Official Publication of the Arizona Music Educators Association, Inc.

AMEA WEB SITE: www.azmea.org

MICHAEL MILLER 2012 Arizona Music Educator of the Year

SPRING 2012

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GLENDALEDesert Glen Shopping Center5350 West Bell Road Suite 132(602) 504-0206

GILBERT891 E Baseline Road Suite 101(480) 898-1499(480) 898-1499

NORTH TUCSONCortaro Plaza8320 Thornydale Rd Ste 150/170(520) 579-2299

EAST MESAMesa Pavillions7040 East Hampton 7040 East Hampton Avenue(480) 984-4200

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CONTRIBUTORSDEPARTMENTS:

6 PRESIDENT’S MESSAGE—AMEA at Work! Robert Nichols, AMEA President

10 CONFERENCE REFLECTION Amanda Estes, ChoDA

12 FIVE ARIZONA BAND MEMBERS CHOSEN FOR 2012 US ARMY ALL-AMERICAN MARCHING BAND Allison Coyle, AMEA Member-at-Large

18 MARCHING BAND CHANGES TO BE IMPLEMENTED IN 2012 Scott Burgener, ABODA President-Elect

20 AN INTERVIEW WITH BARBARA ANDRESS Marsha M. Vanderwerff, Contributor

23 RETIRED—BUT STILL WORKING FOR US! Warren Dennis

16 AMEA ELEMENTARY/JUNIOR HIGH SPRING FESTIVALS! Laura Scholten

27 AMEA DIRECTORS ENSEMBLES A HIT! Randy Wright

24 WHAT’S NEW IN MUSIC TECHNOLOGY 2012: A REPORT FROM NAMM Mike Klinger

INFORMATIONAL:

5 AMEA Sustaining Members

28 HALL OF FAME AWARDS

18-19 CONFERENCE PICTORIAL

30-31 2012 All-State Festival of Performance Clinicians

Official Publication of the Arizona Music Educators Association, Inc.

Send editorial copy to:Merry Carol Spencer e-mail: marcy.spencer@gilbertschools.net

Send advertising copy to:Carol Vogt Prestige Publications 8455 N La Oesta Ave Tucson AZ 85704 520-544-0929

Deadlines for submission:Fall 2012–September 1, 2012Winter 2013–November 15, 2012 Spring 2013–February 1, 2013

ISSN: 0519-6129

SPRING 2012

Prestige Publications, Publisher

Merry Carol Spencer, Editor

Carol Vogt, Designer

CONTRIBUTORS:Allison CoyleAmanda EstesWarren DennisMike KllingerRob NicholsLaura ScholtenMarsha M. Vanderwerff

AWARD PHOTOS BYNaila Erwin

VOLUME 56, NUMBER 3

The AMEA Board of Directors wishes to express its appreciation to SUNDANCE PRESS (the printers of the Arizona Music News) for their quality work. Arizona Music News is published three times during the school year and entered as third class matter at the post office in Tucson, Arizona. Subscriptions are included in member dues. Non-member subscriptions are $20.00/year or $7.00/issue. Copyright 2011 by the Ari-zona Music Educators Association, Inc.

All articles and photos that are submitted become the property of the Arizona Music Educators Association, Inc.

All changes of address should be sent directly to David Waggoner6818 E. Kingston Place Tucson, AZ 85710.

CONTENTS CONTENTSCONTRIBUTORS

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ADVERTISERS:

15 Arizona State University, Herberger Institute School of Music

8 AzACDA Four Seasons Workshop

13 Forum Music Festivals

16 Great Basin Jazz Camp, Twin Falls Idaho

25 Mike Klinger Music Technology Summer Workshops

3 Music & Arts

10 Music Mart

8 Northern Arizona University

9 Quaver—Launch your Classes

11 Quaver—Testimonials

17 Tour West America

7 Yamaha HD-200 Harmony Director

2 Yamaha—MIE

CONTENTSCONTENTS Continued

NAfME:6 Give a Note Foundation12 Professional Development14 MIOSM 18 The Concert for Music in Our

Schools Month26 MIOSM Items27 Support Music36 Music Makes the Difference

AMEA Sustaining Members

AMEA appreciates the support given our organization by the following Sustaining Members:

Eastman Music Company Ikuko Salazar 2158 Pomona Blvd Pomona, CA 91768

Gemeinhardt Musical Instruments LLC c/o Chris Bertrem 57882 State Road 19 South Elkhart IN 46517 Phone: 574-295-5280 Fax: 574-295-8323 Email: cbertrem@gemeinhardt.com

JW Pepper Sam De Renzis 14711 Carmenita Rd Norwalk, CA 90650 562-921-0930 sderenzi@jwpepper.com

Neil A. Kjos Music Co David Paul PO Box 17820 4382 Jutland Dr. San Diego, CA 92117-3698 Phone: 858-270-9800 x6740 Email: dpaul@kjos.com

Phoenix Youth Symphony Stacey Page 2057 W Claremont St. Phoenix AZ 85015 Phone: 602-277-7013

Tucson Philharmonia Youth Orchestra Dr. Suzette Battan PO Box 41882 Tucson,AZ 85717-1882 Phone: 520-623-1500 Email: info@TPYO.org

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Three weeks ago, 700 music educators gathered at the Phoenix-Mesa Marriott to share, learn, and refresh. This conference had many highlights for

me that reminded me of the goals we are working on in AMEA. We were able to host several guitar ensembles and technology sessions at this conference, which sup-ports our goal to promote music for all Arizona students. I’d like to encourage those of you who are starting cre-ative, unique courses at your school to consider sharing these at next year’s conference. I’d also like to find those of you with a passion for student composition and en-courage you to lead sessions next year.

Some Highlights. . .

I had a wonderful time with the General Music folks at the Quaver reception late Friday night. I’d like to con-tinue to develop offerings for the general music teachers, especially at the secondary level. If you have ideas of what you’d like to see at next year’s conference in this area, sub-mit your ideas on the website, or email me.

The Hall of Fame Luncheon was a special event this year. Mike Miller, who currently teaches at Saguaro High School, was named Music Educator of the Year. I worked with Mike for 19 years at Mesa High School where he served as a mentor and friend. His leadership and service to AMEA has had a deep impact on our organization, and it was a pleasure to see him recognized for his years of service, dedication to music education throughout the state, and his excellence in teaching for so many students. Our organization will be looking for new leadership next year. You should follow Mike’s example and consider what role you would like to play.

Another highlight was presenting Jason Barney, a par-ent from Gilbert, with the Arts Advocacy Award. Mr. Barney has worked tirelessly to develop relationships with the Gilbert Superintendence and School Board in promoting music education in Gilbert. You can catch up with Mr. Barney on his website, www.GilbertMusic-Matters.com. Advocacy for arts education is a key area of concern for AMEA, and one we continue to work on. Keep your eye on our website for more updates in this area.

On any given Saturday morning it’s hard to get 20 people to do anything, and harder still to get 400. Yet

Saturday morning at the conference, 400 dedicated music educa-tors gathered to hear Dr. Tim Lautzenheiser inspire and encourage. Dr. Tim made us all laugh while impressing upon us the impor-tance of what we have the privilege to do each day.

Finally, on Friday night we all crowded into the ballroom to hear our colleagues perform in celebration of Arizona’s Centennial. I heard many wonderful comments regarding making music together as directors. I watched first hand, as seasoned veteran teachers stood next to first year teachers working together. In two years, we will be I’m looking celebrating AMEA’s 75th year, and I hope we can include another opportunity to perform our craft together.

I’d like to extend a special thanks to all the constituent orga-nizations (ABODA, ChoDA, and AZSGM) and their leadership for their work with the conference. I especially want to thank our Conference Coordinator; Bill Richardson, Exhibit Coordinator; Marshall Stewart and Executive Director; David Waggoner for their dedicated efforts with this huge event. AMEA is constantly look-ing for new ways to improve the conference. With that in mind, I recently traveled to Texas to the TMEA conference to experience. It was a fascinating experience. They really do everything big in Texas! But our goal is not to create another TMEA; our goal is to meet the needs of Arizona Music Educators. I’d like to hear from you. This is your organization. Be sure let us know what you need and how we can support you.

President’s Message

AMEA At Work!

by Robert Nichols, AMEA President

National Association for Music Education Announces the Creation of

To make a donation, please visit www.giveanote.org

Touching the Lives of 20 million children

Give A Note Foundation was established by the leaders of the National Association for Music Education in order to expand and increase music education opportunities for all children and help them develop skills needed for success in the 21st century.

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This comprehensive education tool brings harmony training,rhythm training and ensemble timing together in one convenienteducator resource. It enables music educators to clearly demonstrate for students how to tune individual notes withinchords, so that entire chords may be tuned. The HD-200 HarmonyDirector helps musicians understand how their parts fit into thecomplete harmony of the ensemble.

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into a universeof innovation!

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huge payload of technology tools accompany each episode, including web-based teaching resources, interactive whiteboard activities,

quizzes, and more. Plus there’s an online virtual world of music-making fun at QuaverMusic.com, where students can explore for

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Conference is for learning, networking, sharing, social-izing and energizing. It is my

hope that this past conference gave you the opportunity to do all those things. We had great attendance at the sessions and performances in our new location in the convention cen-ter. Our headliner, Rollo Dilworth, provided us with outstanding tools and techniques; our performance sessions moved many of us to tears and cheers; and our local directors reminded us that we have an out-standing group of talented educators,

performers and directors among us. I have heard from many of you that this was one of the best conferences you have attended and it is my inten-tion to continue to provide quality sessions to the ChoDA members.

