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IDIDAHOHOMUSICMUSICNOTESNOTES

Volume 55, Number 1 of 3

A publication of the

IDAHO MUSIC EDUCATORS

ASSOCIATION

www.idahomusiced.org

FALL 2014

INSIDE!President’s Page ......................6

JOIN IMEA/NAfME ....................7

Northwest by Northwest ... 8

Specialist’s Space .....................10

INSTITUTIONAL MEMBERS ....11

All-State ............................12

Fall Board Minutes ...................18

College/University News ..........18

GBJC/Idaho Orff ......................22

Move for the Music ...........24

Scherzo..... ..............................26

& MORE!

College Scholarship

Audition Dates! page 20

Forgive MeMy Tears...

A “special” studentimpacts Lorie Enloe

page 16

See you in Spokane!February 12-15!

All-Northwest/Idaho All-State

Idaho Music Notes 2 FALL 2014


CONTENTSPresident’s Page .............................................................6Music Education for All Idaho Students ...........6JOIN IMEA/NAfME ..........................................7North by Northwest .......................................................8Specialist’s Space ...........................................................10IMEA Institutional Members ...........................11Idaho All-State in Coeur d’Alene .....................12Forgive Me My Tears .......................................16IMEA Board Minutes/Announcements ........................18College/University News .................................18Great Basin Jazz Camp/Idaho Orff ...............................22Move for the Music ..........................................24

Scherzo! ......................................................................26

www.idahomusiced.org www.nafme.orgThe mission of IMEA is to promote and advance

music education in all Idaho schools, to foster personal and professional growth of musiceducators, and to standardize and enhance musicalopportunities for all students throughout the state.

DISTRICT PRESIDENTSe District I President Mark SescillaPO Box 1314, Rathdrum, ID 83858l; 208-687-0455; [email protected]

e District II President Joel PalsMoscow HS, 402 E. 5th St., Moscow, ID 83843 [email protected];School: 882-2591; Fax: 892-1136

e District III President Dawn SandmeyerP.O. Box 340, Marsing, ID [email protected]; Home: ; Phone: 896-4111 ext 297; Fax: 896-4457

e District III Vice-President David Burton9119 W Cory Ln, Boise ID 83704-6804; H208-244-2201; W 208-854-4353; [email protected]; Boise High School

e District IV President Max StimacWood River High School, 1250 Fox Acres Road, Hailey, ID 83333; [email protected]; Home: 481-2818; School: 578-5020; Fax: 578-5120

e District V President Aaron MarshallMarsh Valley HS, 12655 S. Old Hwy 91, Arimo, ID 83214; [email protected];254-9230

e District VI President John AndersonSalmon School District #291, 401 S Warpath, Salmon ID 83467-4440, H 208-756-7665; W 208-756-7665; [email protected]

e Gemstate District President Lauren Folkner,Bonneville High School, 3165 Iona Road, Idaho Falls, Idaho 83401, Phone 208-525-4406; [email protected]

w w w w w wSPONSORS INDEX These are the people who keep our state dues low and enable us to put out

a quality magazine— please support them.

AAIIRR Acoustics ..................10

Blue Rider Music ...................14

Boise State University ..............3

Boise State University BlueThunder Marching Band .........2

Brigham Young University ....25

BYU-Idaho .............................13

Central Washington University .......23

Chesbro Music ......................20

College of Idaho .....................19

College of Southern Idaho .....10

Great Basin Jazz Camp ..........22

Greif’s Music ..........................10

Idaho Orff .............................22

Idaho State University. ..........15

NAfME...................7,8,17,21,24

Northwest Conference .............9

QuaverMusic.Com ...................5

Treasure Valley Community College .....26

University of Idaho ................27

University of Portland ............21

Willamette University ............17

Yamaha........................back cover

Editor’s DesktopWelcome to our first issue of the year,late because of technical difficultiesand my trying to get used toretirement. It’s been harder than Iimagined it would be. I highlyrecommend it, however! See you inSpokane at All-Northwest/All-State!

—Ted Hadley, Editor

NAfME: The National Association for Music Education and Idaho Music Educators Association are voluntary, non-profit organizations representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Second class postage is paid at Twin Falls, Idaho 83301.

Postmaster: Send address changes to Idaho Music Notes, 824 Northview Drive, Twin Falls, ID 83301. © 2014 Idaho Music Educators Association

OFFICERS & COMMITTEE CHAIRS

e Ron Curtis, President1407 E Homedale Rd, Caldwell, ID [email protected], Vallivue High School208-249-1285e Wayne Millet, Webmaster/President-Elect1677 S 2750 W, Aberdeen, ID 83210; 397-4152W/ 604-0733H/FAX397-4437;[email protected]/[email protected] Curt Griffiths, Past-President7814 Birch Ln, Nampa [email protected]; 371-8391W/371-8391He Eric Skidmore, Secretary190 E. Walker St, Blackfoot, ID [email protected]; Cell: 208-989-0831; School: (208) 785-8810e Kevin Howard, IHSAA RepresentativeTwin Falls HS, 1615 Filer Ave E, Twin Falls, ID83301; [email protected]; Home: 208-33-4452;cell: 208-731-2471; Fax: 208-733-8192e Camille Blackburn, President-Elect, NWNAfME, 659 Marjorie Avenue, Idaho Falls ID83401; 520-7845H/525-4429W;[email protected]; [email protected] Karen Goodrich, Business Manager1412 Clearwater Way, Twin Falls, ID 83301324-5950H; [email protected] Eva Hale, State Solo ChairmanBuhl High School, 1 Indian Territory, Buhl ID83316; [email protected].; 661-747-6867e Ted Hadley, Publications 824 Northview Dr., Twin Falls, ID 83301208-733-1079/[email protected] Collegiate Chair: Gregory Springer, BoiseState University, 1910 University Drive, Boise, ID,83725-1560; Voice: 208-426-1813, Fax: 426-1771;[email protected] Peggy Wenner, Coordinator, Arts and Hu-manities, SDE, P.O. Box 83720, Boise, ID 83720-0027; [email protected], H343-7438,W332-6949e Research Chair: Lorie Enloe, University ofIdaho, Room 206, Moscow, Id [email protected] Gale Maxey, Retired Members 8440 Golse Drive, Boise, 83704 [email protected], H375-5079e All-State Orchestra Chair: Matt Fiorentino, Renaissance High School 1307E Central Drive Meridian, ID 83624 [email protected] All-State Band Chair: Megan Olswanger, Meridian High School 1900W Pine Meridian, ID 83642 [email protected] All-State Mixed Choir Chairs: Aimee Atkinson, Renaissance High School 1307E Central Drive Meridian, ID 83624 [email protected] Lowe, Centennial High School 12400 W.McMillian Rd. Boise, ID [email protected] Exhibit Chair: TBAe Elementary/General Chair: Shirley VanPaepegheme Middle Schools Chair: Eric Adamsone Small Schools Chair: Melanie Halselle Band Chair: Phil Hartmane Choral Chair: Michael Murphy, ACDAe String Chair: Kevin Howard, ISTAe Technology Chair: José Rodrigueze Higher Education Chair: Judy Marlette NAfME Exec. Director Michael Butera,1806 Robert Fulton Drive, Reston, VA 22091; 800-336-3768 Toll-free/793-860-4000e Mark Lane, NW President, Leavenworth,Washingtone Glenn Nierman, NAfME President, Lincoln,Nebraska

IdIdaho Mu Musicsic N NototesesOfficial Publication of the Idaho Music Educators AssociationA State Unit of NAfME: The National Association for Music Education

Fall 2014 Volume 55, Number 1 of 3Idaho Music Notes is published three times yearly—November, February, & May

Subscription price is included in IMEA/MENC dues. Non-member subscription rates—$10.00 per year. Complimentary subscriptions available for sponsors and, upon request, to Idaho principals & school adminstrators.

