MISTEC and ISME 2026

ISME Day 3

08/06/2026

Keynote: Huib Schippers Fearless convictions towards change Everyone is inevitably flawed, but worthy of respect Virtually every human being has the capacity to process musical sound, give meaning to it, and use it from birth to death Music is the most practised activity that is not life or death-dependent Music brings people together like nothing else See article: an imaginary conversation between Carl Orff and Kodaly (2006). https://journals.sagepub.com/doi/abs/10.1177/02557614261443628#core-collateral-purchase-access Three critical interrelated junctures before us now: Learners have specific music practices they want to invest in: agency, creativity, and ways of learning Decolonise ways of learning. Eurocentric is not the only way. Music learning doesn't die without formal learning structures Check Ken Robinson on this Most music learning takes place informally Students are not a blank musical canvas—meet them from where they come/are Most music is learned aurally Because of access, the role of the teacher has changed What happens to the music when you institutionalise it? Experiencing music is not objective The way we learn music determines to a large extent the way we experience it Cultural diversity is not an option; it's a reflection of the world 1. Institutions change slowly 2. Music styles and ways of learning change quickly 3. Technology changes at breakneck speed Teachers are also learners Our job as teachers is not only to teach musical content, but to understand dynamic cultural ecosystems. We are not living in a static world We are not victims of our surroundings; we are actors with a capacity and a duty to bring about change If we disappear (teachers), music does not disappear Music education is so important—people are losing touch with what it means to be human All musics are equal. Western music is not bad Indian music. And vice versa. Mozart was shit at ragas and talas! Music is not only used for good, but also for torture as well—it does not always elevate us aimee.atkinson@boiseschools.org for student leadership Project-based Learning Projects begin with questions worth pursuing Can add found sounds to projects—include rests The role of music teachers—participants in shared learning, facilitators of curiosity and exploration, etc. Success can be found in the questions students ask—which is not always measurable Though it is meaningfully experienced together Book: Project-Based Teaching and Learning in Music Education Projects are not replicable. They can have similar starting points (start with the students) An invitation to the students to work out what skills are needed Projects are run in chunks through sessions (possibly) What happens when we include it in what we do? Positionality in Improvisation Start with a listening activity By imagining music, it is much like time-travelling and returning to emotions Academic wheel of privilege Privilege can change through your life Positionality and pedagogic visions in improvisation Kodaly and Vigotsky Vigotsky—everyday concepts (spontaneous)—learn through real things and experimentation. Not necessary to have vocabulary —scientific concepts; formal instruction needs to be embedded into 'everyday' practical experience to make for a unified concept Kodaly—knowledge is grounded in lived experience. Work from the known to the unknown. Sound before sight Pedagogical sequence: preparation (learn a song—'everyday'), presentation (make conscious—scientific), and practice (using in familiar context—making unified) Through collaborative activity (teachers and learners) There is a place in teaching for 'make conscious'—explicit instruction This does tend to be prioritised The preparation stage is very important Need to get the students wanting to do the activity (that's the preparation) Move away from immediately starting with the scientific concept Create exploration activities that relate to the new concepts about to be taught Towards a Pedagogical Framework for a Sound-Centered Approach to Music Education during Childhood Music Education in the Western context has a limited understanding of skill What children can teach us about what music can be... Conceptual lens Sound as artistic matter—sound-based music in the classroom 4 domains: soundscapes, invented musical instruments, sound microscopy (needs to be amplified), and post-digital media Sononauts—searching the world through sound Listening and creating sonic practice: collaborative, tool-mediated, exploratory, embodied/relational Expanded sonic awareness Expanded ideas—music and musicianship Sense of belonging Sound is an event, not an object Listeners inhabit different sonic worlds Activities Musical Soccer with Questions and Answers: Sing a 'question' to the person next to you They sing and answer and sing a follow-up question to the next person, etc Pass it around... Can be done with a tune that the students know first if they need scaffolding Drone and Melody: In a group of 3, 2 players sustain a drone on any long note and 1 makes a melody Drone notes can clash When the melody person changes to play a drone note, the furthest drone person stops The next person in the circle makes a melody This moves around the circle The only thing that needs to be agreed on is that everyone stays in the game Can use Youtube cello drones as a warm-up Ostinato and Rotating Solos Start with mindfulness warm-up: Breathe in for 4, hold for 7, out for 8... 4 times Ostinato (all)—it can change (each player makes up their own contribution) Select a soloist to play on top Harmony with Building Dissonance Start all together but can also try dividing the group in 3 Start on Bb concert Hand sign for going up (move up a half step, or a full step, or a scale degree—choose) Hand sign down, same movement Can move all three groups at the same time, or separately Now, try up or down (conducted) as any interval If sung, can be any vocalisation Add dynamics Mindfulness Listen to the furthest to closest sound Focus on breath Eyes closed, vowel exploration, drop off one at a time until no one is left Read: Mindfulness and Free Improv: a Holistic Approach to Cultivating Creativity and Awareness Find ' Orff Rhythm Round' . Play and include improvisations. Improvisation as Learning Systematic literature review 2015-2025 5 components 1. Forms and Techniques (collective, free, bounded) 2. Tools and Media (instrument, voice, percussion) 3. Learning and Creating (scaffolding, model, exploring) 4. Movement and Cross Arts (body, dance, visual) 5. Games and Narratives (stories, play) Constructivism, Pedagogy, and Democracy Freedom must be exercised, or it might atrophy SIA: strategic informal approach Treats tension as productive Teacher guidance, student autonomy (to be negotiated againa nd again) Imagine, create, play, peer reflection, play peer-to-peer, share, reflect, etc. Democracy is not an additional goal for constructivist education; it is fundamental Teacher and students change in this democratic approach Meditation in Class A few minutes of connection at the start of class Qigong—breathing and movement together Routine Building relationality with everyone moving together Wack both opposite ankles in front, then in behind Finish with a self-hug: arms stretched out in front, L over R. Enlace fingers together, twist in and under. Hold and breathe Move focus away from stress and anxiety Do a meditation before assessment jcable@richmond.edu

