Sigma Alpha Iota

sai-national.org • WINTER 2016 • PAN PIPES 29 Question 18: When you finish your career in music what is the legacy you want to leave behind? Jonas: I would hope that my students and colleagues would remember me as someone who was giving of time and talents, was willing to collaborate, and who benefited in their lives as a result of my interaction with them. It would be nice to be remembered for a certain level of artistry, ability level, and knowledge, as well. I would want people to say, "ere goes Jonas oms; he was an asset to the community." Sonja: I want to equip musicians and arts managers/educators to bring music to all peoples in a way that respects their diversity and challenges them to be expressive and responsible citizens. I would want people to say, "ere goes Sonja (oms) Winkler, who pursued providing music for every life." Jason: I don't know that my legacy will be determined by me, but I believe that my legacy will include teaching people to be better human beings through the medium of choir and music. I would want people to say, "ere goes Dr. J, the person who taught me how to make a difference in my world." CONCLUSION My grandfather was a professional singer during the 1920s-1950s, my father was also a professional singer from the 1940s-1980s, and I have been a teacher of English and music, a school administrator who supported the arts, and a composer from 1970s-until now. I have seen one generation move on to the next, one retires and another emerges, and that there is a span of time when there is an overlapping as one wanes and the other emerges. I now see my career as a composer and educator gradually coming to an end and my three grown children now taking on the mission of classical music in America with a fervor and zeal that is extraordinary. e future of classical music in America is strong because of the daily and personal efforts of teachers, performers, and administrators like my grown children, who in their own sometimes inconspicuous yet imaginative ways, quiet yet persistent actions, and patient yet fearless commitment, are creating a "dissident movement" and "parallel structures" so that someday classical music may emerge as a more transformative force in our American society. As Henry David oreau wrote at the end of Walden, "ere is more day to dawn. e sun is but a morning star." By pulling back the curtains and opening the windows wide, we can let that light in now, and let in the bright future that awaits us. Hollis Thoms, composer and researcher, has had a number of articles published in PAN PIPES. He has written over 100 musical works for a variety of ensembles and has over 30 published articles in educational journals. In addition to a graduate degree in educational administration and years as a teacher and school administrator, he has a Master's degree in Composition from Northwestern University and finished the course work for a PhD in Composition from the Eastman School of Music. He has been the recipient of numerous fellowships, including the Joseph Kingenstein Fellowship to Columbia University and the Alden B. Dow Creativity Fellowship, was a Fulbright Exchange Teacher to Scotland, and was selected to participate in the Summer Institute for Principals at Harvard University. MODERN MUSICIAN SURVEY Networking can oen be purely fate. However, if you don't put yourself out there, fate will never find you! 3. See how awesome your students truly are. As with many state NAFME conferences, ours in Massachusetts features multiple auditioned ensembles. Seeing your students experience a new conductor alongside their peers of equal ability with the culminating performance opportunity helps remind you of just how amazing they really are. You get to witness a truly life changing experience for your students, which then in turn reminds you of that moment you realized how powerful this whole music thing really is. It is very humbling to know that you helped play a role in the journey your student is getting to take. 2. Professional camaraderie. I had mentioned that social time with friends and colleagues a few points back and linked it to networking. While yes, networking certainly can and will happen, this social time together provides a significant amount of camaraderie between us all. We go through periods in our careers where we struggle in various capacities--tough administration, district financial woes, tough students--the not so pleasant parts of teaching. And, on the other hand, we go through fantastic periods that we wonder if they're too good to be true. Whether it's a struggle or a celebration, having this time together provides a huge sense of validation for what we do because we realize at that moment that we really aren't alone with the various emotional and professional states of our careers. If anything, we feel far more normal as we realize that the vast majority of our colleagues have experienced or are experiencing what we are. 1. Inspiration for what you do. I personally cannot wait to go back to school on Monday aer our state conference and put into practice all that I learned in the three days prior. New warm-ups for my choirs, new ways to access technology for my History of Rock and Roll classes, and new ways for me to stay (well, get better at!) organized and manage my time efficiently are just the tip of the iceberg of my inspiration. Hearing the keynote speaker and relating to what he or she has said, having that "light bulb" moment in a session, and leaving wanting more is what makes attending a professional conference so important for me. I always feel refreshed, rejuvenated, and above all, happy to be doing what I'm doing for my career. Why not take time out to redefine our love for our careers and passions? Stephanie Riley is an initiate of the Gamma Delta Chapter at SUNY Potsdam and currently a member of the Boston Alumnae Chapter. A passionate music educator, Stephanie teaches 8-12 choral music on Cape Cod and is a member of the MMEA state board. CONFERENCE from page 19

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