SPONSOR DEADLINES—SEPTEMBER 15, DECEMBER 15 & APRIL 1; RATES ON REQUEST.EDITOR & MANAGER—TED HADLEY, 824 Northview Drive, Twin Falls, Idaho 83301

208-733-1079 H / 208-732-7555 ext 4377 W / 208-732-7556 FAX / [email protected]

e


are times where I have used all my energy at school and then come homeand still have my kids’ activities, homework and attention to support. Ihope that you find a balance and continue to move forward. There willalways be those days where you need to leave it at work and go home tohug your family and know that the next day is waiting for you. Thankyou for all you do and I hope to see you in Spokane in February!

Visit the IMEA website today:www.idahomusiced.org.

∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ ∞ Music Education for

All Idaho StudentsIt is the position of Idaho Music Educators Association that all

children deserve equal access to a credible and comprehensive educationthat includes the study of music and the other arts.

The skills learned and the habits developed when students activelyengage in quality music educational experiences taught by a certifiedmusic teacher provide benefits to them as individuals and members of aglobal society as follows:

1. In a world where high stakes testing and shrinking resources tendto narrow the focus of teaching and learning to a limited number of coresubjects, the strategies employed and skills taught by professional musicand arts educators that target the whole child are proven to supportcrucial brain development and lead to educational outcomes consideredessential for college, career and citizenship readiness: increased focusand academic achievement; collaboration and school engagement; andinnovation and creative thinking.

2. The synergy that is created when training in the arts combineswith scientific thinking, as illustrated by the work of inventors over thecenturies, has led business leaders, educators, scientists and governmentagencies to acknowledge that artistic thinking, along with science,technology, engineering and mathematics, are what truly drivecreativity, innovation and economic growth.

3. The ability to express oneself through music, movement, art andperformance helps build self-efficacy and productivity, nurtures andreflects our different cultures, and helps break down traditional barriersamong people, illustrating what we have in common and reinforcingwhat makes us uniquely human.

No child should be denied access to such lifelong benefits: music andthe arts must continue to be supported as core academic areas of studyfor all Idaho children.

Draft 2, Fall 2014, A Position Statement proposed by Idaho Music Educators Association, based on asimilar statement developed by the Wisconsin Music Educators Association. Please send suggestions for im-provement to Ted Hadley, IMEA Publications Chair, [email protected]

! ! ! ! ! ! ! ! We invite you to join or re-join IMEA today!

See the information on the page opposite and go online to nafme.org

Call 800-828-0229 Active - $117.00 Retired - $61.00

First Year Teachers - $55.00 Collegiate - $37.00

! ! ! ! ! ! ! ! We Need Your Email Address!

And Update Your Data!Visit the IMEA website to join the

IMEA email network:www.idahomusiced.org

! ! ! ! ! ! ! !

President’s

Page Ron Curtis

See You in Spokane!Greetings, Music Educators of Idaho! I hope that you have had a busy

and successful fall season of concerts, festivals, competitions and meet-ing your parents for conferences. I am thankful and amazed at howquickly the months go by once school begins. It is a time of continualplanning and preparing to give our students the best experiences to showtheir families and the community what they are learning in the musicclassroom.

I have been able to get out of my local area and see what is going onin eastern Idaho at the ISU Mixed Choir Invitational. It is of no surprisethat there is amazing work being done by music educators all over ourstate and I am proud to serve as your president to promote the greatthings that are happening on a daily basis.

As you continue to move to your next performance and the busy holi-day season approaches, I want to highlight a few things to keep in mindas the year moves ahead. The first is our All Northwest Confer-ence in Spokane, Washington February 12-15.

I hope that you will plan to attend the conference and giveyourself a boost to help you complete the year. I know that manytimes I attend conferences I find great ideas in the sessions to improvemy teaching and I also find some much needed mental rest in talkingwith other music educators and networking with people that I don’t getto see very often.

The Conference will be extra special this year because weare also having All-State in Coeur d’Alene. We will highlight ourown Mixed Choir, Chamber Orchestra and Concert Band at concerts inSpokane. I would like to thank Karen Goodrich and Wayne Millet for allthe logistical work they are doing on this event along with Lindsay Lowe,Aimee Atkinson, Meghan FayOlswanger and Matthew Fiorentino for alltheir work chairing the honor ensembles. If you would like more infor-mation about All Northwest/All State please visit our website atwww.idahomusiced.org.

Another item I would like to highlight is that at our fall IMEA boardmeeting we discussed what is happening all over our state with certi-fied music teachers being replaced with non-certified aids orbeing cut completely. I have asked our district presidents to stay ontop of this and notify the board when positions are in jeopardy.

In order to maintain “music for all students” in Idaho, wemust demand that certified teachers are in front of our stu-dents every day. In some cases, elementary music was wiped out inentire districts to save money. This is unacceptable and we need to makesure that we work hard to reverse these decisions and show that musiceducation is not fluff but imperative for a complete education.

Lastly, I would like to ask that you reach out to other musiceducators around you. I can still remember my first few years ofteaching having wonderful mentors who I could call or email and ask foradvice, music, risers, robes and the list goes on and on. Even in my 21styear of teaching I still call and talk to my colleagues about many thingsthat we all deal with.

Do not isolate yourself in your classroom but reach out toothers, attend a local conference, take a personal day and govisit someone in their classroom. What you will learn is that theyface the same struggles you do and they can help encourage you thatyour year has many seasons.

My hope for you is that you keep your families above yourmusic program. I know that we all give so much to the students we seeevery day, but it is our family who has to live with us. I know that there


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North By Northwest

NW NAfMEPresidentMark Lane

ConferenceTime!

I’m writing this column on my returnflight from the October NAfME National Con-ference in Nashville, Tennessee. Conferencesnever fail to inspire and motivate me toreturn to my students...yes, even in my 36thyear of teaching!