As we are preparing for our final concerts and looking ahead to our ensembles for next year, I want you to remember to include the 2013 AMEA conference in your plans. When school resumes in August, the ChoDA board will be calling for you to submit performance session pro-posals. Please take the opportunity

to compile recordings of your groups and submit for consideration.

Your performance session propos-al must include:

CD/DVD of 3-4 songs from the past 2-3 years of the ensemble you are submitting

Sample programs of the music you have performed within the past 2-3 years

A proposal with group bio and picture to www.azmea.org Beginning in May, I will begin

collecting and planning interest ses-sions. If you have something you feel the ChoDA members would benefit from, please submit a session pro-posal. It is our goal to provide our directors with tools they can imple-ment not only at the start of the next school year, but as soon as they return to their classrooms after attending AMEA Conference.

CONFERENCE

REFLECTION

By Amanda Estes, ChoDA

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High school musicians from Desert Vista HS, Mountain Ridge HS, and Rio Rico HS were selected to participate in the annual US Army

All-American Marching Band. Jeff McCleve (sousaphone) is from Desert Vista HS in Phoenix. Jameson Berry (alto saxophone) & Alexandra Brooks (color guard) are from Mountain Ridge HS in Glendale. Edward Camarena (color guard) & Cesar Manjarrez (alto saxophone) are from Rio Rico HS in Rio Rico.

The students selected to participate in the 125 mem-ber All-American Marching Band received an all-expens-es-paid trip to San Antonio, TX to march in the half-time performance of the All-American Bowl at the Alamo dome on January 7, 2012. The U.S. Army All-American Bowl is the premier high school football game in the na-tion, featuring the nation’s top high school senior football players and marching musicians.

Band directors Josh Thye (Desert Vista HS), George Hattendorf (Mountain Ridge HS), & Alli Coyle (Rio Rico HS) nominated students for the 2012 USAAAMB when they were juniors. Once the students received no-tice of their nomination, they had about three months to finish the application and audition process. Members are selected to the elite ensemble based on musicianship,

Five Arizona Band Members Chosen for

2012 US Army All-American Marching Band

Allison Coyle, AMEA Member-at-Largemarching achievement, character, and leadership. Stu-dents made videos of themselves marching, playing or doing choreography, and speaking about why this would be an important experience for them as part of the audi-tion process.

Each school hosted a “Selection Tour” stop to an-nounce the students’ selection to the USAAAMB to the media, school, and community in November. Then it was only a few short weeks until the students went to San Antonio. They were there for 4 days to rehearse with an all-star marching band staff and perform the halftime show. They learned the entire show in about 24 hours of rehearsal time.

Cesar Manjarrez (alto saxophone, Rio Rico) said that it was “the most amazing musical experience” of his life. He noted that every student in the band was humble, hard working, and inspiring to work with. He is encouraging the younger members in his high school band to audition when they become eligible.

NAfME teachers can nominate their juniors on the NAfME website between September and January each year for the following years’ bowl game. The 2012 USAAåwww.usarmyallamericanbowl.com/marchingband.html.

See next page for photos of participating students.

Online Professional Development!Got music education questions? Want some expert advice?

MENC offers this exciting free benefit to members throughout the school year. MENC members visiting the band, orchestra, chorus, and general music networks

can get expert advice in answer to their questions. Our mentors rotate on a monthly basis and respond to your questions every few days.

If you would like to be a mentor or make a recommendation regarding the

mentoring website, please contact Susan Lambert at susanl@menc.org.

Visit www.menc.org/mentorsFor today’s students to succeed tomorrow, they need a comprehensive education that includes music taught by exemplary music educators.

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Arizona US Army All American Marching Band students Cesar Manjarrez, Edward Camarena, Jameson Berry, Alexandra

Brooks, & Jeff McCleve

Edward Camarena & Cesar Manjarrez from Rio Rico HS

Jamesson Berry & Alexandra Brooks from Mountain Ridge HS

Jeff McCleve from Desert Vista HS

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Marching Band Changes

to be Implemented in 2012

By Scott Burgener, ABODA President-electGreetings from the ABODA board!

If you were unable to attend the ABODA meeting at this year’s AMEA conference, you

may not have heard about the changes that have recently been made to our marching band activities. The Festival Adjudication Committee (FAC) came forward with sev-eral recommendations, which were discussed at length by the board. The ABODA board has approved the fol-lowing changes which will be implemented for the up-coming marching season:

1) Adults will now be allowed to operate and moni-tor a band’s audio soundboard during a performance without penalty. Several organizations from other states have done this for some time now.

2) Bands will now be seeded for the State Marching Festival based on their highest score from an ABODA qualifying event. This should allow for more consistency from the invitationals to the state event.

3) Bands must elect participation in the State Cham-pionship event at the time of their State Marching Fes-tival registration online. Anyone wishing to change their decision must do so by the State Marching Festival registration deadline by contacting the State Marching Fes-tival Manager. After the State March-ing Festival registration deadline, a band that has chosen to participate in the State Championship cannot opt out without penalty. The penalty for a school that refuses an invitation to the State Championship will be a one-year suspension from participation in the State Championship. Since there is only one week between the two events, it is extremely important to the valid-ity and organization of the event that no last-minute participation changes be made.

4) If a school is accepted to be an

invitational site, and subsequently cancels, there will be a one-year suspension from being able to apply for hosting an invitational. This is to maintain fairness to all schools that are going through the invitational application pro-cess.

5) Division IV will now be called Festival Class. It will utilize Olympic-style judging, and no captions will be given. No numerical scoring will be used. Any band may choose to be a member of this class. However, if a band decides to “move up” to one of the other divisions, it must be the division that is determined by their size as determined by ABODA regulations. No band may move up out of the Festival Class after October 1.

Lastly, the ABODA board has approved the creation of a new paid position, called the State Marching Festival Manager. The duties of this position include just about everything related to the marching activity, with the ex-ception of hiring adjudicators. The ABODA board will be interviewing candidates for this position during the month of April.

Music In Our Schools Month Celebrate

with the National Association for Music EducationSpotlight school music and your program during Music In Our Schools Month®.

Here Are a Few Suggestions: • Participate in the Concert for Music In Our Schools Month.* • Contact your state representatives and discuss their position on music in the schools; tell them about any upcoming concerts your students will perform. • Check out and print “Get the Message” Flyers at advocacy.nafme.org and distribute to your supporters. • Sign the Music Education Advocacy Pledge at advocacy.nafme.org and forward to your social media network. • Register for your MIOSM Flag Certificate at advocacy.nafme.org. • Invite a guest speaker to your class to talk about music’s role in his or her life. •Play NAfME “Why Music?” PSA’s during morning announcements. • Retweet and repost the MIOSM Fact a Day from the NAfME Facebook and Twitter pages. • Tie your events to another newsworthy happening or a public figure in your community. • Purchase the specialty items offered at www.nafme.org and give them to your students and colleagues to remind them of the importance of music education.

Find more ways to spotlight school music during MIOSM at nafme.org/events.

*The World’s Largest Concert Has a New a Name and is Now Online!Visit www.nafme.org/concert to download the 2012 Concert sheet music and rehearsal tracks— FREE! Start rehearsing now, then visit March 1 to download the program video, featuring special guest hosts and schools from around the nation.

®

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As I write this article, many Elementary and Ju-nior High music teachers are busy preparing for All State music festivals on March 10th

and March 17th. The chairmen are busily getting the final signs and details ready for the festivals, and teachers all across the state are working diligently with their selected students to be sure they are prepared and that the performances will be as successful as pos-sible. Guest clinicians are studying their scores, and preparing rehearsal notes in anticipation of the event.

There is so much that goes into the preparation for an All State event. I’d like to take the opportunity to thank everyone who is involved in getting this festival ready, especially the staff at Valley Vista High School and the Dysart District. Karen Martin, site host, has been instrumental in getting the festival moved from Higley to Surprise. Danae Marinelli is working on hospitality and ticket sales for the event. The Valley Vista Band Boosters, with director Rian Searingen, are providing lunch for 910 musicians who will be coming for the two weekends! The band chairs; Molly May, Donna Davis and Patrick Echlin have put in count-less hours on “behind-the-scenes” work, and let’s not forget our choir chairs Cynthia Whipple and Kristina Kilen (Treble Choir), and Pari Flake and Darrin Squire (Mixed Choir). Our orchestra chairs are Pam Nichols for Elementary and Leslie Barney for Junior High. A HUGE thanks to anyone I may have forgotten.

Let’s not forget to honor our very own AMEA members for serving as guest clinicians. Their exper-tise and leadership will guide our students to a suc-cessful event. Band clinicians include Michael May (6thGrade), David Duarte (7thGrade) and Dave Kuhns (8th Grade). Our guest clinicians for Treble and Mixed Choir are Rachel Stoddard and Joey Johnston, respectively. Orchestra clinicians are Paula Jones for the Elementary Orchestra and Ajay Patel for Junior High Orchestra.

On another note, I attended the 2012 Elementa-ry/JH Solo and Ensemble Festival on February 25th. Kudos need to go to Ian Peterson, chair and Danielle Belliveau, site host. It was an amazing day and the students gained so much from the wonderful judges. This is such a great way to prepare these young musi-cians for high school festivals. On the following Sat-

urday, the Northwest Region held their Solo & Ensemble Festival and Region Honor Festival auditions. I have heard nothing but praise from the folks up there about the great festival they had. Again, thanks go to Aemelamelo Seui, Solo & Ensemble Chair; Paul Manz, Band Chair; Bill Cummings, Orchestra Chair ,Erin Johnson, Choir Chair, and Frank Lawhead, JH Region Governor. Way to go, Northern Arizona!

The Southern Region also held an Honor Band and Orchestra Festival in January and February of this year. According to Cory Walavich, it was a great success. It’s nice to see so many of our Elementary and Junior High teachers getting involved in music festivals and giving their valuable time and energy to make these special events extra special for the students.

