Tennessee Musician, WINTER 2013 by TNMEA

Classroom Portfolios Used as Alternative Teacher-Evaluation Measure Tennessee Arts Growth Measures System Teacher Guide 2.0 Research on Teacher Attitudes toward Evaluation

The Official Publication of the Tennessee Music Education Association

SPECIAL FOCUS: ASSESSMENT

Tennessee Musician

WINTER 2013 Vol. 66, No. 2

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WINTER 2013

President's Message: Building Capacity within our NAfME/TMEA and Regional Associations................2 Dian Eddleman SPECIAL FOCUS: Assessment

News and Information

Vol. 66, No. 2

Special Focus: Assessment....................................................................................5 Classroom Portfolios Used as Alternative Teacher-Evaluation Measure......................6 Erik W. Robelen Tennessee Arts Growth Measures System Teacher Guide 2.0...................................10 A Survey Examining the Dispositions of Music Teachers Regarding the New Teacher Evaluation System in Tennessee and the Possible Impact on Teacher Retention and Recruitment........................18 Jamila McWhirter

Call for Nominations: TMEA President-Elect...................................................16 Tennessee Ensembles Perform on Big Stages......................................................20 NAfME National In-Service Conference Showcases State Programs..................26 Collegiate News................................................................................................28 Columns and Reports

TMEA Council 2013-14.............................................................................................. 46 Advertisers Index.......................................................................................................... 48 Cover photo by Michael Chester

The Official Publication of the Tennessee Music Education Association

Noteworthy.................................................................................................................. 32 Kellie Brown Band Chair Report....................................................................................................... 34 Debbie Burton Choral Chair Report.................................................................................................... 36 Jeffrey Chipman Educational Technology Chair Report.......................................................................... 40 Ken Greene General Music Chair Report........................................................................................ 42 Alexis Yatuzis-Derryberry Higher Education Chair Report................................................................................... 43 Barry Kraus Orchestra Chair Report................................................................................................ 44 Ross Bader SMTE Chair Report.................................................................................................... 45 Jamila McWhirter

Tennessee Musician

Table of Contents

President's Message: Building Capacity within our NAfME/TMEA and Regional Associations................. Dian Eddleman TMEA Team: The following is part of the information disseminated during the NAfME Southern Division meeting this past fall. NAfME Executive Director Michael Butera presented this information to the leaders of NAfME Southern Division in the hope that we would develop state organizations that strive to help our members understand that we have to be “Agile, Faster, Execute the Vision, Take Risks, Client Focused, and Powerful.” Good organizations are like eco-systems: complex yet eloquent and seamless in operation. They require nourishment and are subject to internal and external tensions and demands. Those that act to maintain balance and who recognize changing environments evolve, grow, and prosper. This constant rebirth and evolution does not occur by accident. Organizations must be conscious of the changes they face and proactively engage the environment if they expect to remain relevant to their members and the public. Organizations must push forward on difficult issues, and embrace harsh but meaningful criticism. The learning and adjusting that result play a key role in an organization’s not simply surviving, but also in growing and generating internal leadership, focus, and commitment while achieving external reputation and power. It has been said that “luck is where opportunity meets preparation.” This phrase sums up the importance of devoting time and energy to learning how to better use and increase the current talent and potential talent of the volunteers who hold leadership positions in our association. Without serious devotion to growing talent and making growth an organizational expectation, we will not have luck. Instead, we will be absent from our overall fiduciary responsibility to the association. The following capacity-building elements have gone through a long series of changes for more than fifteen years. Originally, John Stocks created a group of elements. These were revised considerably and Mel 2