The fact is, I probably would have retiredyears ago if it were not for opportunities eachyear to learn new things, learn different waysand connect with colleagues. I think of my at-tendance at conferences as an investment inmyself for my students. I’ve said many timesbefore that you just can’t do this job by your-self, and one piece of that puzzle is yearly pro-fessional development. In fact, for me, ittakes more than once a year. I'm a littleslower than most, and I need to hear thingsover and over!

If you ever get the opportunity to attend our national confer-ence, it’s an experience I cannot recommend enough (this yearit’s October 25-28). The Gaylord complex in Nashville is amazing:a true world-class facility. Keynote speakers Ben Folds and DianeLittman inspired, The Boston Brass and United States ArmyBand and Chorus entertained, and the Give-a-Note Foundationevent at the famous Wildhorse Saloon provided a great time forall. Add to that great educational sessions and amazing nationalhonor groups, and it becomes an experience I think I want torepeat very soon. So...I will.

We are just around the corner from our NAfMENorthwest Division Conference, February 12-15 in Spo-kane, Washington. For me, that means I do get to repeat myexperience very soon! We will kick things off on Thursday eve-ning with reading sessions and a very special session forour general music specialists. These opening sessions will beyour first opportunity to get to know some of our conferenceheadliners: Ray Cramer (band), Jo Micheal Scheibe (choral),Brenda Bremer (orchestra) and Artie Almeida (general music).This will be a great way to begin our conference.

Friday brings a full day of educational sessions andamazing concerts. Tim Lautzenheiser will present the keynoteat the first general session and remind us how important music isto our students and how important our mission is as music edu-cators. “Dr. Tim” will also present two sessions for attendees toenjoy. Friday evening we all will have the opportunity to recon-nect with colleagues at various college receptions. In addition,our collegiate students will be treated to a meal at the annual col-legiate banquet. The world-renown Canadian Brass will performon Friday evening following the receptions. This promises to be a

fabulous concert, made possible by the generous support of theConn-Selmer Corporation. Conn-Selmer's commitment to musiceducation is also responsible for Dr. Tim's appearance. I hope youwill take the time to thank them in our exhibit hall. In addition tothe regular Conn-Selmer booth, their education division will alsohave a booth to highlight their various educational programs.

Saturday brings another full day of clinics and con-certs. One thing I can promise is that you will not be able to seeall you will want to see. There are simply too many great choices,but too many choices will leave you wanting to come back formore! At this conference, we will have a second general sessionon Saturday afternoon. You will have the opportunity to hearfrom our NAfME National President Glenn Nierman and we, as aNorthwest Division, will present some special awards.

Sunday morning will offer a complete slate of ses-sions followed by honor group concerts, the perfect con-clusion to a music education conference. The honor groups high-light excellence in education through music, and they will get toperform in great venues - the INB Performing Arts Center andthe Martin Woldson Theater at the FOX. These concerts will pro-vide lifetime memories for the students.

Our best music educators are the best because they choose todo the things that inform, energize and motivate them to be theirbest for their students. The Northwest Conference is one of thosethings. Come to Spokane, Washington, to celebrate whatwe do for students. It’s an opportunity not to be missed.


Specialist’s Space Peggy WennerFine Arts Specialist, Idaho State Department of Education

New Fine Arts Standards to be ReviewedI am pleased to report that the Idaho State Department of Education

has funded a review of our 2008 Humanities Standards and that peoplewill work both face to face and electronically throughout the year toupdate our Humanities standards. During the October professional de-velopment days, I met with the executive board of IMEA, as well as withthe world language, visual arts, and theatre boards. I offered backgroundinformation on the nearly four year process that SEADAE (State AgencyDirectors of Arts Education) has gone through to fund, direct, and super-vise the writing of new arts standards in five areas: dance, music, mediaarts, music, and theatre. SEADAE holds the copyright to the new stan-dards, and each state will determine whether to adopt/adapt these stan-dards. At the time of this writing, Delaware and Mississippi are begin-ning the process of adopting the standards, as have Kentucky andConnecticut. Nebraska has created their first arts standards, which arean adaption of the new standards framework. Arizona and Arkansas areworking now on an adaption (AZ mainly has changed the formatting). SoIdaho will be among the first states to become involved in this process.As our Humanities Standards were last visited in 2008, I had been wait-ing for the new arts standards to be released, which occurred in June2014. I encourage all music educators in Idaho to visit the new websiteand review these standards at: http://www.nationalartsstandards.org/

Your Tier One Executive Team Members for Music include:Aimee Atkinson, Julie Burke, Quentin DeWitt , T.J. Eriksen,

Shirley Van Papegham, Dr. Greg Springer. Rob Walker.

I have seen the long process of standards in the arts develop in Idaho.My first week on the job, in August of 2000 involved facilitating the firstever Idaho Humanities Standards development. Although I have been inthis process for the past 14 years, I thought it essential to bring on boardsome younger educators who would be working in the profession for sev-eral years and using the new standards. I made nearly 80 invitations tospecific people in six disciplines (both arts and world language) and wehave a solid 39 people on board to meet for the first time on October 23-24 in Boise. Each content team includes: an administrator, a universityprofessor, and 3-5 educators representing various aspects of the disci-pline. People who did not have the freedom to join the first meeting havebeen kept on file for future reference and electronic participation. Ourmain goal in the first meeting is to determine to what extent we canadopt/adapt the new arts standards framework. We will examine themany resources provided in this extensive work, and we will review someof the background research conducted by College Board and otherSEADAE partners. Every major national arts organization supported thiswork. Scott Schuler, past president of NAfME, was the content directorfor music standards. The new website is not fully complete-in the futurethe goal is to provide educators with exemplars for every content area.You may submit work in the future to be included on this part of the site.

Idaho will be creating our own electronic version of the standards tobe accessed freely by all of our stakeholders. In our first and secondmeetings the executive committee will accomplish two goals: 1) deter-mine the level of adoption/adaption and 2) devise a means of communi-cating to every possible stakeholder in the state, particularly according tothe six content teams. Because our new fine arts standards are arts cen-tered, the world language team will examine their present standards andthe newer ACTFL standards that have been published in the past twoyears.

In the Tier 2 stage, the content teams will begin to make an extendedlist of stakeholders who could not participate in the October meeting andto create a network of people who can begin in mid-winter to participate

electronically in the process. Our goal is to finalize our product in timefor the August State Board of Education meeting so that if approved, thenew standards may proceed to the legislature in 2015. This is a long pro-cess, and one that has room for anyone who wishes to participate. Weowe a great deal of gratitude to the original team members who havecommitted to ongoing work throughout this school year. They will beyour point persons in this process, and I am happy to receive commentsfrom any music educators during this process. We can involve manymore people as we move to Tier 2 later in the year.

Having begun with Idaho standards work in 2000, I understand andappreciate the work that goes into determining what our students mostneed to learn in Idaho arts classrooms. Please take a moment to conveyyour thanks to those who are willing to contribute many hours to thework in Idaho, which is an extension of nearly four years of work thathas already gone before us.