ISME Day 2

08/01/2026

Swings in the quiet zone. What is there not to love about this conference space?! Warm -Up: Ostinato Ta Ta (cross arms, stomp foot, roll shoulders forward) (za) Ke-le (arms up L-R, wiggle hips) Moblo (za) (wiglle with bent knees) Fe-leeeee-ro (tap foot in an arc) Koo koo koo koo (dig) Keynote: Tenille Townes Music always makes us feel a little less alone When you bet on yourself, it's often worth the gamble Music helps turn on the lights in dark rooms of memory... Air guitar competitions Youtube: goes to judgment so quickly Let feedback come slowly Use backing tracks on Youtube to set melody and lyrics to Only need chords 1, 4 and 5 About the creativity of working your thing Do more Perform more Write a million songs from 1 inspiration source Be brave Improvisation as Liberatory Praxis in Popular Music Education (book title) Prescriptive learning outcomes are bad Improvisation becomes a rebellious act Some people like rules because it makes them feel like they’ll get more things right Class starters: Fist-to-Five for how are you feeling? How academically prepared do you feel for this day? Which animal makes you smile? Etc. Fun check-in questions… Don’t underestimate the power and benefit of not going to curriculum and having a karaoke lesson (students sign up)! Teaching is a creative act (Sawyer, 2004, p.12) Teaching is conceived of as improvisation Tom Zlabinger ‘Open Jams’ is a Rock term, ‘Jam Sessions’ is a jazz term Happiness is better when shared Look up: Jazz: ‘Come on and let’s get free’ A student quote: ‘You get lifted up by falling’ Freire: ‘Human beings transform [the world] with their labour’ By playing with others, there is much to follow: 1. Togetherness (free, then going back to the chaos of the world), 2. Specialness, 3. Better together, amongst others (when everyone falls together on an agreed first-beat-of-the-bar, how high they shoot up together) Ed Sarath Improvisation is not a toy, not a thing Look up: Oliver Lake (saxophone) Improvised concert: high risk, high reward Developed exercises for large band improvisation MIT reimagining music theory How are we doing on the change-o-meter? Ornamental change, or systemic change from the ground up Graduate students can’t even think/suggest what a music degree could look like if wiped clear (starting from a clear slate) Even as teachers, we are all indoctrinated in this way of teaching Improvisation can be liberating from liberation itself Multi-tiered battle needs to be fought Now it is from farm-to-factory: compartmentalised David Knapp: Improvised Teaching Playing just a few chords is stale and detrimental to creativity and their learning Re-start: student-led Some students asked for more structure Focusing only on performance is myopic (Sarath) The improvisation IS the performance All improvisation can enhance what is curriculum-focused Jams at university are part of lunchtime activities, not curricular No evaluation, no grades Music education has been promising change forever, but it doesn’t come. We are pragmatic. It always aligns with the institution; we need a revolution In (Real Book) and Out groups function hierarchically Look for the edges; the conflicts (between groups) will be sharp. Address these with moments of kindness Open improv is an important part of the jazz tradition It is liberatory, getting us beyond the indoctrinated limitations Creative and Democratic Processes in Band Tanya Chanphanitpornkit Who is the music for? Who gets to decide? At the end of each year, students do a programming project They get to choose who is uplifted (give them links to choose from) In band, if you want to make a musical choice for the band, you need to articulate why We need to cultivate thinkers Repertoire is a curriculum about who belongs, rehearsal process is about ideas we value… Put students in the mentorship chain Students lead sectionals, and conduct Give the students a world to build, and they will build it. They will build the one that they want to live in The students may need help growing into leadership Laurinda Davidson (Queensland Girls’ School) Have started programming women composers Students conduct, plan themes for concerts, compose… Curiosity, identity, ownership Repertoire shapes who they think they can become Tyler Wilkinson Democratic practice on the podium Belong—feel safe to contribute Trust—trust students to think, listen, and solve musical problems Lead—create independent musicians, not