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Maine DOE Framework for Reopening (7/31/20)

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Maine DOE Framework for Reopening (7/31/20)

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https://www.maine.gov/doe/framework

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Maine CDC Reopening Public Health Guidance (7/31/20)

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Maine CDC Reopening Public Health Guidance (7/31/20)

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Embedded in Maine DOE Framework

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The resources on this page were provided by diverse NAfME members, NAfME corporate members, and various third-party organizations to support music educators as they navigate unprecedented challenges related to the pandemic, from the need for teacher self-care to tips and considerations for teaching online.

Make sure to also see the following resources from NAfME:

About this site: Third-party resource links on this site are being provided for informational purposes only; they do not constitute or imply the endorsement or recommendation by The National Association for Music Education (NAfME) of the third-party or the contents of such third-party websites. Because NAfME does not have any control over such third-party websites, NAfME is not responsible for the content of linked third-party sites and does not make any representations regarding the content made available on such third-party websites. Unless specifically noted, the views expressed in these media do not necessarily represent the policy or views of the Association, its officers, or its employees.

If you see a resource that needs updating, please let us know. Contact: memberservices@nafme.org.

Online Resources

The third-party resource links are being provided for informational purposes only; they do not constitute or imply the endorsement or recommendation by The National Association for Music Education (NAfME) of the third-party or the contents of such third-party websites. Because NAfME does not have any control over such third-party websites, NAfME is not responsible for the content of linked third-party sites and does not make any representations regarding the content made available on such third-party websites. Unless specifically noted, the views expressed in these media do not necessarily represent the policy or views of the Association, its officers, or its employees.

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Virtual Learning Resources for Music Educators - NAfME

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This resource page has webinars and other virtual learning resources to help music educators during extended school closures.

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Laptop Ergonomics - Basic Tips - Adult or Child Laptop Use at Home, Work or School

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Request 5% of federal funds to go toward states for education  (up from the current 2%)
1. Tell your education story.
2.  Use the #5Cents4EdFunding
3.  Tag our legislators:
@SenatorCollins @SenAngusKing
@ChelliePingree @repgolden
4.  Write your hometown so they know you are a constituent.
Sample statements can be found in the document.

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COVID-19 Instrument Cleaning Guidelines

By NFHS, NAfME and the NAMM Foundation on April 24, 2020 music directors & adjudicators article Print
COVID-19 and Instrument Cleaning
The NFHS, NAfME and the NAMM Foundation recommend the following guidelines for handling musical instruments during the COVID-19 school shutdown period. These guidelines are designed for use by music educators and educators may use these guidelines when teaching students and parents how to clean instruments.
Sterilization vs. Disinfection
There is a difference between sterilization and disinfection of music instruments. Sterilization is limited in how long an instrument will remain sterile. Once an instrument is exposed to air or handled it is no longer sterile. However, disinfecting an instrument to make it safe to handle will last longer and is easier to achieve. COVID-19 like, most viruses has a limited lifespan on hard surfaces. Users of musical equipment may be more susceptible to infections from instruments that are not cleaned and maintained properly, especially if they are shared school instruments.

If the cleaning process is thorough, musical instruments can be disinfected. Basic soap and water can be highly effective in reducing the number of harmful bacteria and viruses simply by carrying away the dirt and oil that they stick to.

The NFHS, NAfME and the NAMM Foundation received information from the CDC which suggest the COVID-19 virus can remain on the following instrument surfaces for the stated amount of time:

Brass - Up to 5 Days
Wood - Up to 4 Days
Plastic - Up to 3 Days
Strings - Up to 3 Days
Cork - Up to 2 Days

The CDC recommends general cleaning techniques for instruments that have not been used or handled outside of the above timelines. Essentially, if students are picking up instruments for the first time since school has been closed, those instruments will not need more than general cleaning as stated below.

If distributing instruments for the first time since schools have closed, the NFHS and NAfME recommend, out of an abundance of caution, that all cases be sprayed with an aerosol disinfectant.

Additional guidance on general cleaning and disinfection can be found here https://www.cdc.gov/coronavirus/2019-ncov/community/disinfecting-building-facility.html

Before distributing an instrument that has been shared, use of alcohol wipes, swabs, or disinfectant solution
to thoroughly clean both the outside and the inside of the mouthpiece is highly recommended. It is also essential to maintain overall cleanliness via the use of cleaning rods, swabs, mouthpiece brushes, etc., as this is necessary to prevent buildup of residue within the instrument.