Tennessee Musician • WINTER 2013

Myler and NAfME Executive Director Michael Butera added others. Without Stocks’ initial work and the reflections of Myler, the current group would not exist. We are thankful to them for their thoughtfulness and organizational thinking. When members and other constituencies find better ways to effectively utilize the organization’s resources, time, money, people and brand, these are more efficiently used and the mission is more likely to be achieved. The elements contained below are specific enough to provide focus and broad enough to promote flexibility. As we engage in each program, project, event, or campaign effort (whether at the local, regional, state, or national level), we better understand the value of our organizational development. We then do well by our members and our cause. Capacity Building Elements for Organizational Health • Constituency Activism & Integration: Actions taken by the various membership partners and alliances associated with the organization • Execution and Focus: Actions exercised to concentrate interest and focus on programs, projects, and activities to carry out a plan or course of action • Fiscal well-being: Actions that improve revenue and develop the institution’s financial resources • Leadership Development: Actions that identify, recruit, train, and organize new and emerging individuals to lead, to have opportunities to develop their organizational skills and knowledge, and to grow personally through experience in actual roles as lead person in the organization’s programs, projects, events, and campaigns • Member Activism: Actions taken that cause members to experience and act in support of the association • Message Delivery and Discipline: Actions taken in communication vehicles that deliver the association’s significant points • Reputation: Actions taken by the association

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that will ensure the beliefs or opinions generally held about the organization and its practices • Technological Integration: Actions applying all forms of modern technology to the execution of projects, programs, and events with another so they become a whole If you refer to the TMEA strategic plan (http://www. tnmea.org/documents.html) and ponder the movement of our entire TMEA Team, you will notice many activities that demonstrate the ongoing effort to build the capacity of TMEA. In just a few short years we have seen progress in the following: • Adoption of Institutional Partnerships • Patron/Corporate Sponsorship Program • Goals to adopt a student eligibility proposal and adjudication certification • Plans to adopt a uniform statewide membership renewal date • Revision of TMEA Bylaws and Policies/ Procedures Manual • Addition of TMEA Board of Director positions • Addition of Tennessee Musician associate editor • Continued progress in advertising • Development of various areas of state convention and All-State • Improved organization of conference performance groups • Revision of state website and projected CAMUS

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• • •

• • • • •

(customer relationship management system) for the Association (this is a membership system for all state music education associations through NAfME) Participation in the National Coalition for Core Arts Standards through NAfME Leadership and performance opportunities through AAAMB and the National Conference Restructuring of the Executive Director position and plans to develop this into a full-time, compensated position along with part-time staff (as needed), with a permanent physical site for an office and archival storage. TMEA Task Force Advocacy Team Development of the online Tennessee Musician Statewide membership recruitment campaign promoting national/state membership Addition of regional associations under the TMEA 501(c)3 umbrella Improvements to continued revenue, including the revision of conference/All-State registration fees, regional association dues, and utilizing ischoolmusic.org to partner with NAfME on the cloud with fundraising, newsfeed, notification sections, Admin Control panel, etc.

If you have ideas and want to become directly involved in this continued forward direction of TMEA, please contact me. I look forward to the unremitting work of our TMEA Team!

Special Focus: Assessment Teacher assessment has been a topic of much concern to arts educators and others for whom there is no standardized test in their discipline. Thanks to the efforts of Dru Davison of Shelby County Schools and many others in the TMEA TEAM, we now have a pilot program for arts assessment, the Tennessee Arts Growth Measures System. This issue focuses on that system. We begin with a reprint of an article from Education Week that gives us a great overview of the process that led to the development of the portfolio approach at the heart of the system. We follow that with information from Teacher Guide 2.0, courtesy of the Memphis City Schools (now Shelby County) and the Tennessee First to the Top program. This guide provides you with some nuts-and-bolts information about how the Tennessee Arts Growth Measures System actually works and includes a few FAQs as well. Finally, Jamila McWhirter shares her research into teacher attitudes to the new teacher evaluation system (the state system, not necessarily the Tennessee Arts Growth Measures System) and potential effects on teacher retention and recruitment. If your school district is considering making the Tennessee Arts Growth Measures System an option for arts educators, you will definitely want to read all of this information carefully. Pay particular attention to the Teacher Guide as it provides some very specific guidelines for the types of materials to be submitted and for the ways in which those materials are evaluated. You may even want to assemble a “practice” portfolio so that you have had some experience in gathering the “evidence” required in this system. If your system then does move to the Tennessee Arts Growth Measures System, you will be ahead of the learning curve. Those of us in teacher preparation programs should also explore the system, even though it will not apply to higher education faculty. But we need to prepare future music educators for more than choosing repertoire, conducting ensembles and teaching note-reading. They need to know about the realities of the teaching profession beyond what actually happens in the classroom. Dr. McWhirter’s research shows us that even experienced teachers may be concerned about the demands of the Tennessee Arts Growth Measures System, and we need to do everything possible to help our new colleagues to survive and succeed. Our TMEA TEAM will be even stronger if we all commit to evaluation systems that are valid for our discipline!