dependent performers William Tonissen Immersive rehearsal: moves beyond the written page—shared decisions and reflection (invite students into all three parts) 1. Investigate—explore composition, context, and story behind the music 2. Interpret—dialogue and choice 3. Extend—deepen with composition collaboration, creative connections, and reflection Read Sean Powell on competition and music Read Randall Allsup ‘remixing the classroom…’ Learn together through discussion ‘WIN’ Feedback: Andreas Cincera When the brain switches between different modes of processing, it is exhausting work Announce ‘feedback’ with non-judgemental follow-up Feed up, feedback, feedforward (Hattie) Praise is worse than punishment (effect size) Reward is also not good Corrective feedback is not great Cues are good Positive reinforcement is good (sets up a positive psychological moment that then is relived as positive) Self-evaluation is not part of feedback—it’s a different mode, a performance Generally, students are much more critical than they should be Need 3 or 4 more reinforcements than negative critical feedback We learn best outside of stress Students need orientation, not just autonomy Don’t give a student feedback from the front (face-to-face), but rather from the side. Otherwise, it feels like an attack Reinforcement and intrinsic motivation Feedback about competence (process), not the outcome Recommendations (attack photo here…) Talk about what is happening in the class (positive reinforcement) and what’s missing (don’t say what the mistake is—in memory, the brain might not be able to distinguish what was right or wrong) Announce the focus of the feedback; be descriptive Don’t make feedback sandwiches! Asking questions is not feedback (a different brain process). Be careful not to jump between different processes too often, or too quickly Self-Evaluation: What I did good? What I need to do next? (do not train on the mistake) Language is important. Do not say ‘I want more sound’. Say ‘the music wants even more sound’. (Using ‘even more’ makes a big difference) Include details of what should be reinforced Next, describe prospective further processes Finally, a meta-reflection Translating: Releasing the Imagination (Maxine Green) (MG) How might we teach learners to see the world otherwise? Randall Allsup The short era where humans read books is over What will be the symbol system that replaces books? The opposite to aesthetic engagement is numbness (MG) An aesthetic experience is an encounter Each party is interdependent Negotiated between a maker and a receiver MG worried about popular culture numbing us The opposite of aesthetic is anesthetic Art has to have grit—that awakens When it works, a fire catches In this experience, freedom happens—a rehearsal for democracy If our students write songs, they need to be heard Capacity of reading as meaning-making—freedom experienced in these small places: democracy If we can do this, there is a chance for art It's a democratic muscle (imagination) and needs to me exercised Shinko (translator) Awaken from passivity, break from the norms Aesthetic experience requires conscious participation—the perceiver makes their own meaning depending on their cultural background Activity: discover, share, compose, imagine The children were not waiting for the teacher's prompt. Through exploring, they are discovering things that they had never noticed before Uncomfortable sounds are valued in Japanese music Translation—ideas come alive in a new context. Meaning emerges in relation between people, a work of art, our environment, etc. Every new experience is a new beginning Pam Burnard Passions of pluralism I am... (what I am) not yet Celebrating the art of the possible 'We are all under the same sky' (Ruth—artist) 'Unleashing Children's Voices in New Democratic Primary Education' (book from the Cambridge Routledge University Primary School Future-making UCPS Podcast Series Sculpting new creativities (MG) One must have the idea of leaving something behind, and going towards something new Trust childing... Teaching for openings is fraught with risk Spaces have agency if we let them MG always wanted us to be in between spaces Popular culture is lulling us into what is It's lazy thinking to be dogmatic This book is not a translation, it's a transformation MG/Shinko doesn't see binaries. She is open. IN chinese: trust the imagination 'Liubai'...leave blank for the imagination to populate