Boise State University Music DepartmentMark R. Hansen, DMA, Chair & Professor

1910 University Drive, Boise, ID 83725-156Phone: 208-426-1773; Fax: 208-426-1771

Email: [email protected] Web: www.boisestate.edu/music

University Of IdahoLionel Hampton School Of MusicDr. Torrey Lawrence, Director & Professor of Music

875 Perimeter Dr. MS 4015, Moscow, ID 83844-4015Phone: 208-885-6231/Fax: 208-885-7254

Email: [email protected] [email protected]: http://uidaho.edu/music

Idaho State University Music DepartmentDr. Thom Hasenpflug, Chair of Music

& Director of Performing ArtsDepartment of Music Stop 8099, Pocatello, ID 83209-8099

Phone/Fax: 208-282-3636Email: [email protected] Web: www.isu.edu/music

Treasure Valley Community College Performing Arts Department

Stephanie Laubacher, Administrative Assistant650 College Blvd., Ontario, OR 97914

Phone: 541-881-5950/Fax 541-881-5518Email: [email protected] Web: www.tvcc.cc

MeadowLark MelodiesMark Sherry, Bill Dugger, Partners

3430 MeadowLark Drive, Lewiston, Idaho 83501Phone: 208-743-8748 Email: [email protected]

Online store: www.meadowlarkmelodies.comwww.meadowlarkhandbell.com – MeadowLark Handbell

is a division of Jeffers Handbell Supply, Inc.

The College of Idaho Department of Music

Dr. Mari Jo Tynan, Chair2112 Cleveland Blvd, Caldwell, ID 83605

Phone: 208-459-5275 Fax: 208-459-5885Email: [email protected] or [email protected]

Web: www.collegeofidaho.edu/academics/music

Chesbro Music CompanyGary Christensen, Manager, 257 N Second E, Rexburg, Idaho 83440

Phone: 208-359-1900 Fax: 208-359-1901Email: [email protected]

Monica Craig, Manager, 327 Broadway, Idaho Falls, Idaho 83402Phone: 208-932-1230 Fax: 208-522-8712

Email: [email protected]: chesbromusicretail.com

Become an IMEA Institutional Membertoday! Email [email protected]

2014-2015 IMEA Institutional MembersPlease support our Institutional Members— Their membership shows their support for us!

Brigham Young University-Idaho Department of Music

Diane Soelberg, Department ChairRexburg, ID 83460-1210

Phone: 208-496-4950; Fax: 208-496-4953Email: [email protected]; [email protected]

Web: www.byui.edu/music

Blue Rider Music & Instrument RepairChris Britt, Manager

595 W. Ustick, Meridian, ID 83646Phone & Fax: 208-888-6238

Sun Valley Summer SymphonyKim Gasenica, Educational Programs Director

P.O. Box 3956, Hailey, Idaho 83333Phone/Fax: (208) Email: [email protected]

Website: www.svsummersymphony.org orwww.svsseducationprograms.org

John William Jackson Fund(in The Idaho Community Foundation)P.O. Box 4711, Boise, Idaho 83711-4711

Website: www.johnwilliamjacksonfund.org Phone: 208-890-8503“A music education advocate for Idaho school children”

Brigham Young University School of Music

Dr. Ron Brough, C-550 HFAC, Provo, UT 84602Email: [email protected] Web: music.byu.edu

Phone: 801-422-3320 FAX: 801-422-0533

Great Basin Jazz CampMike Allen, Camp Founder, Executive & Artistic Director

9th Annual Great Basin Jazz Camp, July 20–July 24, 2015Treasure Valley Community College, Ontario, Oregon

www.greatbasinjazzcamp.comFacebook: The Great Basin Jazz Camp

J.W. Pepper MusicWendy McKee, Regional Marketing Manager

7611 S. 180th Street, Kent, WA 98032 Phone: 425-291-9400; 800-345-6296 Fax: 800-260-1482

[email protected] www.pianoatpepper.com

www.facebook.com/jwpepperWA

Northwest Nazarene UniversityMusic Department

Dr. Philip Miller, Chairman, Nampa, Idaho 83686 Phone: 208-467-8413 Email: [email protected]

Web: www.nnu.edu/music

QuaverMusic.comEmail: [email protected]

Phone: 1-866-917-3633Website: www.QuaverMusic.com/Preview


writings is the first of its kind in the United States. This collection has promoted yearlyexchanges with choirs and conductors from the Baltic area who travel each year toSeattle. Further, it has led to numerous UW choral students winning awards and schol-arships to travel, study, and work in the Baltic countries.

Geoffrey maintains an active conducting, teaching, workshop and clinic schedule;his recent engagements have included conducting concerts in Orchestra Hall in Minne-apolis, Meyerson Concert Hall in Dallas, New York's Alice Tully and Avery Fischer Hallat Lincoln Center, the Mormon Tabernacle in Salt Lake City, and Benaroya Hall inSeattle. In addition he has served as artist-in-residence in Toronto, Ontario, Mainz,Germany, as well as Seoul, Korea with the world-renown choir the Incheon City Cho-rale.

In addition to his position at the UW, Boers sings professionally and is the conduc-tor of the Tacoma Symphony Chorus where he conducts both the choir and symphonyplayers in a four-concert season._

Repertoire:Music of Living ............................................ Dan Forrest Psalm 100 ......................................... Felix MendelssohnSky Flier ...................................................... Johsua RistThe Ground .................................................... Ola GjeiloThe Peace of Wild Things ....................... Jake RunestadLet Everything that Hath Breath .............. Jeffrey Ames

All-State BandDr. Rebecca Phillips is the newly appointed Director of Bands at Colorado State

University where she conducts the CSU Wind Symphony and guides all aspects of theband and graduate wind conducting program. Prior to this appointment, she served asthe Associate Director of Bands, Director of Athletic Bands, and Associate Professor atthe University of South Carolina where she was responsible for directing the Symphon-

ic Winds Concert Band, “The MightySound of the Southeast” CarolinaMarching Band, “Concocktion” PepBands, teaching undergraduate in-strumental conducting, and directingthe Carolina Summer Drum MajorClinic.

Dr. Phillips has served as a guest-conductor, clinician, and performerthroughout North America, Europe,and Asia. She regularly conducts col-

legiate honor bands and all-state bands across the United States and she has been a re-hearsal clinician at the Midwest Clinic: An International Band and Orchestra Confer-ence. Ensembles under her direction have been featured at the 2012 College BandDirector's National Association Southern Division Conference (CBDNA), the 2010 So-ciety of Composers International Conference, and the 2008 North American Saxo-phone Alliance International Convention.