Still to come is the Pageant of Bands, on April 21, 2012, chaired by Rob Arthurs. It should prove to be a wonderful opportunity for your entire band to perform and have clinic time with specialists.

I know I have forgotten LOTS of people that have helped or are help-ing with all the events for Elementary/Junior High. I know that all of us do everything we can to further our students’ musical education and prepare them for high school and beyond.

AMEA Elementary/Junior High

Spring Festivals!

By Laura Scholten, AMEA V-P of Elementary and Junior High Activities

2012July 9 - July 13, 2012

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Barbara Andress is a beloved music educator who taught, mentored and supervised many Arizonians

over her incredible thirty seven year ca-reer. I first heard of Barbara when I was a music education major in college and we were exploring music teacher textbooks. I remember really liking the series she authored published by Holt, Rinehart, and Winston called The Music Book. As a brand new music educator, I par-ticipated in several “Retreat and Retread” summer workshops presented by Barbara and her co-author Eunice Boardman, who not only gave teachers new and wonderful musical ideas, but after all the presentations were over, would show us how to “make and take” all the visuals to enhance our lessons! Little did I know that more than twenty-five years later I would be interviewing her for the Arizo-na Music Educators oral history project at Arizona State University and discover-ing that Barbara’s career journey closely parallels my own.

Born in a small Arizona town to parents who had a strong belief in education, Barbara knew two things: she loved music and she wanted to be a teacher. Her mother, who was a teacher, was her first role model. Growing up, Barbara sang in the church choir and learned to play pi-ano by listening to her mother teach piano to students in their home. She didn’t have opportunities in school to have music with a music specialist until her junior year of high school. Her parents expected Barbara to go to college and off to Arizona State College (which would later become

Arizona State University) she went. She married her college sweetheart and got her Bachelor of Arts in Ed-ucation degree in 1951. Ten years later, Barbara received the Master of Arts in Education degree from ASU. In the twenty-one years between, she taught 1stand 2ndgrade, elementary and middle school music, and was the Cartwright District Music Super-visor all while raising a family. She was asked by the music faculty to join ASU as an Associate Professor in 1972 where she taught for eighteen years until retirement.

Barbara’s legacy is still alive and well today. As a music supervisor, she made key decisions for music in a growing Cartwright district and later, working at the state level, assisted in writing music curriculum plans for teachers and students all over Arizona. Barbara’s work as an educator, com-poser, author, and presenter took her all over the country where she con-tinued to inspire and share her love of teaching young children with oth-ers. Since retiring twenty years ago, Barbara still enjoys participating in musical activities at church and with her family. However, she has pursued a second career sharing her talents in a related arts field: sculpting. Her large metal works of art can be seen in galleries in Phoenix and Prescott. Throughout her adult life, Barbara has always loved being a teacher.

MV: When did you know you

wanted to be a teacher? High school? College?

BA: Actually it was even younger than that. I was in 8thgrade and in my small town, there were never any substitutes for teachers when they were sick, so the principal would just come get one of the eighth grade stu-dents to go to a classroom and just “babysit.” I remember being one of those students who was sent to a 2nd-grade class. When the principal came through—you know to check on things—he saw me and what I was doing—and he said, ‘Golly, you’re not just taking care of these kids, you’re really teaching’ and of course I just swelled up like a balloon, I was so proud. It made me feel so good—it was a wonderful feeling!

MV: During your formative school years, did you have a teacher that influenced you or inspired you?

BA: My mother was a music teacher—my music came from the home. We did not have formal music lessons or a music teacher in school growing up. My mother was my first role model, but I remember one cho-ral teacher I was very fond of because we didn’t have a music specialist until

An Interview with Barbara Andress

By Marsha M. Vanderwerff

A M N S P R I N G 2 0 1 2 21

he came. I was very enthralled with that. This teacher was my first experi-ence with [having] a music specialist and it made a big impression on me. I only had 9 students in my graduating class, so besides the choir experience in my junior and senior years, most of my music inspiration came from home.

MV: Back in the 1940’s, not many women went to college. How did you make the decision to go to Arizona State College?

BA: There weren’t too many op-tions open to women of my era. You either became a nurse or a teacher—or married and had a family instead of going to college. My folks felt col-lege was right—we were expected to go to college. They supported me in this decision and gave me that kind of direction. They said, ‘well, of course you’re going to college’ and it was a pretty foregone conclusion that I would teach. Arizona State College was close to home and I was accepted and started as a music major. I realized that I needed a certificate to teach, so I switched majors to elementary edu-cation with a music minor.

MV: You married before gradu-ating from college. Was there ever a question of you NOT using your de-gree?

BA: Well, by that time [1951] women were just starting to work out-side the home and since I had the de-gree, I wanted to use it. My husband was very supportive of my decision to work outside the home—to teach. I worked in a small rural school district (Pendergast)—instead of in the Phoe-nix District—because I could make about two-hundred dollars more a year—and as newlyweds, that would be much better to start out with. Teaching at a rural school you had to

be a grade teacher and depending on what other skills you had, you could either teach home economics, art or what have you in the afternoons after the little ones went home at 1o’clock. I ended up quitting before the year’s end because I was pregnant with my first child. In those days you couldn’t be pregnant and teach children. The superintendent of the nearby Cart-wright District came to my home after the baby was born to interview me and said, ‘we need a teacher’ so I went back that fall and taught at Cartwright because it was closer to home.

MV: How many years of teaching did it take for you to feel completely confident in your teaching abilities?

BA: Oh, I don’t know if you ever arrive there…you just keep try-ing new things…see what works and what doesn’t, building on what was successful. I certainly felt gratified in what I was doing because people would come up to me and say, ‘hey, you’re doing a great job here’ and they would share with you the things that they thought were good. If the dis-trict said they needed something new, you’d just say, ‘I can do it’ and we did! You were so busy just taking on new projects, solving the new problems—I never thought, ‘hey, I really have arrived! I know what I’m doing, I’m there!’ because there was always an-other issue around the corner that needed attention. Experienced teach-ers know that they haven’t quite “ar-rived” yet, because there’s always room for improvement and always something more to learn!

MV: Did you have other music colleagues, or teachers to help you ac-complish all those issues?

BA: Not at first. At the start, I was the only music teacher in the dis-

trict. Then when the Cartwright dis-trict began to grow, I was made the arts supervisor and I was responsible for hiring new teachers. In the first few years, I was teaching AND super-vising. That kept me busy. I would teach until 2pm and then I had a couple of hours to go out to several schools and supervise. In our district, K-3 classroom teachers were self-con-tained and we had music specialists for grades 4-8. I would go around and try to buoy-up the classroom teacher as far as her music skills—I did a lot of workshops, put out a lot of materials for classroom teachers and music teachers, made sure they all had classroom instruments and recordings. I was really responsible for making sure that the classroom teacher’s skills in music were kept up and encouraged. I also began to work with other music supervisors from other districts throughout the valley. We would have once-a-month meet-ings where we would share ideas, plan Music Memory Concerts.

MV: With the enormity of the job, did you ever think about quit-ting?

BA: Cartwright District was growing. We were adding two and a half classes a WEEK. Along with the farming community, Cartwright became a bedroom community for the GI’s from the near-by base. The growth was tremendous! The district could hardly build the schools fast enough to accommodate all the stu-dents that were flooding in! We were on double sessions, some schools were on triple sessions [meaning that the same school building would teach K-6 two or three different times dur-ing the day]. I was teaching 7th and 8th graders in a huge auditorium. I think that there were between 70-80 students at a time and you know the

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back rows were rampant and out of control—paper airplanes flying—oh, it was dreadful! Being that I was the music supervisor at the time, I told the superintendent that ‘I am through doing music. I want to quit!’ His reply was ‘oh, no, you just go home for the summer, rest and relax, and I’ll see you back in the fall! You’ll be okay.’ So, he didn’t let me quit, but I wanted to!

MV: What were you doing in the full time supervisory position? Why did you leave?

BA: By the time I left the Cart-wright District, we had nine elemen-tary schools, two junior high schools and I was in charge of all the instru-mental and general music people. I was responsible in coordinating all the Music Memory Concerts [which were larger now because more schools and students were involved]. About this time, I started doing National presentations, workshops, traveling around to places outside the district. This ended up being a time-manage-ment problem for me and I knew I needed to move on.

MV: I learned how to be a music teacher by using “The Music Book.” How did you come to write music text books?

By the time I started writing mu-sical books, I was heavily involved in MENC at the national level and working with the National Com-mittee of Music Instruction: Eunice Boardman, Paul Lehmann, and oth-ers. I had offers to author from Mac-Millan and Holt publishers. Since I had done some MENC Divisional work with Beth Landis, I ended up taking Beth’s place at Holt as she was retiring, and Holt made me a terrific offer. The first textbook I wrote was the 7th grade book of the “Explor-

ing Music” series. “The Music Book” was the title of the edition that came out after I started writing all the other levels. It was the first decent teacher’s guide that was written FOR music and regular teachers alike. The Silver-burdett, Ginn, and MacMillan music books back then were really just song collections and teachers would have to figure out on their own what to do with the music. There were no direc-tions and very few recordings to go with them as well. When Holt hit the market, it had every single thing re-corded: the songs, the listening sam-ples—everything! Decades before, if you were a music teacher—you had your song collections, but you also had to buy all the listening samples on separate recordings—like the RCA “Adventures In Music” series. That was your listening program. Then you, as the music teacher had to somehow put that all together into a cohesive, sequential unit of study. The Holt had all this encompassed for you—it was all there, everything you needed to teach children! It was a great series.