ISME Day 1

07/28/2026

A great day! Not only because I got my presentation out of the way and had a swing on the swing in the quiet zone (every teaching and learning space needs a set of swings for adults!) afterwards, but also because I met heaps of cool people and learned a bunch of stuff. I also learned that I already knew stuff and could offer useful contributions to other people's work. And that people in general are all cooperative, generous, and curious. The KEYNOTE was on 'How Music Sculpts the Brain'. By Isabelle Peretz. Some key takeaways: We are all born wired for music (pre-wired to organise musical sounds) Though not equally musical Music education does sculpt the brain (neuroplasticity) Musical brains are different - though not necessarily smarter Formal training is not always enough (note 'Bad Singer' book by Tim Falconer) Music prodigies have no difference in brain (IQ) Musical intelligence doesn't necessarily transfer to other intelligences We learn better from other humans Shared musical activities lead to better cooperation In-sync bouncing leads to cooperation; out-of-sync doesn't (with toddlers) When playing in sync, you want to help and the brain rewards you for helping Shared music decreases anxiety, pain, stress and uplifts Music is social - even alone It can deepen social isolation and can be exploited by Ai Music makes you move - we are designed to conserve energy Music makes movement feel less like an effort Multiple Memory Systems and Music Learning Musicians attend to '17' things at once We can only do one novel thing at once Automatic learning diminishes novelty (a good thing) Contextual learning - individual class prioritises notes over rhythm Band prioritises rhythm over notes Music learning - sequential and attentional behaviours Watch out for the auto(in)correct Pedagogical Strategies for Collective Free Improvisation Conversation Embracing difference Responding to each other Co-constructing music collectively Try improvising around a story: everyone is an alien, and each instrument is a different language. Have alien conversations. Choose from echo, argument and/or wait Free Improv (CFMI) is a culture before it is a skill Remember about wait time Teachers create doorways into improvisational settings Using imagination makes for inclusion and no fear of error Freedom is structured and scaffolded The organisational principles: relational and contextual Songs in the Key of Me (John Jakobson) See MusicPlay website for materials Let's Play: Saleel Menon, Lauren Ryals Rhythm games include... Rhythm Relay Hand out sheet with lines of rhythm. Have one member of each team write in the counts of a line, then pass to the next member First team to finish (correctly) wins Poison rhythm (with quarantine team starting a new game) Rhythm Origami Fold paper enough times to create 16 boxes Choose rhythmic values and have students fill in the boxes Perform page. Count to 4 to find someone to swap pages with. Perform. Count again and swap. Etc. Epic Rap Battle Display lines of rhythm. Split class in two (or more) With a groovy beat going (can have chords) Set teams rap the rhythm in competition with each other The more hyped, the better (expressive!) Instrumental Rhythm games can include... Articulation echo patterns (and more) Melodic Literacy games can include... Name that tune (looking at notation) Name that interval Mad Minute (page of notes to identify in 1 minute) Musical Spelling Bee (give two students a word to spell in notation - they have to run to the board and draw it correctly first) Among Us - Have a set of 5 same chords in inversion. Identify the impostor. This can also be done in scale practice. As the class to close their eyes, and one student will be tapped on the shoulder. The impostor has to play the scale louder than anyone else. The class then tries to identify who the impostor is. Band can do chord drills, drone tuning and human chord building. What makes these games good is that they create predictable rehearsal routines, play lowers performance anxiety, choice increases agency, collaboration builds a sense of belonging and low-stakes risk-taking builds confidence.