For wood instruments any excess amount of liquid can be damaging. Please be judicious and sparing outside of the mouthpiece area that needs cleaning. In addition, certain cleaning products that can be used on the mouthpiece should not be used around the pads associated with a woodwind instrument's keys (e.g. flute, clarinet, saxophone, etc.).
Mouthpieces
Adhering to the following procedures will help to keep mouthpieces and instruments clean and safe for continued use.
Cleaning the Flute Head Joint

1. Using a cotton swab saturated with denatured, isopropyl alcohol, carefully clean around the embouchure hole.

2. Alcohol wipes can be used on the flute's lip plate to kill germs if the flute shared by several players.

3. Using a soft, lint-free silk cloth inserted into the cleaning rod, clean the inside of the headjoint.

4. Do not run the headjoint under water as it may saturate and eventually shrink the headjoint cork.

Cleaning Bocals

1. Bocals should be cleaned every month with a bocal brush, mild soap solution, and running water.

2. English Horn bocals can be cleaned with a pipe cleaner, mild soap solution, and running water. Be careful not to scratch the inside of the bocal with the exposed wire ends of the pipe cleaner.

Cleaning Hard Rubber and Ebony Mouthpieces

1. Mouthpieces should be swabbed after each use and cleaned weekly.

2. Select a small container that will accommodate the mouthpiece vertically and place the mouthpiece, tip down, into the container.

3. Fill the container just past the window of the mouthpiece with a solution of 50% water and 50% white vinegar or hydrogen peroxide. Protect clarinet mouthpiece corked tenons from moisture.

4. After the mouthpiece has soaked for fifteen minutes, use an appropriately sized mouthpiece brush to remove any calcium deposits or other residue from inside and outside surfaces. This step may need to be repeated if the mouthpiece is excessively dirty.

5. Rinse the mouthpiece thoroughly and then saturate with disinfectant solution. Place on paper towel and wait one minute.

6. Wipe dry with paper towel.

7. Note: Metal saxophone mouthpieces clean up well with hot water, mild dish soap (not dishwasher detergent), and a mouthpiece brush. Disinfectant solution is also safe for metal mouthpieces.

Cleaning Saxophone Necks

1. Swabs are available to clean the inside of the saxophone neck. However, many saxophonists use a flexible bottlebrush and toothbrush to accomplish the same results.

2. The saxophone neck should be swabbed after each use and cleaned weekly.

3. Use the bottlebrush with mild, soapy water to clean the inside of the neck.

4. Rinse under running water.

5. Disinfectant solution may be used on the inside of the neck if desired. Place on paper towel for one minute.

6. Rinse again under running water, dry, and place in the case.

Cleaning Brass Instrument Mouthpieces

1. Mouthpieces should be cleaned monthly.

2. Use a cloth soaked in warm, soapy water to clean the outside of the mouthpiece.

3. Use a mouthpiece brush with warm, soapy water to clean the inside.

4. Rinse the mouthpiece and dry thoroughly.

5. Disinfectant solution may be used on the mouthpiece at this time. Place on paper towel for one minute.

6. Wipe dry with paper towel.

Cleaning String Instruments

1. Isopropyl alcohol that's above 70% should only be used on the strings and unfinished finger and fret boards.

2. String, percussion, and keyboard instruments present fewer hygienic issues that can be solved simply by the player washing their hands before and after use for a minimum of 20 seconds.

Other Instruments

Plastic recorders can be washed with warm, soapy water and should be swabbed after each use with a plastic cleaning rod and soft thin cloth. Disinfectant solution and alcohol wipes may also be used.
Choosing a Disinfectant for Musical Instruments

1. Sterisol Germicide Solution can be safely used on plastics, hard rubbers, and metals.

2. Mi-T-Mist Mouthpiece Cleanser can be used on most materials. It is NOT recommended for use on hard rubber mouthpieces.

3. Isopropyl alcohol wipes are safe for most materials. They are NOT recommended for use on hard rubber mouthpieces.

4. A solution made with 50% water and 50% white vinegar or 50% water and 50% hydrogen peroxide can be safely used on plastics, hard rubbers, and metals.