MV: Looking back over your pres-tigious teaching career, what impor-tant events stand out as highlights? What was the most rewarding thing about teaching?

BA: Oh, I remember that it was a lot of work, but I had good train-ing. When I was teaching, I used the Ginn series. I ended up being the one who wrote the teacher’s guides that went along with that series for my district. There were no lessons included in that particular series [at that time] since it really was a song-book. So, I think writing textbooks was when I realized that I had really matured as an educator. I had always been creative, I could always come up with a neat idea, I could always mo-

tivate children. I remember spending my weekends thinking up really neat visuals to go with a lesson or a great activity for kids. However, in working with Eunice at Holt, I had to start se-quencing learning.One learning had to generate another “learning,” this was Eunice’s Generative Approach—she was very big on that philosophy. The state of Arizona teacher’s music guides, working with MENC—and all—really shaped my thinking about music, music education, and how to present it to children. I began to really understand the whole process of how children learn, and how to communi-cate that, and why it was important. I had reached a point where these ideas had solidified for me.

MV: When did you decide to teach on the college level?

BA: I never did seek a job at the college level. The chair of the ASU School of Music called me up and said, ‘Barbara, would you like to come and teach for us?’ At the time, I hadn’t even thought about it—but then I did think about it. I consid-ered how much pressure I was un-der—I had been doing so much for the state of Arizona: writing teaching guides, curriculum etc; writing for MENC—I felt that I wasn’t meeting everybody’s needs, so I thought, why not? I went over and talked with the Chairman and they gave me a con-tract. I had already been teaching a three credit course, “In-service for the classroom teacher” for ASU for sev-eral semesters off campus. They knew my work, knew what I could do and what I was capable of doing.

MV: As a college Professor, you guided new teachers into the pro-fession and helped develop mentor teachers already in the field. What was your biggest challenge working

A M N S P R I N G 2 0 1 2 23

with student teachers and mentor teachers?

BA: I think I was in a fortunate situation. I knew all of the under-graduate music educators and many of the cooperating teachers because they had either taken classes at ASU or participated in workshops I lead—so I knew them. My biggest challenge as a university supervisor was to iden-tify strong teachers in the area—good solid teachers who would provide the best possible role model for these new teachers. I also experienced challeng-es when I had to place student teach-ers with mentors that I didn’t know, and who’s teaching I was not familiar with. That was difficult at times.

MV: How were you able to identi-fy strong teachers? What qualities did they have or what categorizes good strong teachers to you?

BA: Well, for one thing, a strong teacher had control of their class-room so they could spend their time teaching instead of disciplining. They could model classroom control for the student teachers and they were “good people persons”—meaning that they developed good rapport with the student teacher, made them feel confident and were willing to help them. They didn’t just walk off and leave the student teacher hang-ing, but waited until the proper time. They were able to model different teaching approaches and strategies, had skills in lesson planning, in writ-ing plans, and knew how their young students learned best and could relate this to others. I also looked for mu-sic teachers who were in good school districts—districts that had good reputations for treating their teachers well, had good facilities, supported teaching and learning, had well-stocked music classrooms and were

supportive of the music programs. I wanted cooperating teachers who were still growing—those attending workshops; district, state, and na-tional meetings—the teachers who were interested in picking up new ideas and inventive ways of teach-ing—they’d be good mentors because they are still learning and trying to better themselves.

MV: Do you have advice for teach-ing and mentoring student teachers?

BA: You have to remind the stu-dent teacher that they came to school to learn, and in the cooperating/mentor teacher’s classroom, it’s still a learning environment. Student teach-ers need to be reassured throughout the process: encouraged in their abili-ties and acknowledge their improve-ment.

MV: How did you decide on art as a second career?

BA: I always did a lot of art. It gave me a leg up on all my musical things. I could draw and nobody else could. As a result I always had those visual materials in my head. I think all the arts provide for creative, out-of-the-box thinking: how can

you do things differently, how can you change or modify what you see someone else do? It’s the challenge of thinking of a new idea—and then having the techniques to carry it off! I always believed that if I hadn’t done music first, I would have done art, but I’m sure that I didn’t have the maturity as a young person to really pull a career in art off. I don’t think I would have had the reinforcement that music gave me, and the feedback in art wouldn’t have been as motivat-ing as music was for me back then.

MV: Any else you would like to add? Any parting advice?

BA: Teaching is not stagnant. Teachers should continue to grow—learning new, learning differently. You want to grow and get better at your art everyday—whether it is sculpting or teaching music.

Marsha Vanderwerff is a doctoral stu-dent in Music Education at Arizona State University. This is one of several interviews of career teachers in the Arizona Music Educators’ Oral History Project created by Dr. Jill Sullivan. Marsha can be reached at mmvande1@asu.edu.

Retired — but still working for us!

By Warren Dennis

The retired Arizona music educators gathered on Thursday, February 9, to collectively help prepare the registration packets for the 2012 state music educa-

tion conference in Mesa. We separated, alphabetized, collated and filled some-where around 700 packets for the attending membership. We, also, provided daily workers in the registration area to distribute the packets as the members checked in for the conference. My thanks go out to about a dozen retirees for taking your time to help in this important process.

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This was the first year in the past 7 years that I was unable to physically attend the Winter NAMM show in late January. I really missed going not only to see all of the new stuff coming out but to also get away from the 10” of snow here in Carson, WA. Nonetheless, I did do a lot of research for you as always and spoke with a lot of my colleagues who did attend to get their views as well.

Music AppsThe iPad is developing into quite the arsenal for a lot of

things…. including music. I have decided to share some ideas and links with you on my findings.

NoteStar is Yamaha’s™ app for iPad designed to provide keyboard players with the experience of playing with their fa-vorite songs with a real band. The app provides smooth flow-ing, easy-to-read sheet music accompanied by real backing bands and vocals. NoteStar is a free download from the App Store and each song sells for $3.99 USD. It is available im-mediately in 28 countries including the United States, Canada, and the United Kingdom.

Yamaha™ also demonstrated their new, free iPhone/iPad app, Piano Diary, at Winter NAMM 2012. Yamaha devel-oped the app as a tool to both motivate and enhance daily pia-no practice and performance by students, intermediate players and advanced hobbyists alike. Compatible with any MIDI in-strument, it’s designed to help users manage, archive and share piano performances. Piano Diary is a free download from the App Store.

Following are some music app links for iPad, Smartphone,

What’s New In Music Technology 2012:

A Report From NAMM

by Mike Klinger

etc. for you to check out from some of my colleagues:http://almta.org/tech-notes-august-2011/http://coach4technology.net/tabletmusic.htmlhttp://songpier.com/http://www.zenph.com/zenph-softwarehttp://itunes.apple.com/app/avid-scorch/id436394592Other interesting hardware of note for the iPad includes

the new Yamaha i-MX1 $69, is a MIDI interface cable which enables iPad / iPhone to be connected to any MIDI instru-ment. There is no difficult setup, simply connect i-MX1 be-tween iPad / iPhone and a MIDI instrument such as synthe-sizer, electronic drum kit, digital piano before launching the Apps from your iPad / iPhone. You can play and control the Apps sound using the real interface of the instrument.

The Alesis™ I/O Dock $199, is the first device that enables anyone with an iPad or iPad 2 to create, produce, and perform music with virtually any pro audio gear or instruments. The I/O Dock is a universal docking station specifically designed for the iPad and iPad 2, and it gives musicians, recording engi-neers, and music producers the connectivity they need to cre-ate and perform with iPad. Connect all your pro audio gear to virtually any app in the App Store with the I/O Dock.

KeyboardsRoland™ introduced the new F-120 Digital Piano $1299.

I am personally really excited about this keyboard being used for a keyboard lab environment because not only does it contain the new Supernatural ® Piano sounds and the Ivory Feel-G key-board, but it now is able to split exactly in half accommodating two students using the new Twin Piano mode. This essentially means you only need to buy 15 of these for a 30-student lab!

I will be putting together some keyboard lab bundles based on this keyboard. Stay tuned!Roland™ also announced the release of its very first backing keyboard, the BK-5 $999 the latest in a series of Roland mu-sical instruments with intelligent backing-track technology. Other features include 128 polyphony, over 1150 sounds, 60 drum kits, song playback, recorder, rhythm composer, video output, and audio input. USB memory allows for easy audio recording and hosts an embedded rhythm composer lending to both performance and training applications. Backing music

 

 

A M N S P R I N G 2 0 1 2 25

(rhythm, SMF, MP3, WAV) can be pulled directly from USB memory as well.

  M-Audio™ has introduced the new Keystation Mini 32 for only $60. Simply plug the supplied USB cable into your computer or iPad and perform two-hand parts with 32 great-feeling, low profile mini-keys. Perfect solution for school com-puter labs or laptop’s.

Digital AudioAvid™, the leader in digital audio, has a lot of new things

coming down the tube in 2012. As of February 13th, 2012 Avid will reduce it’s pricing on its Pro Tools MP bundles. Pro Tools MP will be reduced from $249 to $99. Mobile Pre + Pro Tools MP will be reduced from $299 to $149. Fast Track Pro + Pro Tools MP will be reduced from $349 to $249 and the Fast Track Ultra+ Pro Tools MP will be reduced from $499 to $399. These are some incredible savings, hope you can take advantage of it!

 

Roland™ introduced their new R-Mix software $199. This incredible software works on either Mac or PC. With R-Mix you can import any stereo recording (WAV), view the elements of a stereo mix as color-coded clouds of energy and frequency matter onscreen, freely select and manipulate any element within a stereo mix like soloing out the voice or guitar from the WAV mix. You can adjust tempo or pitch individually as well or even add reverb to just the vocal only. There will also be a simplified version called R-Mix Tab available as an app down-load.