MISTEC Day 5

07/24/2026

A wolf busking at the Berri-UQAM station.Of course. Warm-up podorhythmie songs can be found online: Podorhythmie Quebec Meredith (Indianapolis): Accessibility and culture... 'Moving from the things we teach, to the children we teach'. Sometimes children just want to fit in and do not want to be signled out for their cultural differences Know your communities Know the dynamic between parent/child Valerie : Psychological Health in Academia The Oxford Handbook of Feminism and Music Education (Chapter 12) Wellbeing begins with us 'The slow professor' (a great book) 'We;;-stressed: manage stress...' (another good book) Academic culture celebrates overwork We need to model a good practice How can we recognise what promotes or compromises psychological health and commitment to a university or music education career? Move beyond coping strategies to systemic strategies As you become a more experienced practitioner with more power, you need to call out what's right and wrong. Use your power for good. Relationships are central to wellbeing and teaching—find like-minded people We are always in the process of becoming... always changing. People are there to help you. Set limits to yourself proactively and stick to them. Surround yourself with people and thinkings that make you flourish. Negative effects to teaching and mental health: work overload, fragmentation and lack of support, research nonsense, teaching nonsense, collegial nonsense, and administrative nonsense. We should not be reproducing these stress-inducing behaviours. Riffing Around Each instrument has a rhythm (make it align with words instead of notation) Djembe ostinato Play all of the instrument-assigned rhythms in a row while saying the words Stick or twist (only move ahead or change when you feel comfortable) 1. Improvising phase 2. Compositional phase 3. Decisions and Performance Students, through routines, put away instruments

MISTEC Day 4

07/24/2026

Warm-up with the UQAM percussion team on the Baschet Brothers instruments (instrumentarium). Very very cool! You can hit these things anywhere and everywhere—you can even put them on your head for different reverberation: https://youtu.be/B4YesiVwo8Y?si=pBnRD5zsHOinchKL Yasumasa Yamaguchi: Reconsidering cultural inclusivity in Ai Think about Ai in East Asian as digital colonisation. Ai as data training—who can use it, and what kind of music can it support? The data Ais are trained on are western-centric musics. The Western model of music permeates university entrance exams worldwide: piano and voice in traditional Western-based styles. When music becomes data: notes and rhythm are easy to translate from living sounds to digital Historical and embodied practice is much harder to digify Need to ask ourselves what is kept and found in computer data, and what is left behind Musical training data: 94.3% Western, 5.7% Non-Western Ai learns from this Ai has trouble preserving oral, flexible pitch, local tuning, traditional instruments, and cultural meaning Ai tends to simplify the cultural musics that it tries to replicate Teachers need to use Ai more carefully to ensure musical diversity, critical literacy, and community collaboration Posters Susie (Victoria University): What is the purpose of music education in Australia? Autoethnographic study Why do we have to learn notation? Whose music matters? What music knowledges are we asking our students to leave at the door? Katie (LaTrobe): What makes a class ready for musicking? What can be done to prepare students for the class they are about to participate in? This is not wasted time! Lisa: Feldenkreis practice Instrumental learning is based on rote repetition, which develops and exacerbates injury. It is based on a computer-based learning model. Ana (Lisbon): Soundscapes to Sonotopia Developing sensitive and creative listening: https://escutaproject.com/ Sarah (Brussels) Primary school teachers forced to teach music who say they won't/can't Methodology of self-confrontation Rachel, Brad and James: Interrogating 'quality' in music education programs What does quality mean? Does it only represent cultural capital? Robert Walker: Beethoven or Britney: https://search.informit.org/doi/abs/10.3316/INFORMIT.443186202990307 Aesthetic-Hierarchical Model (quality as disciplined musical literacy and cultural cultivation: Western art music) Structural-Continuity Model (music practice embedded in a history of power) Critical-Pluralist Model (Music is the birthright of every child. Quality as culturally responsive, context-driven musical learning) Other words to use instead of quality: significant musical education, or comprehensive musical education 'Quality' means something different to government bodies, policy makers, teachers, principals, parents, and students. See 'Music Counts' (Canadian site) for language use. Quebec music resources Presentation slides: https://canva.link/gy2ao92rt3gryx9 Site resources: https://smcq.qc.ca/ Select: Youth, Educational platform, create an account, subscribe Stacks of amazing free resources here! Including a BandLab activities including listening, interpreting, and creating Listen, imagine, and describe Concert Band arrangements with reflection sheets for students Lots of interactive stuff Notes: Several people from different countries said that their pre-service teachers are sent off in pairs for their assignments. That this works very well because they can talk immediately with each other for comfort and feedback.

