for our teachers to reflect on the effectiveness of their instruction based on their students’ results. 

Q:  What are a few innovations or new trends in music education that you would like to see take foot in Montgomery and school music programs across the state of Alabama?

A:  One trend that I am seeing is an emphasis on career preparation for our students. Many schools want their students to either be enrolled, employed, or enlisted after graduation, and music education can help get our students to all three options. Music education offers courses and pathways that prepare students for careers in music beyond performances, such as music production, music therapy, and music education. We see scholarship opportunities in music at just about every post-secondary Institution, that can help aid our students in attending a post-secondary institution. When it comes to employment, some districts are providing digital music production opportunities, where students can embrace technology, by teaching students how to create, record, and produce music digitally. This type of exposure can often help prepare students to have jobs associated with the music industry. Music Education can even help get our students opportunities in the military with marching experience and provide our students with a pathway to a career after their service in the military ends. Music is a great aid and opportunity for our kids for their future and the MPS district believes in providing music opportunities for all students. 

Q:  What are some of the biggest challenges that our music specialists teaching in public schools in Alabama face, and what resources can you suggest that might help with these challenges?

A:  The biggest challenge I believe for music specialists in public schools is funding. I encourage advocacy and grant writing to aid in breaking through this often-encountered barrier. In the state of Alabama, we have many opportunities through the State Arts Council, State Art Alliance, State Department of Education, and local community organizations whose goal is to help in aiding our programs. Our goal in Montgomery Public Schools is to increase the submission of grants from our teachers, by supporting teachers to ensure strong grant applications. The next challenge goes hand in hand with funding, which is making sure that the community, administrators, and stakeholders understand the importance of music education. We need to communicate that music is not just an elective or a hobby. As leaders in our field, we must advocate for our programs and communicate our why!

Q:  How has the focus and reach of music education evolved in Alabama since the pandemic?

A:  Music educators across Alabama explored creative ways to leverage technology for virtual music instruction; as well as, expanding their curriculum in music technology. Some music programs in Alabama emphasized teaching students how to use music production software and digital tools for composition and recording. I also believe the pandemic has forged stronger partnerships with institutions of higher learning and professional musicians within the community to enhance and build back many programs. The pandemic also put a huge emphasis on social and emotional learning, and the role of music in supporting students’ mental health has greatly increased. Music to many is an outlet and can impact the whole student. 

Q:  What advice would you give to our new first-year music teachers?

A:  First, CONGRATULATIONS! When it comes to advice for your first year, first build strong classroom management skills. Establish clear expectations and routines from day one and be consistent. Next, get to know your students by taking the time to know your students as individuals. Understanding their backgrounds, interests, and learning styles will help impact your instruction and can drive your choices for your classroom. When it comes to instruction, make sure to reflect. Regularly reflect on your teaching practices. Identify what works well and areas that may need to be improved. Be open to making adjustments and continually seek ways to enhance your teaching. Make sure to celebrate achievements by recognizing and celebrating your students. Positive reinforcement can boost their confidence and motivation. Know that as a first-year teacher, it is okay to reach out and ask for help. Learning from someone with more experience can be immensely beneficial during your first year. Mentors may not be established in your district, but your professional organization is full of successful mentors. But above all have fun, stay calm, and prioritize personal wellness!

Looking Ahead to a New School Year

Aug 8 2023

As we look ahead to a new school year with both excitement and anticipation, a good opportunity presents for everyone to explore what all the Higher Ed Division for AMEA can offer to you in 2023-2024.  If you are in search of professional development opportunities, you will want to read more about how to apply for and participate in the various performance and presentation opportunities available to all HED members.  If your interests are in performance, we will be programming not one, but two HED showcase recitals that will take place during the 2024 AMEA professional development conference in Huntsville in January.  One of the recitals will feature a program comprised of all artist faculty from a variety of universities and colleges across the state of Alabama performing various solo and chamber works.  The second recital will be an opportunity for applied instructors and chamber ensemble coaches to feature their undergraduate and/or graduate students from all disciplines and areas of applied study in performance.