Best to watch the video on this at http://www.youtube.com/watch?v=6pJgVB4WvFs

Other things of interest

 

Roland™ introduced a new low cost V-drum set called the HD3 at $799. This compact kit is powerful and expressive enough for pros yet fun and friendly enough for beginners, gam-ers, and home-entertainment enthusiasts. You don’t need to be a drummer to enjoy this fun, cool instrument for every home or school.

Add on the new V-Drums Tutor software $59 and learn drumming step-by-step from beginning to inter-mediate levels. Improve your sight-reading with the Notation Screen, and enjoy drumming with Game screen. Enhance the V-Drums experience in the home as well as for private lessons and music schools.

Mike Klinger is the owner and founder of The Synthesis Midi Workshop (www.midiworkshop.com), which specializes in educa-tional training and sales in music technology.

MIKE KLINGERMUSIC TECHNOLOGY

SUMMERWORKSHOPS

2012ESSENTIALS OF MUSIC TECHNOLOGY(Sibelius/Pro Tools)•Redding, CA (Redding School of the Arts)

June 12-15 from 9am-3pm daily.•Salt Lake City, UT (Bryant Middle School)

June 19-22 from 9am-3pm daily.•Polson, MT (Polson High School)

June 26-29 from 9am-3pm daily.•Pasco, WA (McLoughlin Middle School)

July 3-6 from 9am-3pm daily.•Carson, WA (The Mike Klinger Music Technology Retreat Center)

August 7-10 from 9am-3pm daily. Lunch is provided each day.

SIBELIUS 7•Carson, WA (The Mike Klinger Music Technology Retreat Center)

July 24-27 from 9am-3pm daily. Lunch is provided each day.

FINALE 2012•Carson, WA (The Mike Klinger Music Technology Retreat Center)

July 31-August 3 from 9am-3pm daily. Lunch is provided each day.

DIGITAL AUDIO RECORDING USING PRO TOOLS 10•Carson, WA (The Mike Klinger Music Technology Retreat Center)

July 17-20 from 9am-3pm daily. Lunch is provided each day.

MUSIC TECHNOLOGY 2 DAY PRIVATE RETREAT•Carson, WA (The Mike Klinger Music Technology Retreat Center)

Anytime of year!

For more information and registration please go towww.midiworkshop.com or call (800) 248-9699.

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Music In Our Schools Month

Call 1-800-828-0229 or visit www.nafme.org for full descriptions and to place an order.

®

T-shirts – (Short Sleeve), #6507B-I (Adult M–3XL, Youth S–L)Adult $15.00/$11.25 NAfME membersYouth $13.00/$9.75 NAfME members

Poster – Two 11" x 17" full color posters for teachers and administrators to hang in classroom or meeting areas. #6504. $2.00/$1.50 NAfME members

Lapel Stickers – 1-1/2" square colorful stickers with logo for clothes, books, and bags. (500 per pack: 20 sheets of 25 stickers)#6502. $15.00/$11.25 NAfME members

Egg Shaker – 2-1/2" x 1-5/8" white egg shaker with MIOSM logo in black.#6501. $2.00/$1.50 NAfME members

Ruler – 6" translucent ruler in assorted colors with MIOSM logo in white.#6505. $1.20/$.90 NAfME members

Bic® Sticky-notes – Two 3" x 3" lined green pads. #6506. $3.00/$2.25 NAfME members

For today’s students to succeed tomorrow, they need a comprehensive education that includes music taught by exemplary music educators.

Pencils – Set of 12 round,#2 green and yellow pencils (6 of each) with MIOSM logo in green and gold.#6503. $6.00/$4.50 NAfME members Buttons – 1-3/8" round orange and green

buttons with pin closure; MIOSM logo in yellow. (50 per bag).#6500. $10.00/$7.50 NAfME members

Order by February 1, 2012 to guarantee availability.

T-shirts – (Long Sleeve),

#6508B-F (Adult M–3XL)

Adult $16.00/$12.00 NAfME

members

In March 2012, music education becomes the focus of schools across the nation! Take advantage of this opportunity to share your musical ideas and accomplishments with families, friends and communities. For celebration ideas, advocacy materials, and information on the 2012 Concert for Music In Our Schools Month (formerly the World’s Largest Concert), visit www.nafme.org.

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AMEA Directors

Ensembles a Hit!

by Randy Wright

Do You Have Parent, Teacher or Alumni Ensembles At Your School?

On Friday, February 3rd, I had the pleasure of rehearsing and per-forming with the AMEA Direc-

tors Band under the direction of Dr. Tim Lautzenheiser. What a great experience!

With Arizona celebrating its centen-nial this year, the leadership of AMEA determined that it would be worthwhile to assemble a band and choir made up of our state’s music directors and teach-ers. At this year’s Conference we were privileged to have Dr. Tim Lautzen-heiser and Dr. Rollo Dilworth in atten-dance, both of whom agreed to direct the groups, respectively.

Dr. Dilworth, who is Associate Professor of Choral Music Educa-tion at Temple University and a well-known composer, directed the choir in his arrangement of How Can I Keep from Singing. The choral di-rector’s choir also performed a com-missioned work by Dr. James DeMars and Alberto Rios, Turquoise and Thunderstorm.

Dr. Tim Lautzenheiser, known educator, author, and motivational speaker, directed the band’s perfor-mance of American Elegy by Frank Ticheli, ABODA Pioneers by Albert O. Davis, and the specially commis-sioned work, Arizona Centennial Overture, by Dr. Sy Brandon.

We were also very fortunate to have the composers of the Arizona

Centennial works, specially commissioned by the Arizona Commission on the Arts, attend the concert. Arizona Centennial Overture (for band and orchestra) by Dr. Sy Brandon, and Turquoise and Thunderstorm (for chorus) by Dr. James DeMars and libretto by Alberto Rios, are available in multiple difficulty levels and are free to the public from the Arizona Com-mission on the Arts: http://www.azarts.gov/programs/arizona-centennial-projects/

We received many positive comments about the concert. Do you have any input you’d like to share? My sincere thanks to all 120 of you who participated! I also appreciate all the help from David Duarte, Bill Rich-ardson, Kevin Hayward, Matt Henry, and Amanda Estes for making this first-time event a success.

On another subject, have you considered organizing a parent, teacher, or alumni performing ensemble at your school? It could be a once a year event, or held any time that would work with your schedule. You’d be surprised how many musicians would be anxious to perform at one of your concerts as their own ensemble, or along with their students. With the ex-cellent means of communication that most schools currently have in place, getting the word out to potentially interested parties would be relatively easy. Just imagine all the goodwill and smiles created on the faces of your students. Think about it, try it, and let me know how it goes!

Advocacy Materials

Including the

“Make Your Case”Database

Access at

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Ken Tittelbaugh

Marshall Stewart

Ellen Kirkbride George C. Wilson Leadership Award

Marshall Pratt

O.M. HARTSELL EXCELLENCE IN TEACHIMG MUSIC AWARD RECIPIENTS

WM. E. RICHARDSON RETIRED MUSIC EDUCATOR SERVICE

AWARD RECIPIENTS

JOHN C. FARIS HONORED MUSIC EDUCATOR LEGACY AWARD RECIPIENTS

Michael Miller Music Educator of the Year

Jason Barney

RAYMOND G. VAN DIEST ARTS ADVOCACY AWARD

Dr. Tim Lautzenheiser

Mindy Flake Darin Shryock

Richard Ross

Laura Scholten accepting award for Eileen McElwee

Carl Wachsman Randy Wright accepting award for Harvey Zorn

Keith Preston Excellence in Music

Administration Award

Allison Coyle

AMEA Honors Music Educators at the 2012 Convention!

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AMEA Music Educator of the Year

The highest honor bestowed by AMEA, the Music Educator of theYear personifies the goals and visions of AMEA and exemplifies excellence in teaching, leadership, and advo-cacy for music and arts education in Arizona.

Presented to Mr. Mike Miller — Intro-duction by Dr. Walt Timme

Growing up in Kansas, both of this educator’s parents were musicians: Dad, a high school band director and mom a vi-ola, piano and organ instructor. Both par-ents served as church musicians and during services kept a close eye on the little rascal sitting in the front pew: mom from the or-gan and dad as the choir director.

He was an avid little league baseball player and would later coach teams for his own sons. At the beginning of his fresh-man year of high school, the family moved to Arizona. Being a trombone player, he joined the band at McClintock HS with Larry Mabbitt as his band director. He had his fair share of high and low moments during high school. His highest moment was marching with an elite group of fellow band students blindfolded during a half-time show. His lowest, being kicked out of band for a day when he and two friends teepeed the band room and Mr. Mabbitts office. (Did I mention he’s a trombone player?) By the grace of God and an un-derstanding principal who convinced Mr. Mabbitt to let the renegade group back into band, his band career continued.

After high school, this educator moved on to ASU and began a major in some-thing other than music. Well, that lasted a handful of weeks, and back to music he went. After a “de-tour” of duty in the Army National Guard Band at Ft. Ord, California, he returned to finish his degree at ASU where he performed in the Sym-phonic Wind Ensemble, Concert Band and Jazz Band. He was also an active mem-ber of Phi Mu Alpha, Kappa Kappa Psi and Student MENC.

1974 was full of challenges and elations for this future educator. Finishing up his Bachelor of Music in Instrumental Music Education, he did his student teaching at Central High School in the fall of ‘74,

graduated in December and got married to his sweetheart over winter break (to love, honor, cherish and move the damn harp). I’ll let you decide for yourselves about the highs and lows of that year.

After working as a substitute teacher, he began a career in the Mesa Public Schools in the fall of 1975. He started out at Adams Elementary, then moving on to Powell Junior High and then to Mesa High School where he spent 20 glorious years.