While other potential disinfectants, including alcohol, boiling water, and bleach can be used as general disinfectants, they are not recommended for use on mouthpieces or instruments due to their potential effect on skin, plastics, and metals.

1. Whichever disinfectants are chosen, it is crucial to read the product instructions and follow them closely.

2. Disinfectants do not remove dirt, so mouthpieces and instruments must be cleaned thoroughly before using.

You can find EPA approved disinfectants for COVID-19 here.

You can find other NFHS COVID-19 Resources here.

Click here to download a complete PDF of this document: COVID-19 Instrument Cleaning Guidelines (NFHS, NAfME, the NAMM Foundation)

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By NFHS, NAfME and the NAMM Foundation on April 24, 2020 music directors & adjudicators article Print COVID-19 and Instrument Cleaning The NFHS, NAfME and the NAMM Foundation recommend the following guidelines for handling musical instruments during the COVID-19 school shutdown period.

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Emergency Educational Connections Act of 2020

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Emergency Educational Connections Act of 2020

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Fill out this form to ask our legislators to support providing internet service to socio-economically disadvantaged and rural America.

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Support Music Education in Federal Education Policy

Be Involved With the Legislative Process

Engage Your Members in Congress

Grassroots Action Center Menu

Homework Gap |Your Title IV-A Success Story | Grassroots Advocacy Resources

The 'Homework Gap' is a term referring to the unequal opportunity experienced by students who lack home internet access. Recent estimates suggest between 8 and 12 million K-12 students in the United States are unable to log online for distance learning, and that students from rural communities and racial minority groups are disproportionately affected.

The Homework Gap adversely impacted students long before the pandemic we see today. Without home internet access, millions of students were at a significant disadvantage in completing projects, research, and study, often completing homework using borrowed devices in fast-food restaurants offering free Wi-Fi. With students now stuck at home and schools moving almost completely online, closing the Homework Gap is more urgent than ever.

Congress has the power to authorize funding specifically for this crisis. NAfME is joining the efforts of other national education organizations to advocate for emergency funding to be provided to the Federal Communication Commission (FCC) E-Rate program, which is the largest federal education technology program. The FCC can and should use E-Rate to help school districts procure discounted laptops and WiFi hotpots to be loaned out to students.

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Support Music Education in Federal Education Policy Be Involved With the Legislative Process Engage Your Members in Congress Homework Gap | Your Title IV-A Success Story | Grassroots Advocacy Resources The 'Homework Gap' is a term referring to the unequal opportunity experienced by students who lack home internet access.

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Distributed Music Recordings

By NFHS on April 27, 2020 music directors & adjudicators article Print

Guidelines for using distributed student recordings for K-12 assessment and adjudication by the publishers are listed below. These guidelines are designed for a limited duration and scope to allow for student musicians to complete their year-end assessments and classroom instruction while schools are closed due to the COVID-19 outbreak. No recorded performance can be distributed outside of these guidelines and the listed publishers unless they meet Section 17 U.S. Code § 110(D)(ii)(I)(aa) of the US Copyright Law.

Performances must be shared in as private of a setting as possible, and must be viewable by individual link only.

The performance can only be shared for educational assessment or state adjudication purposes.

The recorded performance must use legally purchased music.

Any arrangements made shall have proper permissions secured prior to recording.

Once the recorded performance has been adjudicated it must be deleted from the sharing platform.

This special permission will expire on June 15, 2020.

Publishers that have graciously agreed to allow their music to be recorded and distributed under the above terms (Updated 4/15):

You can find more NFHS and NAfME COVID-19 Resources here.

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By NFHS on April 27, 2020 music directors & adjudicators article Print Guidelines for using distributed student recordings for K-12 assessment and adjudication by the publishers are listed below. These guidelines are designed for a limited duration and scope to allow for student musicians to complete their year-end assessments and classroom instruction while schools are closed due to the COVID-19 outbreak.

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Investment and Participation

The value of arts and cultural production in America in 2015 was $763.6 billion, amounting to 4.2% of gross domestic product. The arts contribute more to the national economy than do the construction, mining, utilities, insurance, and accommodation and food services industries.