Last year, the faculty recital included works by Philip Wharton, Lori Ardovino, John Mayer, Francis Poulenc, John Corigliano, and Igor Stravinsky, featuring performances by Dr. Jonathan Houghtling and Dr. Kristofer Sanchack from Alabama State University, Dr. Rachel Park from Jacksonville State University, Dr. Evan Clark and Dr. Rachel Frederiksen from the University of Alabama, Dr. Amalia Osuga and Ms. Madeline Cawley from the University of Alabama at Huntsville, and Dr. Whitney O’Neal, Dr. Meghan Merciers, Dr. Kelsey Pacquin, Dr. Gretchen Windt, and Mr. William Hueholt from the University of North Alabama.  Meanwhile, the student recital featured the brass quintet from the University of Alabama at Birmingham coached by Dr. James Zingara, the Auburn University saxophone quartet coached by Dr. Michael Pendowski, the Troy University trombone choir coached by Dr. Jason Sulliman, the University of North Alabama saxophone quartet and ensemble coached by Dr. Timothy Harris, and the Huntingdon College brass quintet coached by Dr. Brandon Slocumb.  If you are interested in performing on the 2024 faculty recital or would like to nominate one of your students or student chamber groups to perform on the 2024 student recital, please look for the HED Recital Call for Performers to be posted soon on the 2024 AMEA conference website.

If research is your passion, another wonderful way to be involved at the 2024 AMEA professional development conference is by submitting a research poster proposal for inclusion in the research poster sessions presented by the HED division during the 2024 conference.  Look for the HED Call for Research Posters to also be posted soon on the 2024 AMEA conference website to find out more details and how to submit your research poster proposal.  The Higher Ed division is also currently looking for volunteers to serve as presiders for our clinics and sessions that will take place during the 2024 professional development conference in January, so if you would like to serve in this capacity as a presider, please let us know!

One of our more unique conference offerings in recent years has been the creation of a new EdTPA Lesson Planning Competition in conjunction with the Collegiate Division and CNAfME student leadership.  This annual competition serves as a collaborative opportunity for our collegiate CNAfME members to present and take part in meaningful professional development with seasoned members from the Higher Ed Division providing feedback, coaching, and support. The competition (really, more of a friendly and supportive showcase) allows for a stage on which our music education students can shine and acquire additional experience with the planning, preparing, and delivering of effective lesson plans.

By utilizing the structural format of the edTPA performance-based, subject-specific assessment system used by teacher preparation programs throughout the United States to emphasize, measure and support the skills and knowledge that all teachers need to develop to be successful in the classroom, competition participants put into practice what they need to master while receiving valuable feedback and advice from experienced music education specialists from several of the top music education programs institutions in the state of Alabama.  This year, the competition will take place on Saturday morning during the 2024 AMEA professional development conference in January and will feature prizes and awards for the most outstanding presentations.  Look for the HED/Collegiate Call for the edTPA Lesson Planning Competition to be posted soon up on the 2024 AMEA conference website and please encourage your music education students to submit an entry.  Last year’s first prize winner, Sawyer Strickland, a music education student from Jacksonville State University, received a free complimentary one-year membership to AMEA!

In addition to these scholarly activities, there will also be plenty of opportunities to socialize and network during the conference including at our annual HED Luncheon and at our annual HED/Collegiate Division Mixer that take place during the conference.  In closing, if you desire to be part of, and take a more active role in our stimulating, inclusive, diverse community of academics, educators, and artists from across the state, then the HED Division is the place for you!  I look forward to connecting with each of you more throughout the upcoming year and wish you all a wonderful start to the new school year!

Preparing Future Music Educators to Teach in Inclusive Learning Environments: The Modern Band Approach

May 2 2023

Have you ever taught at a school where there were only eight kids signed up for band? Have you ever taught at a school where the principal assigned you a music class comprised of students who had never had any formal musical training and who had no prior experience reading music? Have you ever taught at a school where your annual budget was $500 or less? Due to a lack of resources, enrollment, interest, or budgetary constraints, some middle and secondary schools across the nation struggle to offer large ensemble-centric courses such as band, orchestra, or chorus. In such environments where programs are under-enrolled or underfunded, the average student sadly, oftentimes has very little access to a formal music education experience.