This teacher is currently completing his eighth year as the band director and Co-Department Chair at Saguaro High School in the Scottsdale School District where he is also the Lead Band Teacher. Aside from his day job, this teacher has served as senior choir director at three major churches, as well as director of Adult and Senior Hand bells.

He has been a staff member for the Arizona Ambassadors of Music since its inception in 1987. He has served as a clinician and guest conductor at all lev-els of honor ensembles throughout the state as well as serving as an ABODA adjudicator for marching band and con-cert band and orchestra festivals. When it comes to serving in state leadership, is there any position this teacher hasn’t held?

ABODA: President (two Terms), Vice President High School Band Activities, Vice President Elemen-tary/Jr. High Band ActivitiesAMEA: President, Vice President High School ActivitiesMore than 20 years serving as a Re-gional GovernorMENC: Western Division Presi-dent, National Conference PlannerHe currently serves as the audition

and festival coordinator for the All-State Honor Band.

It was inspirational to read what his colleagues had to say about him: “He is a master teacher. I remember being im-pressed at how easily he could deal with all sorts of situations, and how it seemed that he always knew exactly what to tell a student or how to explain something that made that student “get it” in an in-

Paul Manz

Tara Kissane

Chuck Booth

Renee Shane-Boyd

CAREER IN TEACHING MUSIC AWARD RECIPIENTS

A M N S P R I N G 2 0 1 230

stant. ~ Scott Burgener“During the final year of my under-

graduate studies at ASU, [he] served as one of my mentor teachers. From the moment I walked into his band room at Saguaro High School, I felt welcome and respected. After one particular class a couple of weeks into my internship, I sat down in his office with what must have been a dazed look and he said, “If you’re not totally exhausted after every class you teach, you’re not doing your job. Keep it up.” ~ J. Todd Livingston

Not only is he the consummate mu-sic educator, he is a devoted husband to his wife, Karen; a wonderful father to his daughter, Kristen, and sons, Kristo-pher and Kroy; and a doting grandfa-ther to his two granddaughters, Sydney and Londyn. It’s my honor and privilege to introduce this year’s Music Educator of the Year, Mike Miller.

AMEA Career in Teaching Music Award

This award is designed to recognize those of our colleagues who have devoted the majority of their professional live to the service of music education in Arizona. It recognizes the longevity and dedication of individuals who have made selfless contri-butions to the educational lives of Arizo-nans for 25 years or more.

2012 RecipientsChuck Booth, Tara Kissane, Paul

Manz, and Renee Shane-Boyd

The O.M. Hartsell Excellence in Teaching Music AwardThis award is named for the 1963-

1965 AMEA President and is given to those members who have demonstrated exceptional ability as a teacher of music.

Alli Coyle was born in Albuquer-que, NM. She currently resides in Tuc-son, AZ and is director of bands at Rio Rico High School in Rio Rico, AZ. Alli earned her BME in 1999 and a Masters Degree in Wind Band Conducting in 2004 both from the University of Ari-zona. Alli is currently the Fine Arts De-partment head at Rio Rico High School and is also the Band Coordinator for

District #35. She has taught band, or-chestra, guitar, music theory, and choir at several schools in Southern Arizona. She is currently in her sixth year at Rio Rico High School where she teaches music theory, marching band, color guard, symphonic band, jazz band, and sponsors the school Tri-M chapter. The Rio Rico Marching Hawks represented Arizona in the 2007 National Memorial Day Parade in Washington, D.C.

Outside of school, Alli has been a guest conductor for Southern Arizona Honor Band and the Rio Rico/No-gales Unified Middle School Honor Band. She helped organize the first ever Santa Cruz Valley School District 5th grade band festival, and has adjudicated middle school bands in the Sunnyside School District. Alli is currently in her third year as the South-Central Region Solo & Ensemble chair, and first year as AMEA Member-at-Large.

She has been an active member of AMEA, ABODA, and the National Band Association since graduation, and is proud to be an honorary member of Kappa Kappa Psi and Tau Beta Sigma. Alli plays the bari saxophone in the Arizona Symphonic Winds. In any free time she can find, Alli enjoys distance running, playing with her dogs, and hanging out with her husband.

Mindy Flake is a graduate of Brigham Young University with a BME in 1990. While there she was involved with the Concert Choir and BYU Sing-ers, and was able to work with Mack Wilberg and Ron Staheli. Mindy is the choir director at Snowflake High School, an outstanding musician and her choirs reflect her professionalism and dedication.

There is a passion and joy that radi-ates from Mindy and her students feel it and want to be a part of her program. When you attend a performance at Snowflake High School you know it is going to be great. There are almost 200 students in the Snowflake High School Choir program and this is because of Mindy and her dedication to music.

Her choirs have performed through-out the state receiving Superior ratings

at state and local festivals. Mindy has many of her students make the Region-al and All State Choirs. Her Madrigals Choir has won a National Award and placed 1st at a FAME competition.

Mindy has served in many capacities in the Northeast region. She is currently serving as the High School Choir Chair. She finds time to dedicate herself to the school, community and the region serv-ing in any way possible and always does what she can to make a musical experi-ence the best possible for her students. She has helped direct many musicals for Snowflake High school and participated in many local musical events as well. She is truly an example of a great music educator.

Marshall Pratt received his BA in Music Education from the University of Texas El Paso, and an MA in School Ad-ministration from Western New Mexico University. Marshall has been teaching for 26 years: 21 years in Show Low hav-ing taught every grade level K-12, and the first five being in Silver City, New Mexico. He continues to perform play-ing with the White Mountain Sympho-ny. Marshall has been the band director at Show Low High School since 1991. He has served the community of Show Low and the students of Show Low High school in a most diligent way. He has taught numerous students who have since gone on to pursue careers in mu-sic and play in various groups. He has taught Marching and Concert Bands and his groups are among some of the best in the White Mountains. His bands have been the recipients of many awards at state and regional music festivals.

Marshall has served multiple terms as the Northeast Region as Regional Governor, HS Band Chair and as Mem-ber-at-Large for AMEA. In addition, he has served numerous times as an adjudi-cator for the Northeast Region JH Large Group Festival, as well as conducted the Northeast Region JH All Region Honor Band. When you walk into Marshall’s classroom there is an excitement and enthusiasm for music. He also has a very successful guitar program that has grown from one class 20 years ago, to a

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waiting list for at least 3 classes.Richard Ross received his Bachelor

of Music and Applied Vocal Perfor-mance degrees from Nebraska Wesleyan University, and the Master of Music in Choral Music and a Post-Bac Certifi-cate from Arizona State University. He also holds an Educational Specialist and Leadership degree from Nova Southeast-ern University. Rick has been employed with the Paradise Valley Unified School District for 21 years. He is currently in his 10th year at Shadow Mountain High School. In 2010 his choir was selected to perform at the AMEA Conference, his choir students consistently demon-strate the influence and strength of his highly effective pedagogy and continue to place in Regionals, All State Choir and All State Jazz and Show Choir.

Rick is a strong advocate for music education in the PVUSD and supports advocacy at the local and state level. He is currently involved in several commu-nity initiatives. Rick is viewed as a leader among his peers, is often taking time to coach or encourage a colleague, and still manages to keep his professional priorities focused on students and their learning. Rick possesses a keen under-standing of effective instruction and has the ability to reach almost every type of student learner, allowing every student in his class to experience success. He is a master teacher and consistently dem-onstrates his ability to plan effective lessons, maximize student engagement, and to modify instruction as needed maintaining a high level of student in-terest in music making.

Darin Shryock received his B.S. Education in Vocal Music at Black Hills State University (South Dakota, 1986), and a M.M. in Choral Conducting at ASU (1989). Darin has been employed with the Tempe Union High School District at Marcos De Niza High School for over 20 years, while also serving in many capacities on the ChoDA Board. For the past ten years he has been the All State Choir Accompanist, where guest clinicians give him high praise for his musicianship, talent, and technique.

Darin’s choral program is known

for their Jazz and Chamber choirs with many superior ratings. His students are well represented in Regionals and All State Choir, and All State Jazz and Show Choir. Darin has served 6 years as the Arizona All-State Vocal Jazz Chair and 4 years as ChoDA Vice-President for All State Jazz/Show Choirs.

The John C. Faris Honored Music Educator Legacy

AwardThis award is named after the first

AMEA Executive Director and recognizes those outstanding Arizona music educa-tors who served ably prior to 1989.

Eileen McElwee — It is our plea-sure to posthumously present this award to Eileen McElwee Gonzales. Eileen was the band director for many years during the 70’s and 80’s at Roosevelt School in Phoenix. Her performance groups were quite active in many festivals and pa-rades. They always presented themselves well and fed into the band program at South Mountain High School. Eileen not only did good work at her school but was also a leader in ABODA and AMEA. Upon retirement, Eileen moved to Payson to live out her “golden” years. However, not long after she moved, she discovered that the strings program in the Payson schools had been eliminated. This didn’t suite her. She came out of “retirement” as a volunteer teacher and taught strings for a number of years af-terward until her passing.

Carl “Chuck” Wachsman graduat-ed with a music degree from Dickinson State College of North Dakota. He then migrated to Arizona State University to work on a Masters Degree. Chuck start-ed his conducting in Arizona as Choir Director at Aldersgate United Method-ist Church in 1965. He assumed the position of Choral Director/Teacher at Phoenix Central High School in 1966. During this time he also directed the McConnell Singers at Phoenix College. In 1967 he became choir director at the First Presbyterian Church in Phoenix.

Chuck was quite active in AMEA. He served as President of the Choral Di-rectors of Arizona as well as serving on a

number of associational committees. In 1970, he left Phoenix to become Direc-tor of Choral Activities at Pima Com-munity College in Tucson, a position he held for 8 years. Chuck then became the Dean of Fine Arts at Pima, a post he held for 20 years. He was also a church choir director for much of that time.