Dr. Phillips believes in treasuring the traditional wind music of the past as well aspromoting cutting edge works of today's finest composers. Recently, she conducted theworld premiere of John Fitz Rogers' Narragansett at the 2013 CBDNA National Con-vention, the consortium premiere of John Mackey's Harvest: Concerto for Tromboneand Wind Ensemble, the world premiere of Robert Bradshaw's Las Apariencias Enga-nan, the consortium premiere of John Mackey's Turbine, and the world premiere ofBrett Dietz's Crop Circles. Her conducting performances of David del Tredici's In War-time and John Mackey's Redline Tango are both featured on the nationally distributedLouisiana State University Wind Ensemble compact disc project and the world pre-miere of John Fitz Rogers Narragansett has recently been released on the CompactDisc And I Await, featuring Dr. Phillips as guest conductor of the University of SouthCarolina Wind Ensemble.

As a trombonist, Dr. Phillips' performances can be found on several internationallydistributed recordings. She has performed with the National Symphony Orchestra,U.S. Army Band (Pershing's Own), the Tallahassee Symphony, and the Tampa BayOpera Orchestra. She has also performed internationally in England, Mexico, the Car-ibbean, Russia, and Sweden, and has toured as a trombonist with Johnny Mathis andBarry Manilow.

A native of the Washington, D.C. area, Dr. Phillips earned her Bachelor's degree inMusic Education from The Florida State University, Master of Music degrees in con-ducting and trombone performance from the University of South Florida, and a Docto-rate of Musical Arts in conducting at Louisiana State University. She served as a sec-ondary school band director for seven years in Florida, including Director of Bands atHoward W. Blake Performing Arts High School in Tampa, Florida where she developedan award-winning concert band program.

Repertoire:Xerxes .......................................................... John MackeyRhosymedre ........... Ralph Vaughan Williams/arr. BeelerArmenian Dances ............. Aram Khachaturian/arr. SatzLa Mezquita de Cordoba .............................. Julie Giroux

All-State CliniciansCoeur d’Alene, February 12-15

All-State OrchestraJoel Schut serves as Director of Orchestras at Okemos High School where he

teaches the Philharmonic, Concert, and FreshmanOrchestras and co-teaches the Chippewa MiddleSchool 7th and 8th Grade Orchestras. He holds de-grees in Orchestral Conducting from the Universityof Colorado-Boulder under the direction of GaryLewis and Violin Performance and Music Educationfrom the University of Michigan School of Music,Theatre and Dance where he was awarded the AlbertA. Stanley Medal, the school’s highest honor.

As a conductor, he served as Music Director ofthe Livingston Symphony Orchestra from 2007-2010as well as founding director of the Detroit MedicalOrchestra. As a violinist, he performs regularly withthe Flint and Lansing Symphony Orchestras and hasperformed at the Aspen Music Festival, the NationalRepertory Orchestra, and the American Institute ofMusical Studies Festival Orchestra in Graz, Austria.Additionally, he has toured Mexico and China as a

member of the YOA Orchestra of the Americas and performed in Carnegie Hall withthe New York String Orchestra Seminar.

With a strong belief in music’s ability to promote citizen cultural diplomacy, heserved as an American Music Ambassador on 2010 and 2014 Cultures in Harmonyprojects in Tunisia, director of the 2012 and 2014 Campamento Sinfónico Juvenil deHonduras in Tegucigalpa, and guest faculty at the Afghanistan National Institute ofMusic in Kabul summer 2013. Additionally, he was selected as a 2013-2014 YOA Or-chestra of the Americas Global Leaders Fellow connecting innovators in youth orches-tra education throughout the Americas.

Repertoire:Concertino Pastorale, Movement III, Toccata .................... John IrelandChamber Symphony in C minor, Op. 110a .............. Dmitri ShostakovichFive Variants on “Dives and Lazarus”.............. Ralph Vaughan Williams

All-State Mixed ChoirGeoffrey Boers is recognized as one of the Unites States' foremost choral conduc-

tors and pedagogues. He is the Director of Choral Activities at the University of Wash-ington in Seattle, a program widely recognized as forward thinking, unique, and of dis-tinction. Under his direction, the graduate choral program has developed a singularmission: to nurture the whole student as con-ductor-teacher-servant-leader-scholar. Thisvision has led the program to become one ofthe most vibrant and innovative in the coun-try, attracting students from around the worldinterested in exploring the future of our art.The UW Choral Cohort consists of four facul-ty, twelve graduate students in-residence, andeight ensembles with nearly 500 singers par-ticipating. Geoffrey conducts the UW Cham-ber Singers, the University's premier ensem-ble of graduate and advanced singers. He alsoteaches graduate choral conducting andchoral pedagogy, and serves as faculty advisor to the choral community at the Universi-ty.

Through his teaching he is exploring the evolution of conducting gesture and re-hearsal technique and their connection with the growing science of mirror neurons,empathy, perception, learning, and personal transformation. His exploration has led tonew thoughts about conducting and teaching with regard to breath, movement, artist-ry, personal growth, and cultural development. Recently, his work has led to the men-toring of local choral cohorts of teachers and conductors who are interested in buildingprofessional communities of ongoing mentorship and musical development. He hasdeveloped such mentorship programs in Seattle, Tacoma, Vancouver, B.C., Calgary, Al-berta, and Houston, TX.

Since his tenure at the University of Washington, the choral program has become aleader in promoting the performance, study and exchange of Baltic music in the UnitedStates. The choir has toured to the Baltic countires in 2000, 2005, 2010, and 2012. Ge-offrey Boers was awarded a prestigious Royalty Research Grant in 2004 to create aBaltic Choral Library in collaboration with the UW Library as well as State and aca-demic libraries in the Baltic. This collection of scores, manuscripts, vocal music, and


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Forgive Me My Tears:

A Case Study of Inclusion in theMusic Performance Classroom

By Lorie Enloe, University of Idaho, Hampton School of Music

Forgive me for my tears. I am sharing with you the story ofone of my all time favorite students. His name does not reallymatter right now, as he is likely still languishing in prison. Itseems that his decision to break into homes to steal and fence val-uables was more important than what he learned about life inschool. He is a very gifted musician who left the music programwhen I left to finish my doctorate. I feel terrible that he did nottrust his talent with the very capable teacher who followed me. Ifyou get nothing else from our time together, please know thatnone of you know the impact that you have on your students untilyou meet and work with those we call “special.” And, they trulyare special for lots of reasons, least of which is because you willalways learn far more about being a better teacher from themthan you will at hundreds of canned, one-size-fits-all, district-sponsored and required professional development sessions.

I remember years ago learning about federal legislation man-dating that “handicapped” students were provided access tomusic classes for part of the day, and I doubted the success ofTHOSE children in my highly performance-focused band classes.After all, my ensembles were the best at what they did, right? Wehad the trophy case to justify why only THE BEST entered myclassroom. And, as time went on, more federal legislation man-dated that disabled students would be included in the school “reg-ular” classrooms for the whole day. I could understand why thatfederal law passed, but I also knew that there was no way I wouldbe forced to work with THOSE students. Music is about beauty,right? Those students could never experience the same level ofwonder and awe of meeting the challenges of the Holst Suites. Itjust was not possible, right? That disabled students could playand comprehend at the same level of the students in my band,right? After all, only the brightest and most talented joined myperforming ensembles - you know, the kids that are NationalMerit Scholars, Valedictorians, the Salutatorians. Kids with 3.8and higher GPA's. Only the best, right?