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Tennessee Musician • WINTER 2013

Classroom Portfolios Used as Alternative Teacher-Evaluation Measure Erik W. Robelen, staff writer, Education Week

Video footage of students sight-reading a musical score, or reciting a speech from Shakespeare’s Julius Caesar. Digital photos of students’ self-portraits. Samples of studentpenned research papers and other assignments. Those are the types of documentation hundreds of arts educators in Tennessee recently assembled as evidence of their impact on student learning. The state this year is ramping up an alternative component to its teacher-evaluation system for the arts that tackles a thorny question many states are grappling with: how to evaluate teachers on student growth when standardized-test scores are not available. The answer in this Tennessee enterprise is portfolios of classroom work. And not just the final, polished products, but the before and after, showing student improvement over time. Teachers submit their portfolios electronically to the state, and they are scored by trained peer reviewers, who are fellow arts educators. Three districts participated this past school year in the new system. At least eleven will do so this academic year, including some of the state’s largest districts, according to state officials. The Tennessee Fine Arts Growth Measures System is voluntary for districts, but if a district signs on, all arts educators must participate. The state this year is also rolling out a similar initiative for world-language teachers. And work is underway on one for those teaching physical education. The effort comes as many states require that evaluation systems weigh as one component teachers’ contributions to student gains in learning. The issue gets complicated in subjects beyond reading and math for which standardized testing is less frequent or not administered at all. Tennessee has no statewide arts assessments. “Teachers want to demonstrate their effectiveness, they really do,” said Dru Davison, the fine arts adviser for the 150,000-student Shelby County district, which includes Memphis. “But they want it to be based on what they actually do in the classroom and the value they bring to their kids. They want to feel empowered and to be honored for the professionals that they are.” Davison, who played a lead role in developing the system, added, “If we have accountability systems that go against those principles, then we’re shooting ourselves in the foot.”

Tennessee Musician • WINTER 2013

“Model” Approach The program has drawn national notice, including praise from US Secretary of Education Arne Duncan. Laura D. Goe, a research scientist at the Educational Testing Service who is part of its Understanding Teaching Quality Research Group, said she sees real promise in the initiative. “Tennessee has the right idea in promoting this effort to achieve some rigor and comparability in a set of content that is difficult to measure,” she said. “To me, it is a model for where we want to ultimately go [with teacher evaluation], and where I think we will go in must subjects.” Indeed, North Carolina is using the Tennessee approach as a model for its own pilot program to evaluate teachers in the arts, world languages, health, and physical education, as well as for those who teach Advanced Placement and International Baccalaureate courses. Representative of All The Tennessee initiative began two years ago with a pilot in the Memphis school system (recently merged into a larger district for Shelby County). This past year, 435 educators took part across three districts, state officials said. Atticus S. Hensley, the band director for two middle schools in Tullahoma, who participated this past year and was involved in its design, said many arts educators have welcomed it. “Half of our evaluation was coming from some source we had no control over,” he said. “For arts teachers, that was really frustrating.” Sara Heyburn, an assistant commissioner at the Tennessee Department of Education, said the new measure was developed with a clear eye on that problem. “We knew there were many subjects and grades for which we didn’t have individual growth measures,” she said. “Ultimately, what we wanted was that the measure first and foremost would be helpful in informing student growth and lead to increased learning for students, but also reflect a spectrum of performance for teachers.” She also said a priority was to set up a process that educators find beneficial to their practice. The portfolio evaluation is focused on four domains: perform, create, respond, and connect. Teachers must