Harvey Zorn, our honoree, was born in New Orleans. He was a Captain in the Army Air Corps during World War II where he was a flight instruc-tor. He received his Master of Music degree from the University of Illinois. Harvey came to Phoenix in 1946 from Pasadena, CA where he was principal oboist for the Pasadena, CA Orchestra, and the Glendale CA Symphony Or-chestra. In Phoenix, he became the Di-rector of Bands at Phoenix Union High School remaining there until the early 60’s. During this time he directed the Marching Band, the Concert Band, and the All Girls Band. He then became the first Band Director at Phoenix Central High School when it opened.

In addition to his school work, he was also the Principal Oboist of the Phoenix Symphony Orchestra for 15 years. He was also a member of the sym-phony Board of Directors. He devel-oped such a good reputation for making special oboe reeds that many profession-al oboists would have him make reeds for them. In addition to his music di-recting, he continued his love for flying. He had a 2-seater aercoupe and would fly to the various airports around Ari-zona. Our source felt lucky to go along on these flying trips, and since he was a former Aviation Cadet, he’d get “me” to do some of the piloting too. It is our pleasure to posthumously present this award. Our honoree passed away at the age of 74.

William E. Richardson Retired Member Award

William E. Richardson came to Arizo-na from South Bend, Indiana, he built the instrumental music program at Palo Verde High School in Tucson where he retired as Band Director. For many years, he was the Chairman of retired member activity in AMEA. This award recognizes those re-

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tired members who continue to give faith-ful service to the organization.

Marshall Stewart received his Bach-elors of Music in 1969 and a Masters of Music in 1974, both from the Universi-ty of Arizona. Marshall began his career in Ajo in 1969 as the one and only band director, and the 7th & 8th grade gen-eral music teacher. In 1978, he moved to Tucson to teach at Marana High School teaching Band, Jazz, Guitar, and for a while, Orchestra and Choir. In 1989, he transferred to Mountain View High School (Marana District) where he taught Band, Jazz, Music Theory and was the Fine Arts Department Chair.

Since retirement, Marshall has done AMEA Adjudication Workshops throughout the state, been the exhibit chair for the annual AMEA in-service conference, the music chair for the Parada de los Vaqueros (the Tucson Rodeo parade), organizing marching bands and other musical performances connected to the parade. Marshall has served as an adjunct faculty member for the University of Arizona working with student teacher observations and teach-ing brass techniques and materials, and at for Pima Community College teach-ing “Popular Music in America” and “Exploring Music.” Marshall has been a Regional Band Clinician, an adjudica-tor for ABODA concert festivals, an ad-judicator for Arizona Pageant of Bands. He still finds time to play trombone in the St. Andrews Presbyterian church or-chestra.

Ken Tittelbaugh received a Bach-elors Degree in 1962 from Otterbein College (Ohio), a Masters Degree in Ed-ucation from United Theological Semi-nary in 1967 (Ohio), completed gradu-ate studies at Wright State University, Miami University, & the University of Arizona. Ken began his teaching career in Dayton Public Schools as a long term substitute and eventually taught full time from 1970-76 at Paul Lawrence Dunbar H.S. and Carlson Elementary School. In 1973-76, he co-directed the All-City Jazz Band with professional trombonist, Mitchell “Booty” Wood. In 1976, he moved his family to Nogales,

AZ, becoming Director of Bands and teaching guitar along with band and jazz classes. While on sabbatical leave, he studied at the University of Arizona (1987-88), taught music part time at Salpointe H.S. and St. Gregory Prepa-ratory School. In 1988, he returned to NUSD to teach band, jazz, & choir at Pierson Middle School for 3 years be-fore returning to Nogales H.S. to teach piano lab and band. He was also the District Music Coordinator for 4 years until retiring in 2001.

Ken was a recipient of an “Out-standing High School Faculty Award” sponsored by University of Arizona and the Circle K Corporation in 1999 and in 2001was the recipient of the “Jazz for the Next Generation Award” spon-sored by and presented at the Sedona Jazz On the Rocks Jazz Festival. Since retirement, Ken has been busy doing the following: coordinator for the West-ern Region International Assoc. for Jazz Education (IAJE), band and jazz teacher in the Patagonia School District for 4 years, permanent substitute for Sahuari-ta H.S. during the fall semester of 2009, chair of board for the Charles Mingus Hometown Jazz Festival, Director of the “Basie Band” at the Arizona Jazz Acad-emy 2004-06, Assistant Music Chair for the Tucson Rodeo Parade Committee, Director of Big Band Sounds of Green Valley, and a member of Sanctuary Choir and Brass Ensemble at Catalina United Methodist Church. With all of this, Ken still has time to spend with his wife Ila, two sons, their spouses and three granddaughters.

The Excellence in Music Administration Award

This award is given in recognition of demonstrated leadership concerning music instruction within schools.

Dr. Keith Preston received his Bachelor of Music in 1978, a Master of Secondary Music Education in 1986, and a Doctor of Musical Arts in 2006 (Dissertation topic: “William Francis McBeth: Composer, Conductor, Music Educator.”) all from ASU. Keith began his career at Superior High School from

1978-82, Taught elementary band in the Gilbert Public School from 1982-84, Trevor G. Browne High School, 1982-1997, Peoria High School, Peo-ria, AZ, 1997-2002 and currently is Fine Arts Coordinator, Paradise Valley Unified School District. Keith’s respon-sibilities as Fine Arts Coordinator have been vast and varied. The PVUSD has 47 sites, all of which have a defined fine arts curriculum. Keith works directly with principals in hiring and evaluating teachers, scheduling, program develop-ment, public relations, and marketing a well-established fine arts program. As a result of his recruitment and hiring, all of PVUSD’s fine arts teachers are highly qualified and appropriately certi-fied. This requires strong organizational skills to balance schedules and person-nel needs. He provides leadership and guidance for all stakeholders as he is at the helm of a very large district-wide program.

Keith also works closely with fine arts teachers to provide district-wide consis-tency with curriculum and instruction for all programs. He provides mentoring and support for school and district-wide programs and productions, carefully managing a sparse budget to provide equity for school programs. Keith works collaboratively with school leaders of music, drama, dance, and art programs to develop opportunities for increased student and parent participation. As a member of school, community, state, and national arts organizations, Keith serves as a liaison between PVUSD and arts education at all levels. Heprovides opportunities for teachers and stu-dents to reach beyond their classroom experience through partnerships with community-based organizations. Keith’s outreach to showcase the Paradise Valley arts programs has included an All-Arts Festival, participation in the New Hori-zons exhibition, a Faculty Art Show and an annual Empty Bowls event to benefit the local food bank.

Cindy Daly, the Director of Curric-ulum and Instruction for PVUSD says, “I depend on Keith to have the knowl-edge and skills to collaborate on projects

A M N S P R I N G 2 0 1 2 33

and initiatives that support and enhance our arts education curriculum.

He takes on new challenges and extends the impact of the fine arts cur-riculum. He takes the necessary time to create solid foundations, understand complex situations, analyze circum-stances, and proceed with the proper direction that supports and results in student growth and achievement. I ap-preciate Keith’s openness, consistency, and positive attitude.”

The Raymond G. Van Diest Music Advocacy Award

This award is named for the long-time music consultant to the Arizona Depart-ment of Education. An active voice in AMEA activities, Ray always was the driving force behind governmental rela-tions and advocacy for music and the other arts in Arizona. It is presented to someone outside of the music education profession for extraordinary efforts made in the area of advocacy.

Jason Barney — On December 11, 2009 attended a concert at Gilbert High School, during the concert he learned about possible cuts to the Elemen-tary Music program in Gilbert Public Schools. Within 24 hours he had set up a website, scheduled a meeting with the Superintendent and organized a group of like minded parents. Since that time, he has worked tirelessly to keep the state of the music program front and center with the Gilbert Administration and School Board. The Gilbert Music Mat-ters website he developed and maintains, is a testimony to his dedication. The site not only contains information on Music Advocacy, but also displays the pride of Gilbert — the music department in all it’s glory. With hundreds of parents in an email database, Jason is able to keep them up to date with the state of music in Gilbert. Despite cuts to the program, he continues to pursue a reinstatement of the program to past levels. His under-standing of how to develop relationships and then pursue a cause within those re-lationships has led to a close working re-lationship with the Superintendent and several school board members.

Gilbert Public Schools students and music educators appreciate Mr. Barney for his dedication and perseverance. In a passionate letter on the Gilbert Mu-sic Matters website, Mr. Barney states; “The greatness of nations and commu-nities is built in part on the greatness and dignity of its art, music, culture, and general creative spirit. In a world where arts and culture is not just declin-ing, but becoming more negative and degrading, school music programs are the only access many young people have to the art forms that can and should elevate and inspire them, and enable them to perpetuate the greatness older generations have been blessed to know. To me, that is a stewardship for which we should all be accountable.”

Dr. Tim Lautzenheiser is a gradu-ate of Ball State University and the Uni-versity of Alabama. He was awarded an Honorary Doctorate Degree from VanderCook College of Music. Addi-tional awards include the distinguished Sudler Order of Merit from the John Philip Sousa Foundation, Mr. Holland’s Opus Award and the Music Industry Award from the Midwest Clinic Board of Directors. Tim is dedicated to mu-sic education and advocacy, which is practically his middle name. Over the years as a band director and educator, he has been asked to provide clinics to assist teachers and administrators with the role of increasing the ranks of music makers. He was also an early supporter of recreational music making and was a promoter of many of the advocacy ma-terials created by NAMM, AMC, and others. Dr. Tim Lautzenheiser has made a large impact to the Musical Student Leader of Arizona and the Music Edu-cators of Arizona and all across the Na-tion.