In recognizing this disparity stemming from the inequitable distribution of resources available to educators, the recent modern band movement has been steadily growing in K-12 schools across the nation to offer a more inclusive approach to engaging students in musical activities and learning experiences beyond the initial elementary or general music experience. The method serves as an option to better serve students at the middle and secondary school levels who may not be able to afford to purchase or rent instruments, who do not have the preliminary skills necessary to join a secondary school band or orchestra, or who may have no interest in playing or singing in a traditional school music ensemble. As an alternative model, it is an innovative and flexible approach that helps with circumventing traditional barriers and obstacles with the goal of promoting musical growth and creative expression in a new, non-traditional manner.

Modern band is oftentimes a more culturally relevant approach to teaching music as it mainly utilizes popular music from diverse styles and genres as its central canon instead of focusing on one main genre such as classical or jazz. By using music that students already know and love, the idea is to foster a greater sense of connection and familiarity, and less reluctance or hesitation from students who may be reluctant to participate in music-making experiences. Styles that are studied in the modern band approach include rock, pop, reggae, hip-hop, rhythm & blues, rap, electronic dance music, and other emerging contemporary styles. Students are often better able to relate to and see themselves reflected in the music when diverse musical examples are included in the curriculum. Modern band often utilizes but is not limited to, the musical instruments that are commonly used in popular music: the guitar, bass, drums, piano, vocals, and technology.  The approach encourages students to explore, experiment, improvise, and even create and compose their own music.

The impact of modern band on music education in recent years has been huge. With the approach being inclusive, immersive, student-centered, and successful at attracting more students who otherwise would not participate in music study, over seventy colleges and universities now offer coursework in the modern band approach. The approach is particularly impactful, in my opinion, for HBCUs and other minority-serving institutions that emphasize the study and performance of traditional and contemporary Black musical styles and genres, in addition to studying standard repertoire and composers from the Western-European canon. It has been a beautiful experience at ASU seeing students relate to, take pride in, and deliver impactful performances of composers and repertoire that celebrate and validate the distinctive heritage, tradition, and performance practice of African American music and culture.

Dr. Shane Colquhoun, Assistant Professor of Music Technology & Contemporary Musical Styles at Alabama State University, and a member of the Higher Education division of AMEA has a new book coming out in May of 2023, titled The Producers of Pop: A Comprehensive Guide for Studying Popular Music Producers, published by F-Flat Books, that may be of interest to educators looking for a resource to learn more about contemporary popular music, or to incorporate more elements of popular music and modern band teaching into their own classroom instruction.
In closing, for music educators interested in learning more about the modern band method and approach, the Modern Band Summit is an annual professional development conference that takes place during the summer months where music educators from all over the country come together to learn, teach, play music, and experience the modern band curriculum. Registration and fellowship applications are currently open for the next summit that will be taking place on July 12-14, 2023, at Colorado State University in Fort Collins, Colorado. Additional information on the 2023 summit can be found at www.musicwill.org/events/modern-band-summit.

Sharing Creativity through Collaboration & Connection

Feb 12 2023

One thing that I love most about attending the AMEA conference every year is having the wonderful opportunity to connect with colleagues from across the state and to learn more about innovative ideas and methods being implemented in the classroom and our rehearsal spaces. We were very excited this year to be able to feature outstanding HED clinicians, and experts in the field, who presented on a wide variety of topics including sessions on modern band pedagogy, commissioning projects for collegiate student chamber ensembles, the utilization of technology borrowed from athletics, and steps necessary for successful collaboration amongst colleagues and students. Looking ahead to next year, please do keep submitting your wonderful ideas and topics once the annual call for clinic session proposals goes out, as our community benefits so much by being able to share and learn from each other.