Sources: National Endowment for the Arts, The Arts Contribute More Than $760 Billion to the U.S. Economy, and U.S. Department of Commerce, Bureau of Economic Analysis, Value Added by Industry as a Percentage of Gross Domestic Product, 2017

Between 1998 and 2015, the arts and culture sector's contribution to GDP grew by 40%.

Source: U.S. Department of Commerce, Bureau of Economic Analysis, Data for 1998-2015, 2018

The United States had a $20 billion trade surplus in arts and cultural commodities in 2015. America exported $63.6 billion and imported $42.6 billion worth of arts and culture.

Sources: National Endowment for the Arts, The Arts Contribute More Than $760 Billion to the U.S. Economy, and U.S. Department of Commerce, Bureau of Economic Analysis, Data for 1998-2015, 2018

Independent artists, performing arts companies and performing arts presenters added a combined total of $50 billion to the U.S. economy in 2015.

Source: U.S. Department of Commerce, Bureau of Economic Analysis, Data for 1998-2015, 2018

America's nonprofit arts industry generates $166.3 billion in economic activity every year, resulting in $227.5 billion in federal, state and local tax revenues.

Source: Americans for the Arts, Arts & Economic Prosperity 5: The Economic Impact of Nonprofit Arts & Cultural Organizations & Their Audiences, 2017

Spending by arts audiences on goods and services in addition to admission tickets-such as food, lodging and gifts-annually generates more than $102.5 billion in revenue.

Source: Americans for the Arts, Arts & Economic Prosperity 5: The Economic Impact of Nonprofit Arts & Cultural Organizations & Their Audiences, 2017

In 2015, 66% the country's adult population attended a live visual or performing arts activity.

Source: National Endowment for the Arts, Results from the Annual Arts Basic Survey (2013-2015) , 2016

The Creative Work Force

There were 4.9 million arts and cultural sector jobs in America in 2015-accounting for 3% of all U.S. jobs-which collectively paid workers a total of $372 billion.

Sources: U.S. Department of Commerce, Bureau of Economic Analysis, Arts and Culture Grow for Fourth Straight Year, 2018, and U.S. Department of Commerce, Bureau of Economic Analysis, Data for 1998-2015, 2018

Arts and cultural employment in the United States grew by 2.1% in 2015.

Source: U.S. Department of Commerce, Bureau of Economic Analysis, Arts and Culture Grow for Fourth Straight Year, 2018

For every arts job created in America in 2015, an additional 1.61 positions outside of the arts were created as a result.

Source: U.S. Department of Commerce, Bureau of Economic Analysis, Data for 1998-2015, 2018

Artists are highly entrepreneurial. They are 3.5 times more likely than the total U.S. work force to be self-employed.

Source: National Endowment for the Arts, Artists and Arts Workers in the United States, 2011

Artists are highly educated. Artists have higher levels of education when compared to the U.S. work force as a whole.

Source: National Endowment for the Arts, Artists and Arts Workers in the United States, 2011

More than half of the artists in the United States (54%) are employed by the private, for-profit sector.

Source: National Endowment for the Arts, Artists and Arts Workers in the United States, 2011

Most U.S. employers (97%) say creativity is increasingly important to them. Eighty-five percent of employers looking to hire creative people say they are unable to find the applicants they seek.

Source: The Conference Board, Ready to Innovate, 2008

Creative Places and Innovation

Arts and cultural goods and services drive industries primarily focused on producing copyrighted content, accounting for just over half of their combined $1.17 billion value.

Source: U.S. Department of Commerce, Bureau of Economic Analysis, Data for 1998-2015, 2018

Goals of creative placemaking investments are associated with GDP growth. Cities with high levels of community attachment-the degree of loyalty and affection residents have for their community-also have high GDP growth over time.

Source: Knight Foundation, Soul of the Community project

Creative places are innovative places. The presence of arts districts has been shown to increase the production of media arts patents.

Source: Arts Districts, Universities, and the Rise of Media Arts, Douglas S. Noonan and Shiri M. Breznitz, School of Public Policy, Georgia Institute of Technology, presented at the National Endowment for the Arts and Brookings Institution's The Arts, New Growth Theory, and Economic Development Symposium, 2012

Cultural Tourism

Each year, 76% of all American leisure travelers (about 130 million adults) participate in cultural activities while traveling, contributing more than $171 billion to the U.S. economy.