MISTEC Day 3

07/22/2026

Shameless plug for our very own Jazz Festival! Sophie Jalbert Reporting the practice behind the evidence: An entrepreneurial approach to intervention in music education research not about business or money! more about competencies, mindsets, and value creation. empowering and developing agency enterprise pedagogies (teaching) experiential learning cooperative learning reflexive learning 12 entrepreneurial ways of acting entrepreneurial projects (guided, designed or open) Ana G Ortuzar The Fictional Matrix: Storytelling as a Framework for Inclusive Music Education think—pedagogical frameworks for teaching music (multiple) music pre-exists all of the teaching and understanding frameworks fiction-based approaches (story): setting, characters, events non-fiction: informed by fiction (research) speculative fiction (synthesis—blank canvas)

MISTEC Day 2

07/22/2026

On the way down to Old Montreal... this used to be a car park in my youth! Smaragda Chrysostomou: Co-creating understanding (the power of Bohm's Dialogue). relational practice not planning towards decisions participatory thought It's about where understanding is located—in one mind, or shared between several? Sitting in a circle avoiding hierarchy... listening respecting suspending (holding back assumptions and biases) voicing (aiming for collective meaning) Musical understanding emerges through relational dynamics (listed above). How we research is how we teach. Valerie Peters: Music education, well-being and human potential laboratory. Lab—EMBEH. Akosua Obuo Addo: COIL in music education—COIL Connect. Borger's core framework (2022) Cuthbertson— culturally responsive More from Tuesday: mobilising knowledge different abilities focused on the people, not the music Consultation circle for decolonisation of music education Living Lab Camelia (advanced Alzheimer's) by Elodie https://www.camelia.ulaval.ca/en/team/elodie-chenel Music Mondays https://coalitioncanada.ca/en/events/musicmonday/faq/ Coalition for Music Education https://coalitioncanada.ca/en/ Youtube channel (advocacy): LINK Livia: Music Education in Liquid Modernity constant change—change is the only certainty Freire—autonomous because of our dependency and our symbiotic relationships with and in the world. Liquid music educators see knowledge as fluid Brian from Butler University, Indiana Band and disruptive pedagogies Intentionally disruptive Sustained experiences Disruptive coursework Creativity as a model rather than a performance It's about responsiveness, community, access (gate keeping/gate opening), and normalisation Decentering without delegitimising Publications Teaching for a FAIL (First Attempt in Learning) in the ensemble classroom: https://journals.sagepub.com/doi/abs/10.1177/00274321211060332 Points of Disruption in the Music Education Curriculum, Volume 2 CCP Trialogue for Music Literacy and Creativity CCP=context, content, and process content=the learning environment context=articulate learning outcomes process= engage participants in deriving concepts and generating learning activities to meet objectives based on the available resources. create the environment allow students to develop in it literacy—ability/skill to employ (create+decipher)symbols to enhance acquisition of meaning (understanding), communication, and personal development towards problem solving and positive relationships. What is musical education? It's so that people don't draw a blank when experiencing a musical moment.

MISTEC Day 1

07/03/2026

The MISTEC conference is not quite taking place up in the skyline (though this is an activity being held at the Vieux Port). Here are a few take aways from the first day... Wendy Brooks: Access, equity and place-based thinking. Avoid deficit thinking about regional schools. Adam Switala: Re-becoming musical—family musiking and self-esteem of immigrant parents. Music is a species-typical human capacity. Music and conversation in a circle promote equality. Repetition removes risk. And making space for the mother tongue. The sense of safety was the most important theme. Joy came second. On REPERTOIRE selection (by white male teachers): Not all countries have government-set exams. So, specific repertoire is not always mandated. It often comes back to the teacher—who is often white and male, often schooled in Western classical music traditions, and often not given enough paid time to train in what inclusivity looks and feels like. Julie Ballantyne on ISME: ITPDC International Teacher Professional Development Centre—teaching strategies, intercultural learning, global community of practice... Can propose an idea to ISME for their book series. See student chapter...