In addition to our wonderful clinicians and pedagogues, the HED division was able to present two showcase recitals featuring faculty and student performers from higher education institutions across the state, including Alabama State University, Auburn University, Huntingdon College, Jacksonville State University, Troy University, the University of Alabama, the University of Alabama at Birmingham, the University of Alabama in Huntsville, and the University of North Alabama. It was thrilling to have two Alabama composers in attendance to hear performances of their works: Dr. Lori Ardovino, from the University of Montevallo, and Robert W. Smith from Troy University. Lori’s piece, Opening Doors, is a three-movement work for flute and clarinet, performed by Dr. Whitney O’Neal and Dr. Meghan Merciers from the University of North Alabama. It commemorates when the State Normal School at Florence, now the University of North Alabama, first opened its doors to women in 1872. Robert’s piece, Teutonic Tales, is a three-movement work for tuba and piano, that was performed by University of Alabama D.M.A. student Tom Yan and pianist Dr. Kristofer Sanchack, that is inspired by Germanic and Nordic mythology and other figures in Teutonic folklore.

Being a conference that emphasizes professional development, it was wonderful to see current graduate students and emerging professionals shine in the spotlight when presenting their research and findings during the HED poster sessions. These types of opportunities are so valuable and important to gaining experience and confidence, in addition to providing valuable networking opportunities for future employment. Kudos to Dr. Jane Kuehne, from Auburn University, for her work in organizing this year’s sessions!

One of our newest contributions to the conference has been the new EdTPA Lesson Planning Competition, in partnership with the Collegiate Division and CNAfME student leadership. This competition serves as a collaborative opportunity for our collegiate CNAfME members to present and take part in meaningful discussion with seasoned members from the Higher Ed Division. The competition, really, more of a friendly and supportive showcase, allows for a stage on which our music
education students can shine and acquire additional experience with the planning, preparing, and delivering of effective lesson plans. This year, three student finalists were selected to present their lesson plans to the audience: Sawyer Strickland from Jacksonville State University, Siyu Tian from the University of Alabama, and Rachel Williams from Huntingdon College.

In closing, I would like to take a moment to thank all of my wonderful colleagues who helped make this year’s conference a huge success. if you are reading this and desire to be part of, and take a more active role in a stimulating, inclusive, diverse community of academics, educators, and artists from across the state, then the HED Division is the place for you!

Assessing the Health & Wellness of Our Profession

Oct 9 2022

In the field of education, everyone is familiar with how much importance is placed on program assessment and evaluation.  In many cases, financial resources and even job security can be tied to these critical components.  Coming out of the pandemic, and beginning a new school year, it is an excellent time to take stock of our programs and to adjust our teaching goals to better align with the challenges and realities that each of us faces in our schools.

If you have made it this far as a music teacher, we need to pause a moment and say congratulations!  We music teachers are a hardy bunch, and even when faced with multiple challenges on multiple fronts, we generally find a way to persevere with a smile on our faces and the best interests of our students at heart.  I tell anyone who will listen that it takes a very special person to be a music teacher, and I certainly do mean it.  So why do we do it?  Because we love it, of course!

Of course, we’re never alone in this profession, and often what I enjoy most about AMEA is the opportunity to connect with others across the state who share my same passion for teaching.  The sense of comradery and professional affiliation helps greatly when facing both professional and personal challenges.  I know that I have relied heavily on this sense of connection, collegiality, and friendship during the pandemic and that my various conversations, phone calls, emails, and texts with colleagues near and far have been reassuring and grounding at a time when everything seemed so uncertain and up in the air.

If you are relatively new to the profession, and even if you’re not, being involved in AMEA is a great way to stay mentally and emotionally invested in teaching and to be able to give back to the profession.  With the shrinking of academia, I can’t help but think of all the wonderful musicians and teachers who have raised the white flag and moved on to greener pastures in careers outside of music.  At the same time, I am incredibly excited about new approaches and new pedagogies that are creating a more welcoming, inclusive space for scholars from a diverse array of backgrounds.  It is especially exciting to see the Arts leading the way yet again in creating an all-inclusive space for everyone to express, contribute, learn, teach, and perform.

Any opportunity to take a step back and self-reflect is always an opportunity for personal growth, so in this respect maybe the pandemic and the fallout from the pandemic was a blessing in disguise, especially for my generation.  Assessing the health and wellness of our profession begins first with assessing the health and wellness of ourselves, our culture, our society, and the Academy, and continuing to find the small but meaningful ways that each of us can contribute and make a difference.  Hopefully, you continue to find those ways in your own pursuits!  Best wishes for a wonderful fall semester, and I look forward to connecting with you all at the 2023 AMEA Professional Development Conference in January!