Source: Americans for the Arts, Cultural Tourism: Attracting Visitors and Their Spending, 2014

American cultural travelers spend on average 60% more than other types of travelers, about $1,300 per trip compared to $800 per trip. Generally, they also take more trips per year than noncultural travelers.

Source: Americans for the Arts, Cultural Tourism: Attracting Visitors and Their Spending, 2014

Of the 116 million American adults who traveled more than 50 miles one way in 2012, 32.5 million (28%) extended their trip in order to participate in a cultural, arts, heritage or historic activity or event. Of those who did so, 40% extended their trip by one or more nights.

Source: Americans for the Arts, Arts Facts...Cultural Tourism, 2018

Foreign visitors to the United States partake in arts and cultural activities. In 2016, 28.2% of foreign visitors went to an American art museum or gallery, while 16 attended a concert, play or musical.

Source: Americans for the Arts, Arts Facts...Cultural Tourism, 2018

Updated spring 2018

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Facts & Figures on the Creative Economy - NASAA

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The value of arts and cultural production in America in 2015 was $763.6 billion, amounting to 4.2% of gross domestic product. The arts contribute more to the national economy than do the construction, mining, utilities, insurance, and accommodation and food services industries. Sources: National Endowment for the Arts, The Arts Contribute More Than $760 Billion to the U.S.

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Colorado Study - Preliminary Recommendations

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Colorado Study - Preliminary Recommendations

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Chairs, Mark Spede (CBDNA) and James Weaver (NFHS)

Dr. Mark J. Spede is Professor of Music, Director of Bands, Director of Tiger Band, and Conductor of the Symphonic Band at Clemson University. He is the recipient of the Clemson University 2009 Dean's Award for Excellence in Teaching (College of Architecture, Arts, and Humanities), and three Clemson University Board of Trustees Awards for Faculty Excellence (2008, 2009, and 2012). He has served the College Band Directors National Association (CBDNA) in a number of capacities; he is currently national president. Dr. Spede previously served on the faculties at the University of Texas and the University of Florida and has degrees from the University of Michigan, Ball State University, and the University of Texas.

Shelly L. Miller, Ph.D., is a Professor of Mechanical Engineering and faculty in the Environmental Engineering Program at the University of Colorado Boulder, holding an M.S. and Ph.D. in Civil and Environmental Engineering from University of California, Berkeley and a B.S. in Applied Mathematics from Harvey Mudd College. Dr. Miller teaches about and investigates urban air quality and works diligently to understand the impact of air pollution on public health and the environment. She is also an expert on indoor environmental quality including airborne infectious disease transmission and control and air cleaning technologies. Dr. Miller is a member of the Academy of Fellows of the International Society for Indoor Air and Climate (ISIAQ). Dr. Miller has published over 70 peer reviewed articles on air quality, authored a Chapter on Indoor Air Quality in the Environmental Engineering Handbook, is an active scientist on twitter, and publishes open access as often as possible.

Dr. Srebric is a Professor of Mechanical Engineering and a founding Director of the Center for Sustainability in the Built Environment at the University of Maryland (City@UMD). The focus of Srebric's research is on measurements and multi-scale modeling of built infrastructure to provide reliable assessments of how these systems affect occupant respiratory health, building energy consumption, and associated CO ₂ emissions. She taught and developed new courses at University of Maryland, Penn State, and Harvard. She also presented more than thirty guest lectures at different universities including Stanford, Princeton, MIT, and Columbia. She was elected an international member of the Serbian National Academy of Engineering in 2013. Dr. Srebric became an Elected Fellow of the International Society of Indoor Air Quality and Climate (ISIAQ) in 2018, and an Elected Fellow of the International Building Performance and Simulation Association (IBPSA) in 2019. Most recently, her research work was recognized with a 2019-2020 USM Board of Regents' Faculty Award for Excellence in Innovation.

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Chairs, Mark Spede (CBDNA) and James Weaver (NFHS) Dr. Mark J. Spede is Professor of Music, Director of Bands, Director of Tiger Band, and Conductor of the Symphonic Band at Clemson University. He is the recipient of the Clemson University 2009 Dean's Award for Excellence in Teaching (College of Architecture, Arts, and Humanities), and three Clemson University Board of Trustees Awards for Faculty Excellence (2008, 2009, and 2012).