I still remember that first day of school in one of my K-8 feed-ers. I walked through the door schlepping new instruments,books, and my book bag. I was thrilled at the huge list of begin-ning band students in this particular school. You know, the poorkids, the mostly black, high poverty, disengaged parents. I knewthat very few could afford instruments, and those families whotrusted me with their children and the enormous sum of $12 amonth for the children to step into a whole new musical world,left me in awe. For me, it was the pinnacle of responsibility forsuccess.

I knew how many students would meet me in their first class,as I strode confidently into the hall leading to my rehearsal space.But I was not ready. I was not ready for the tall, lanky smilingblack face running towards me at a frightening speed. And, so ex-cited because his dad had a trumpet he could play in my band. Hewas SO tall - as tall to look me squarely in the eyes - that I had towonder why an eighth grader would be joining beginning band.But his infectious excitement drew my interest: “Ms. Enloe! Ms.Enloe! I got me a trumpet and can I play in the band? Huh? CanI?”

I knelt down on the floor in the hall and said, “May I see your

trumpet, son?” So we lowered ourselves to examine the new in-strument and as I gently opened the case, I realized that it con-tained “pieces” of a trumpet: a mouthpiece, various tuning slides,a third valve key, and some scary looking old valve oil. He evenhad the right trumpet version of our beginning band method. Irealized very quickly that I needed to make band happen for thisyoung man - no matter what. I knew that I had an old King three-valve baritone back at the high school that did not have a happyhome with any of my high schoolers, so I offered to bring himthat big instrument - you know, the one that matched his big ex-citement. I sent him back to class that day, vowing that band wasgoing to happen for that student with the infectious enthusiasm,who smiled right into my eyes. At the end of the day, I stopped bythe office to inquire about the student.

The principal very forthrightly said, “Oh, no. He can’t be inband because he is a special education student, in the self-contained classroom. He has severe learning disabilities - youknow, mental retardation, right? And, you know? He’s also gotemotional problems, right?”

I looked that man straight in the eye and said, “He WILL be inmy class and I WILL find a way for him to be successful in myband!”

And, then I huffed off all indignant-like towards my tinyHonda Civic. Driving back to the high school, I realized I did nothave a clue how I could help him be successful, but knew that theK-8 school had a highly successful special education teacher and Iwould call on his expertise immediately.

I learned so much from that special education teacher abouthow to best help my new baritone student. We vowed, the two ofus, that we would make this work. I worked with the new studentonce a week, one-on-one for 20-30 minutes, preparing him forhis inclusion with the other students.

I learned that breaking my instruction down into smallerparts, called “chunking,” would help him process the materialeasier. I also learned that my expectations that he play at a veryaccomplished level were likely not going to happen, but I decidedthat I would focus on giving him every opportunity that my non-disabled students enjoyed and that I would make some modifica-tions to how he approached playing the instrument.

I realized in our first session together that he could never learnand remember fingerings; therefore, my hard-and-fast-rule of NOWRITING IN NOTE NAMES OR FINGERINGS was quickly dis-carded. We started with me writing in the fingerings for all of themusic we would work on with the entire class and that seemed towork. I spent hours at home trying to figure out how to break myinstruction down into manageable parts. Some days it worked,and some days I went home feeling so inadequate.

But learn to play the baritone, he did. He played on all of theconcerts - with great, loud baritone gusto. The whining of hisnon-disabled peers, “Can’t you ask him to play softer?!” only pro-vided impetus for me to encourage him to keep doing what hewas doing. It was working!

The next year, he got all excited when the students were talk-ing about honor band auditions. After class one day, he stoppedme and asked. “Do you think I could try-out for the honor band?You know how dumb I am, right?”

It was all I could do not to cry, but I decided right then that

Dr. Lorie Enloe is Associate Professor of Music Education at theLionel Hampton School of Music, University of Idaho. She holds a BAin clarinet performance and music education from TransylvaniaUniversity, and MM and PhD in music education from the Universi-ty of North Carolina at Greensboro. Dr. Enloe's woodwind methodtextbook Teaching Beginning Woodwinds: The First Five Days hasbeen adopted by a growing number of U.S. colleges and universities. 208-885-0157/[email protected]


not only would he try out, I would make sure that he was wellprepared. He had worked so hard and had learned the fingeringsto everything his class was playing and really no longer relied onwritten fingerings in the music. But when I found out that hecould not play from treble clef baritone parts (similar notation tohis trumpet book) on the audition and in the honor band, I knewthat preparing for the audition would be a struggle.

As a baritone player, he would have to learn to play the bassclef parts, so we returned to writing in the fingerings. We spentour one-on-one time transferring his existing knowledge aboutplaying the instrument, including fingering patterns, to the “new”bass clef type of music. The audition was three weeks away and Iwas truly worried because his excitement and enthusiasm werebeing replaced by concern, yet still accompanied by determina-tion and grit. I offered to stay after school to give him even moreremedial instruction, but his parents would not work with us. Infact, I believe I met the mother one time in all of my student'stime in the band program.

The week before the audition, I caught him looking out thewindow of the self-contained classroom, hoping to see me driveup. And, sure enough, he flew out the door to help me carry in allmy “band stuff” so that he could share with me that he “got it.” AsI was settling into my classroom, and preparing to teach, he ranback to his classroom to return with his baritone. And, sureenough, he had memorized the patterns to the point of erasing allthe fingerings above the notes. I went with him to that successfulaudition where he finally realized that he was on equal footingwith the “regular kids.” He was playing at the same level as thebest players in the area. And the whole school was proud of hisaccomplishment.

The special education teacher stopped me at the end of theyear to thank me for taking a chance on this student. He sharedthat the other students in the special education self-containedclassroom looked up to my student as a leader because he couldcompete with anyone and find success.

I cried. I still cry when I think of this student, who truly chal-lenged my attitudes about access to and participation in band. Hetaught me so much more than I ever taught him. I will never lookat my students and not see unique individuals: with their ownlearning styles and their endless possibilities. Band - in fact, ALLmusic, is for ALL people.

We, the teachers, have to gladly accept the challenge to seeendless potential in each student, and to make music happen forall those who walk in our classroom doors.

Idaho Music Notes 18 FALL 2014 Camille Blackburn presents Jay’s plaque

Highlights of theMinutes, IMEA FallBoard Meeting 2014

October 5-6, 2014 @ Holiday Inn at the Airport, Boise,Idaho

• The All State Honor Band and Choir will possibly rehearse at theBest Western. The Shilo will house the orchestra. Sites are still being ver-ified. We discussed options for host concerts and fun activities for thestudents.

• The choir concert will be with the Washington concert. Tickets are$20. The instrumental concert is close in time to the choir concert, sowe are looking at alternate times.

• The All Northwest audition results will be released in November.The All State results will be released December 9.