The Future Depends on What We Do Today

Jul 20 2022

As we look ahead to a new school year, I want to take a moment to recognize and thank outgoing HED Division president, Dr. Michael Zelenak, for the wonderful leadership and insightful vision that he has provided to the Higher Ed Division over the past two years. It has been a joy to work with Michael on a variety of music-related projects, and I am extremely grateful for his continued friendship, support, and shared enthusiasm for teaching!

I also want to take the opportunity to introduce two new members of our HED leadership team: Dr. Stephen Foster, Director of Bands at Faulkner University, who will serve as our new HED President-elect, and Dr. Brandon Slocumb, Chair of the Department of Fine Arts and Coordinator of the Music program at Huntingdon College, who will be serving as our new HED Secretary/Treasurer.

Now, let’s take a look at what all the Higher Ed Division can offer to you in 2022-2023.

If you are in search of professional development opportunities, you will definitely want to read more about how to apply for and participate in the various performance and presentation opportunities available to HED members. If your interests are in performance, we will be programming not one, but two HED showcase recitals that will take place during the 2023 AMEA professional development conference in Birmingham in January. One of the recitals will feature a program comprised of artist faculty from a variety of universities and colleges across the state of Alabama performing solo and chamber works. The second recital will be an opportunity for applied instructors and chamber ensemble coaches to feature their undergraduate and/or graduate students from all disciplines and areas of applied study in performance.

Last year, the trumpet ensemble from the University of Alabama at Birmingham led by Dr. James Zingara gave a stunning introduction to this program, and then the tuba/euphonium ensemble from Auburn University under the direction of Dr. Stephen Kunzer closed out the program with an equally spectacular performance! If you are interested in performing on the 2023 recital or would like to have one of your students or student chamber groups perform, look for the HED Recital Call for Performers to be posted soon on the 2023 AMEA conference website.

If research is your passion, another wonderful way to be involved at the 2023 AMEA professional development conference is by submitting a research poster proposal for inclusion on one of two research poster sessions that will be presented by the HED division during the 2023 conference. Look for the HED Call for Research Posters to also be posted soon on the 2023 AMEA conference website to find out more details and how to submit your research poster proposal. The Higher Ed division is also currently looking for volunteers to serve as presiders for our clinics and sessions that will take place during the 2023 professional development conference in January, so if you would like to serve in this capacity as a presider, please email me at cjjohnson@alasu.edu. Presider slots are available for all three days of the conference: Thursday, Friday, and Saturday, so if you have a preference, let me know!

One of our newest conference offerings has been the creation of an EdTPA Lesson Planning Competition in conjunction with the Collegiate Division and our CNAfME student leadership. This new competition serves as a collaborative opportunity for our collegiate CNAfME members to present and take part in meaningful professional development with seasoned members from the Higher Ed Division providing feedback, coaching, and support. The competition (really, more of a friendly and supportive showcase) allows for a stage on which our music education students can shine and acquire additional experience with the planning, preparing, and delivering of effective lesson plans.

By utilizing the structural format of the edTPA performance-based, subject-specific assessment system used by teacher preparation programs throughout the United States to emphasize, measure, and support the skills and knowledge that all teachers need to develop to be successful in the classroom, competition participants put into practice what they need to master while receiving valuable feedback and advice from experienced music education specialists from several of the top music education programs institutions in the state of

Alabama. This year, the competition will take place on Saturday morning during the 2023 AMEA professional development conference in January and will feature prizes and awards for the most outstanding presentations. Look for the HED/Collegiate Call for the edTPA Lesson Planning Competition to be posted soon on the 2023 AMEA conference website.

In addition to these scholarly activities, there will also be plenty of opportunities to socialize and network during the conference including at our annual HED Friday afternoon Luncheon and at our annual HED/Collegiate Division Mixer that takes place on Friday evening during the conference. In closing, if you desire to be part of, and take a more active role in a stimulating, inclusive, diverse community of academics, educators, and artists from across the state, then the HED Division is the place for you! I look forward to connecting with each of you more throughout the upcoming year and wish you all a wonderful start to the new school year!

Top