Sandlin is a graduate of East Carolina University in Greenville,
North Carolina, where she received her Bachelor of Music Education
Degree in 1992, and her Masters of Music Education Degree in 1994.
She has been a band director in New Hanover County since August
In 2012, Mrs. Sandlin renewed her National Board Certification
and is currently the Past-President of the North Carolina Bandmasters
Association Eastern District. Mrs. Sandlin is a member of the
Wilmington Symphony Orchestra, where she plays Oboe and English
Horn, and also performs at area churches and community concerts.
has been the guest conductor with the New Hanover County All-County
Band, Wake County All-County Band, and NCBA Central District All-District
Sandlin's bands have received ratings of "Excellent" and
"Superior" at State Band Festivals, won first place at
the King's Dominion and Busch Garden's Music In The Parks Band Festivals,
and participated in New Hanover County's 1999-2008 productions of
"Best Foot Forward". Students under Mrs. Sandlin's direction
have placed in the New Hanover County All-County Bands, All-District
Bands, and All-State Honors Bands, as well as various summer band
camps, such as East Carolina University and the University of North
Carolina at Greensboro.
Sandlin was chosen by her peers as the recipient of the 2012 NCBA
Eastern District's "Award of Excellence".
6-8 Standard Course of Study
GOAL 1: The learner will sing, alone and with others,
a varied repertoire of music.
GOAL 2: The learner will play on instruments, alone
and with others, a varied repertoire of music.
GOAL 3: The learner will improvise melodies, variations,
GOAL 4: The learner will compose and arrange music
within specified guidelines.
GOAL 5: The learner will read and notate music.
GOAL 6: The learner will listen to, analyze, and describe
GOAL 7: The learner will evaluate music and music performances.
GOAL 8: The learner will understand relationships between
music, the other arts, and content areas outside the arts.
GOAL 9: The learner will understand music in relation
to history and culture.
following excerpts are from "Linking Music Learning to Reading
Instruction" by Dee Hansen and Elaine Bernstorf. This article
appeared in the March 2002 edition of the "Music Educators
educators struggle with the sometimes contradictory philosophies
of the study of music for its own sake versus the study of music
in support of other nonmusical skills. While reports such as James
Catterall's analysis of the Department of Education's National
Education Longitudinal Study of 1988 (NELS:88) imply that musical
learning has positive effects on mathematics and reading skills,
caution is advisable before overeagerly embracing this good news.
The "music-helps-you-do-English-and-math-better" philosophy
may miss the essential point of studying music. The study of music
for its own sake is an ideal that music educators work to preserve
through rich and comprehensive music education programs, but some
issues of school reform are making the realization of that ideal
a greater challenge than ever.
music programs could deprive students of kinesthetic, aural, oral,
visual, and emotional experiences that will ultimately bring the
written texts to life.
in music can be a particularly rich source of support for achieving
in music and the arts opens doors to a vast array of enlightening
influences and life-changing experiences that can contribute to
Lamb and Andrew Gregory fuond a high correlation between children's
ability to read and ability to discriminate pitches accurately.
researchers are have just begun to discover music as a whole-brain
following information is from the book "The Music and Literacy
Connection", Dee Hansen, Elaine Bernsdorf, Gayle M. Stuber,
pub. MENC, The National Association for Music Education.
Reaching Comprehension: Common Reading Strategies, Activities,
and Parallel Music Activities
the Main Idea
facts and details in narrative (stories) or expository (informational)
themes, melodies, or motifs through repeated rhythmic and melodic
patterns, tonal centers, etc.
the beginning, middle, and end of a story.
the form through repetition of cadential patterns, melodic
and rhythmic structure, phrase structure, climactic points,
information in a meaningful way through written or oral presentations.
compositional elements, discuss historical context, create an
original piece in the style of a given composer or style period.
and predict outcomes based on prior knowledge combined with
the effects of key changes or changes of modality, meter, style,
and tempo on existing music. Write a new ending or change the
affective elements in the music.
to create pictures in the mind about what the students have
read or studied and then communicate what they "see."
rehearse music, imagine elements of nature (birds soaring, a
thunderstorm, etc.) to transform note playing into the music
to stories by retelling, role-playing, drawing pictures, and
to and describe musical performance. Move to music, sight read
and reread for precision, improvise on an existing melodic or
meaning through written expression. Reread and write about a
story, or create a new story based on given story elements.
and arrange music. Reflect on evaluations of performances or
write about music in journals for persuasive writing assignments.
Kansas State Department of Education. 2000. Literacy Instruction
Now: Knowledge for Teachers Implementing State Standards (LINKS).