George C. Wilson Leadership/Service AwardGeorge C. Wilson served in 1939 as

the first President of the Arizona Music Educators Association. After serving on the faculty of the University of Arizona he became the Director of the National Music Camp at Interlochen, Michigan. Dr. Wil-

son came back to Arizona from his home in Ann Arbor, Michigan to celebrate the 50th Anniversary of AMEA in 1989. This award is presented to a member who has rendered an exceptional amount of service with demonstrated strong leadership in the Association.

Ellen Kirkbride received the Bach-elor of Music (1990) and Master of Mu-sic (1999) degrees from the University of Arizona. Her teaching positions have been:

1990-1999: Centennial Elementary School (Flowing Wells School District)-K-6 general music and elementary band and choir. Flowing Wells High School-Assistant High School Band Director.

1999-2011: Mountain View High School (Marana Unified) Band Direc-tor.

2011 to present: Flowing Wells High School-Band Director and Fine Arts Chair.

Ellen served as South Central Region Governor, All-Regional Band Chair and Solo and Ensemble Chair, Ad judicator for All-State Low Reeds; and Clinician-Southern Arizona Honor Band.

She has served AMEA in the follow-ing positions:

2003-2005: Secretary2005-2007: President Elect2007-2009: President2009-2011: Immediate Past Presi-

dent,She has served NAfME from 2010

to present as Western Division Presi-dent-Elect. Her committee work for NAfME has included being on the In-terview Committee for the candidates to be selected to be on the ballot for the National Assembly to vote for President Elect of NAfME. Ellen has graciously spent the past four summers represent-ing AMEA/NAfME in Washington, DC doing presentations to the House and Senate Representative of AZ that explain the need to have music and all arts treated as a core subjects.

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2012 All-State Choir ConductorGeoffrey Paul Boers

Geoffrey Boers is Director of Choral Activities at the University of Washington in Seattle, where he is the Mary K. Shepman Endowed Professor of Music. Under his direction, the choral program at the University of Washington has developed into a community of some fifteen graduate choral conductors each year, as well as nine ensembles conducted by four faculty and many graduate students, with nearly 600 singers participating. Geoffrey conducts the UW Chamber Singers, the University’s premier ensemble of graduate and advanced singers. He also teaches graduate choral conducting and choral pedagogy, and serves as faculty advisor to the choral community at the University. He is the recipient of the University of Washington’s prestigious Royalty Research Foundation Grant, which allowed him to travel to the Baltic region and to establish the UW Baltic Choral Music Library, the first of its kind in the United States.

Geoffrey maintains an active conducting, teaching, workshop and clinic schedule. Through his teaching he is exploring the evolution of the conducting gesture, its connection with empathy, perception, learning , and the neuro-science of mirror neurons, and considering its relationship with regard to breath, movement, spirit, artistry, personal growth, and cultural development. Recently, his work has led to the development of local choral cohorts of teachers and conductors interested in ongoing mentorship and musical development, who themselves develop programs of mentorship and learning based in these teachings.

In addition to his position at the UW, Boers is the conductor of the Tacoma Symphony Chorus and will lead this choir on a concert tour to Germany, Czech Republic and Austria in the summer of 2012.

2012 All-State Orchestra Conductor Dr. Mark A. Laycock

Dr. Mark Laycock is an Associate Professor of Music at Wichita State University, where he holds the Ann Walenta Faculty of Distinction Endowed Professorship. He has been recognized with the WSU Excellence in Creative Activity Award (2012) and the College of Fine Arts Excellence in Teaching Award (2007). He serves as Director of Orchestras and Coordinator of Strings. WSU Symphony Orchestra ap-pearances under his direction include the 2008 International Festival of Youth Or-chestras in Zaragoza, Spain, a May 2011 concert at Carnegie Hall, and multiple in-vited performances at Kansas Music Educators Association In-Service Workshops. Dr. Laycock is a member of the Board of Directors of the Midwest International Band and Orchestra Clinic; he was recently appointed Chair of Orchestra Activi-ties. His work as guest conductor, clinician, and adjudicator spans 21 states, includ-ing the leadership of all-state, regional, and district honor orchestras; recent and upcoming engagements encompass Oklahoma, Illinois, Nebraska, and Missouri, as

well as the all-state orchestras of Arizona, Arkansas, and Washington and the Fulton County (GA) and Clark County (NV) honor orchestras. He was an adjudicator for the 2011 National Orchestra Festival and will be a clinician for the event in 2012. His appearances with professional ensembles include the Wichita Symphony Orchestra, Wichita Grand Opera, and Opera Kansas, as well as orchestras in Slovakia and Canada. Dr. Laycock has presented clinic sessions for state education conferences in Arizona, Kansas, Minnesota, and Oklahoma, as well as at the American String Teachers Association National Conference, the Northwest Division Convention of the Music Educators National Conference, and the Midwest Clinic. He served as Director of Orchestras and Instrumental Music at Chapman University in Or-ange, California, where he led invited performances for the California Music Educators Association and at Disneyland. He was also Principal Conductor of the Irvine (CA) Classical Players, leading the youth orchestra on concert tours to France (2008) and Italy (2006). From 1998-2003, Dr. Laycock served as Director of Orchestral Activities at Iowa State

A M N S P R I N G 2 0 1 2 35

University and was Music Director of the Central Iowa Symphony. Under his leadership, the ISU Symphony Orchestra performed at the North Central Division Convention of the Music Educators National Association and collaborated with such artists as bass-baritone Simon Estes and pianist-composer Marvin Hamlisch. He earned a Doctor of Arts de-gree in orchestral conducting from the University of Northern Colorado. Dr. Laycock holds a Master of Music degree in instrumental conducting from the University of Nebraska-Lincoln and a Bachelor of Arts degree in music history and literature from the University of Southern California. An experienced educator, he was an instructor of strings and orchestra at the middle and high school levels in the Clark County School District in Las Vegas, Nevada.

2012 All-State Band Conductor Larry Livingston

Larry Livingston is a distinguished conductor, educator, and administrator, and a highly respected motivational speaker. The founding music director of the Illinois Cham-ber Orchestra, Livingston has appeared with the Houston Symphony and in the Los Angeles Philharmonic Green Umbrella Series. He has conducted at the Festival de Mu-sique in Evian, France, and has led the Stockholm Wind Orchestra, as well as the Leop-oldinum Chamber, Chopin Academy, Wroclaw Philharmonic and Academy Orchestras in Poland. He served as music director of the Pan Pacific Festival Orchestras in Sydney, participated as a performer and clinician at the International Jazz Festival in Rome, and conducted an electro-acoustic ensemble in concerts in Tokyo under the auspices of Ya-maha International. Livingston has led the American Youth Symphony Orchestra, the Young Musicians Foundation Orchestra, the USC Thornton Chamber and Symphony Orchestras in Los Angeles and the USC Thornton Contemporary Music Ensemble in

Berlin, and served on the jury for the renowned Besancon International Conducting Competition in Besancon, France.Livingston frequently appears with professional, festival, collegiate, and all-state wind ensembles, bands, and orchestras

throughout the United States, Europe, Australia, and New Zealand. From 1983 to 2002, he served as a conductor in the Uni-versity of Michigan All-State Program at Interlochen, has been conductor of the Festival Orchestra at Idyllwild Arts since 1989, and is the music director of Music for All’s National Honors Orchestra. He has served as a clinician for the University of North-ern Colorado Conducting Symposium, a keynote presenter at the Fine Arts Institute in Tucson, and is an Ambassador for the Fischoff National Chamber Music Competition. Since 2004, Livingston has toured with the famed Landes Jugend Orchester, served as clinician and guest conductor at the College Band Directors National Conference in Alice Tully Hall, led All-State Ensembles in Colorado, Arizona, New Mexico, Oregon, and Texas, where he appeared for the sixth time, a record unmatched in Texas All-State history. He has also twice conducted the George Enescu Bucharest Philharmonic Orchestra in Romania. In 2008-11, Livingston will direct the Thornton Symphony and Chamber Orchestra, guest conduct the Thornton Wind Ensemble, serve as the principal Juror for the Third Annual Winnipeg Symphony International Conducting Symposium, and conduct the All-State Orchestras or Bands of Arizona, Florida, Tennessee, and Texas.

Holding baccalaureate and master’s degrees from the University of Michigan, Livingston completed PhD coursework in theoretical studies at the University of California, San Diego. He studied conducting and interpretation with Laurence Liv-ingston, Elizabeth Green, William Revelli, Rafael Druian, and Herbert Zipper. In 1988 he received the Alumnus of the Year Award from the University of Michigan School of Music. Livingston served as vice president and music director of the New England Conservatory of Music in Boston, where he was also conductor of the Symphony Orchestra and Contemporary Music Ensemble, and, subsequently, became dean of the Shepherd School of Music and Elma Schneider Professor of Music at Rice University in Houston. From 1986 until 2002, Livingston served as dean of the USC Flora L. Thornton School of Music, where he is currently chair of the conducting department and music director of Thornton School orchestras. The first music administrator accepted into the Harvard University Executive Education Program, he is a recipient of the Life in the Arts Award from Idyllwild Arts and an Outstanding Teacher Award from the student chapter of the USC Center for Religion.

As a motivational speaker, he has established a national reputation for inspiring presentations to corporate and business leaders across the United States. From 2002 to 2007 he was a member of the Board of Directors of the Guitar Center, for which he now serves as director of educational initiatives. Also, at the request of Quincy Jones, Livingston now chairs the Education Committee of the Quincy Jones Musiq Consortium.

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