• It was decided that we need a head chaperone. The head chaperoneshould perhaps be a music educator. We would like teacher recommen-dations to accompany chaperone applications.

• All state screeners will be paid. Assignment of duties for All Statechairs reviewed and needs addressed. The student fee for All State is$225. The student fee for All Northwest is $325. Karen, the new manag-er, and Wayne will handle most of the tasks for All State.

• Our website has improved and our online presence is active. Weneed to make the effort to identify who music teachers are in the state.Some aren't members of NAfME and joining doesn't automatically placethem in our data base.

• Policies and procedures were reviewed.• Some districts are using different forms for large group festival. This

is an issue of non-compliance. District presidents will report how manyare using different forms. There is some dissatisfaction with the im-proved forms, so we are taking a look at it.

• We are making an effort for establish more unity with our middleschool music educators.

• State solo will be in eastern Idaho. Districts are asked to send aspreadsheet of winners, not individual forms. There were some ques-tions regarding the vocal literature list.

• IHSAA is not opposed to our mandatory hotel usage rule for AllState. The District III Board of Control wants to sanction IMEA.

• The Music Educator Hall of Fame nomination process will bestreamlined.

• Peggy Wenner is working with committees on SEADAE standards.She wants to change the state graduation requirements to say “fine arts& world language” instead of the broad based “humanities.”

• The IMEA board reaffirmed its position in that students must par-ticipate in their school’s ensembles to be eligible for honor ensemblesand solo and ensemble. This rule holds true even for schools with IB pro-grams.

• Aimee Atkinson is spearheading our membership campaign.NAfME selected us to run a pilot program. We are looking for ways to in-crease membership.

• The board reviewed stipends and agreed on some increases. Thebusiness manager will receive $5000. The web master will receive$6000. The state solo chair remains the same.

• We are in the preliminary stages of coordinating All State 2016 withISU.

• NAfME has a book that adapts the Danielson model to music teach-ing.

• The various districts gave brief reports on their districts. • Several people expressed concerns regarding tiered licensure. Submitted by Eric Skidmore, IMEA Secretary

Music Teacher Database UpdateWith many new teachers and changes in schools, the IMEA Music

Teacher Database becomes outdated very quickly. Please be sure tocheck your listing to make sure you are listed at the right schools in theright assignments. Any changes should be submitted to your districtpresident or directly to the web master at: [email protected]. You can search by last name on the main IMEApage.

IMEA Mail-List UpdateThis summer the IMEA Mail-List went through a major update. As a

result many of the email addresses that had been added or removed maynot have made it through the update. If you do not wish to receive thesemessages, please click on the unsubscribe link at the bottom of the mes-sage. If you need to change your email address, or need to update yourpreferences as to which messages you get, please click on the preferenceslink at the bottom of this message. If you know of someone that shouldbe getting these messages, but isn't, please have them sign up for the list.The link is on the main IMEA page under “Latest IMEA Emails.”

IMEA on Social MediaGet the latest updates! IMEA is now on FaceBook and Twitter. There

are links to follow us on the main IMEA page!

UNIVERSITY/COLLEGE NEWSUNIVERSITY OF IDAHO

Lionel Hampton School of Music to Host Three Audition Days in Idaho

The Lionel Hampton School of Music at the University of Idaho is offering live au-ditions in Boise, Pocatello and Moscow in early 2015. The first will be held at Timber-line High School in Boise on January 17, followed by a second at Highland High Schoolin Pocatello January 31. The Moscow campus Audition Day is February 7, 2015. Inter-ested students may sign up for any of these auditions via www.uidaho.edu/music/futurestudents. If unable to attend, individually scheduled auditions and/or recordedauditions are encouraged by February 28. Please call 208-885-6231 or [email protected] for further information.

Alexander Technique now offered at the University of IdahoWith the appointment of Shawn Copeland as Assistant Professor of Clarinet, The

Lionel Hampton School of Music at the University of Idaho is pleased to announce theoffering of Alexander Technique and Body Mapping to its varied course work. In addi-tion to a career as a clarinetist and teacher, Dr. Copeland is a certified teacher of the Al-exander Technique and has devoted 18 years of study and research specifically to theneeds of performing artists. The Alexander Technique is a proven method of reducingtension and developing ease in performance, and is taught in leading conservatoriesand schools of music throughout the world. The Lionel Hampton School of Music nowoffers two courses, an introductory course, and an advanced course for continuedstudy. Through these courses, undergraduate and graduate students will have the op-portunity to develop their balance, ease, and creativity in performance; reduce painand stress in their bodies, and learn how to recognize and prevent performance relatedinjuries.

The Lionel Hampton School of Music announces its annual String Fest

The LHSOM String Festival will take place all day on Wednesday, January 28. Highschool orchestras from the region are warmly invited to attend this exciting event. Ses-sions will include a massed orchestra gala, masterclasses with UI strings faculty, a violintechnique workshop, Celtic fiddling, cello choir, jazz bass improvisation, music andmovement, rhythm workshops, and a campus tour. Orchestra directors interesting inparticipating: please contact Dr. Miranda Wilson, [email protected], phone (208)885-6615.

BOISE STATE UNIVERSITYThe BCMS Annual String Quartet Competitions, including the Pre-College (High

School) round, will be held on Saturday, April 25, 2015, in the Morrison Center RecitalHall on the campus of Boise State University. Applications are due in February. Thejudges, the DOVER QUARTET, are freshly competition-savvy, having won the GrandPrize and three special prizes in the 2013 Banff International String Quartet Competi-tion, and they will bring excitement and inspiration to all of our string educationalcommunity during their visit. Contact Jeanne Belfy, Artistic Director of the BoiseChamber Music Series at Boise State University, 208 426 1216.


University & CollegeSCHOLARSHIP

2015 AUDITION DATES:

Boise State University MusicDepartmentAudition Dates — February 7, February 21 & April 11Apply online @ music.boisestate.edu/admissionsEmail: [email protected] Web: www.boisestate.edu/music

BSU Blue Thunder Marching BandAudition Weekend — April 10 & 11Apply online @ thunder.boisestate.eduPhone: 208-426-4159 Web:thunder.boisestate.edu

Brigham Young UniversityApply today @ www.music.byu.eduEmail: [email protected]

Brigham Young University IdahoDeadline for All Materials is February 1On Campus Auditions: January 29 & 30Satellite Auditions (Salt Lake City): January 31Phone: 208-496-4950 Email: [email protected]: www.byui.edu/music

Central Washington UniversityAudition Dates — Ellensburg, January 22-23; Des Moines Campus, January 24For more information: [email protected]/music

College of Southern IdahoAudition Date — Saturday, February 28application deadline is February 26Contact Sue Miller, 208-732-6769 or [email protected]: finearts.csi.edu/music/musicScholarship.pdf.

The College of IdahoAudition Dates — January 17; February 14; March 7More Information: Fill out an application onlineor email to [email protected] to make anaudition appointment.Phone: 208-459-5275Email: [email protected] Web:www.collegeofidaho.edu/music

Idaho State UniversityAudition Dates — Saturday, February 21;Saturday, March 7More Information: www.isu.edu/sopaPhone: 208-282-3636Email: [email protected] Web: www.isu.edu/music

Northwest Nazarene UniversityAudition Dates — By AppointmentPhone: (208) 467-8506Web: nnu.edu/musicEmail: [email protected]

Oregon State UniversityAudition Dates — Saturday, Feb. 21 at LakeridgeHigh School, Lake Oswego, OR; Saturday, March7 at Benton Hall, Oregon State University,

Corvallis, OR Information: http://liberalarts.oregonstate.edu/school-arts-and-communication/music/students/scholarship-auditions

Treasure Valley Community CollegeAudition Dates — Call for audition criteriainformation.Phone: 541-881-5950 Email: [email protected]: www.tvcc.cc

University of IdahoAudition Day for Admission and Scholarships —Saturday, February 7; Audition by February 28for priority consideration; Pocatello, January 31More Information: Phone: 208-885-6231Email: [email protected]: music.uidaho.edu/futurestudents

University of PortlandAudition Dates — Monday, February 16;Saturday, February 21 & 28For More Information: up.edu/music [email protected] 503-943-7228

Willamette UniversityAudition Dates — January 24, February 16 Must audition by Jan. 24 for priorityconsiderationSchedule an audition 503-370-6687Office of Admission: willamette.edu/admission503-370-6303willamette.edu/go/[email protected]


Williams, band director at Fruitland High School, was nominated andapproved to serve a one year term. Attorney Reece Hrizuk was alsonamed to the Board. Both are hard at work on a gala fundraiser to beheld in November in Ontario, Oregon. It will future several area bandsand special performances from several prominent local musicians. Formore information, check details on the Camp website. Proceeds from theevent, which will feature food and drinks, will go to support the GreatBasin Jazz Camp.

Camp Executive Director Mike Allen said the 9th Annual Camp willbuild on the high standards set by Faculty and staff. Allen promises somemore outstanding arrangements and original big band and combocharts, and additional individual instruction.

Director Allen reminds patrons and students of a special Tuition offernow in effect. From now until the end of the year, there is a special pricein effect for Camp in 2015. It represents a savings, as tuition next yearwill increase due to increased food and travel costs. Details can be foundat the Camp website. (www.greatbasinjazzcamp.com).

With the end of the year fast approaching, Camp offcials remind par-ents and the general public of the advantages of a tax free - end of yeardonation to the Great Basin Jazz Camp. In addition to a tax deduction,donors help to support the only jazz camp in Idaho and the Camp mis-sion to develop the next generation of jazz players and performers in theregion. See the Camp website for additional information on donating aused car, truck, RV, boat and even a motorcycle. The donation is also taxdeductible. It's a painless way to continue the work of the Great BasinJazz Camp and rduce your 2014 tax liability. The Great Basin Jazz Campis a Federally Recognized 501 (c)(3) Non Profit Corporation. It is also li-censed to do business in the States of Idaho, Nevada and Oregon.

Idaho Orff Hosts

WorkshopsThe Idaho Orff-Schulwerk As-

sociation is planning a busy year.On Saturday January 24th, 2015,IOSA will have their ChapterShare and “Make and Take”workshop.

On Saturday, February 21st,2015, national AOSA presenterDavid Boggs from Atlanta, Geor-gia, will be sharing some of hisown techniques, music, and les-sons on music elements, guitar inthe classroom with just threechords, and more.

President Colebrook advisesinterested teachers to keepchecking the Idaho Orff websitefor more upcoming informationat www.idahoorff.org and “like”them on Facebook: Friends ofIdaho Orff.

Registration Open for 9th Annual Great Basin

Jazz Camp in 2015After another successful year, the Great Basin Jazz Camp prepares for

its 9th annual Camp. Building on the success of Camp this past July,plans are in the works for another recognized jazz instrumentalist to givea Masterclass and tutor students. This past July, the Camp was honoredto have the great John Clayton, world renowned bassist, bandleader andcomposer, spend two days at Camp. Mr. Clayton gave a fantastic Master-class that kept all students and faculty at rapt attention. Many studentswho spoke with Clayton after the presentation said they gained greaterinsight into the musicand vowed to continuetheir musical studieswith renewed dedicationand enthusiasm. Checkout new Testimonialsfrom several studentsand Faculty members.They can be foundunder 'Testimonials'' onthe Camp website(www.greatbasinjazzcamp.com/testimonials).

Two new Boardmembers have beenadded this year. Joel


Unique FundraisingOpportunity:

MOVE FOR THE MUSIC.ORGMoveForTheMusic.org is a fundraising site for any music program in

the United States. For anyone who chooses to participate in the pro-gram, Chase Craig Real Estate Group will donate 10% of the commissionthey earn to the Music Program of your choice.

If you or any of your students’ families are thinking of moving thisyear, let MoveForTheMusic help buy and/or sell your home and theywill donate to the music program of your choice. If you know a relative,co-worker, a friend at church, they gym, or anywhere else, simply referthem to MoveForTheMusic and you can have the 10% donated to themusic program of your choice.

Simply go to their website and fill out the application form. They willdo the rest. So what happens after that?

They write into the Real Estate (Buy or Sell) Representation Agreement that 10% of our commission goes to the music program of your choice.When the transaction closes, the title company will issue a check to the program. At no time will MoveForTheMusic ever touch the money that goes tothe program.

Example: $200,000 property. The Buyer and Selling agent typically split the 6% commission. 3% of $200,000 is $6000. 10% of $6000 is $600check the Music Program would receive. If your child has an account in a foundation, we can have the money sent right to that account.

Every year, one in seven people buy or sell a home. Simply refer them to MoveForTheMusic so they can keep music programs going with the moneythey so desperately need. There is no cost to the buyer, seller, or any agent with this program. A win-win-win all the way around. Have a relativemoving from out of state? MoveForTheMusic can handle any transaction in the country very easily.

Please LIKE their facebook page. Please share it with your freinds and say, “Check out this great program that raises money for Music Programs.”

www.moveforthemusic.org or https://www.facebook.com/pages/Moveforthemusicorg/391559134320740


Scherzo : Scherzo : Humor for the Music EducatorHumor for the Music Educator

We all know the common genres of pop music.Glenn McDonald of everynoise.com, however,seeks to produce a comprehensive music classifi-cation system (presently a list of 1266 musicalgenres) that includes the following pop musiccategories:

Canterbury scene

Polish hip-hop

Basque rock

Yugoslav rock

rock gaucho

Japanese R&B

Lithumania

Viking metal

vegan straight edge

technical death metal

pagan black metal

black sludge

filthstep

deep orgcore

fourth world

skinhead reggae

grave wave

fidget house

shiver pop

contemporary post-bop

Nitendocore

full on

fingerstyle

deep disco fox

deathgrind

quiet storm

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