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Tennessee Musician • WINTER 2013

submit five batches of student work samples, called “evidence collections,” with a self-rating for each. They also must explain their work and the context for those submissions. At least two of the five collections must show differentiated instruction for students at varying levels of skill and ability and represent growth of students at those levels. The portfolio generally accounts for 35% of a teacher’s score on their evaluation. Fifty percent is based on classroom observations from the school principal. The other 15% is based on a different student-achievement component, including data from state tests or other assessments. However, if the portfolio score is stronger than this last measure, it may be used to count for half the teacher’s evaluation. Davison from Shelby County said the portfolio is all about evidence of growth. “You can’t just put in the beautiful, polished performance or painting,” he said. “Also, we’ve got to see how that teacher is impacting kids of different groupings. How are you growing your specialneeds kids? If you have [Advanced Placement] kids playing concertos, how are you growing those kids?” Jeffrey A. Chipman, who teaches vocal music at Bellevue Middle School in Memphis, said the portfolio evaluation is improving his practice. “To be able to say, ‘This is where they were and this is how I helped them get here’ is powerful,” he said. Jackie Norman, a visual-arts teacher at Tullahoma High School, was leery when she first heard about the new system, lamenting the “constant evaluation of teachers” in Tennessee. “So our initial reaction was: Another one?” But she’s now a fan. “It is a true measurement of a teacher’s teaching ability,” she said. The evidence teachers submit must be pegged to the Tennessee arts standards, be representative of their courseload, and contain evidence of varying time spans (from at least two points in time), a state overview says. Each portfolio is assessed by one peer reviewer, but it’s subject to one or more additional reviews if the score varies significantly from the teacher’s self-assessment. “Respecting” Teachers

up the possibility…of the whole system becoming a really powerful dimension of professional development,” he said. But Seidel cautioned that it’s critical to stay the course. “It’s very important that the state or district stays with the game and doesn’t change the game too often or too fast,” he said. “And there has to be enough support and training” early on for participating teachers. Marcy Singer-Gabella, an education professor at Vanderbilt University’s Peabody College in Nashville and its associate chair for teacher education, said she appreciates the focus on measures valued by arts educators. “A real challenge with test-based accountability is the tasks are not recognized as representative of the learning teachers care about,” she said. Here, the idea is for teachers to “select work that represents the kind of learning they are trying to approach and that is aligned with state and national standards.” She said it’s critical for peer reviewers to get effective training and that the scoring process is carefully calibrated to ensure consistency. Also, she said it’s critical that the reviewers are “deeply knowledgeable in the domain.” No process is perfect, Heyburn said, but the state has worked hard to make it fair and consistent. “There is always human error and subjectivity in a portfolio process, but we’ve tried to make it as tight as possible,” she said. For the 435 arts teachers evaluated this year, the individual growth scores covered the spectrum, with 16% at Level 1 (significantly below expectations), 30% at Level 3 (at expectations), and 12% at Level 5 (significantly above expectations). Singer-Gabella cautioned that scoring portfolios is expensive, including time to train reviewers and pay them. Teachers say the process has its challenges, including the amount of time it took them to assemble their portfolios, not to mention technology glitches with the online portal. But echoing the comments of others, Chipman says it’s worth it. “We’re in an age of accountability and quantifying just about everything that you can quantify,” he said, “so providing teachers with a way to actually show what they’re doing in class is very different from a bubble-in test. It leaves the work in the hands of the practitioners, which is powerful.”

Steven Seidel, the director of the Arts in Education program at the Harvard Graduate School of Education, said that while he’s not examined the Tennessee approach As first appeared in Education Week September 17, 2013. closely, he likes the sound of it, including the level of Reprinted with permission from Editorial Projects in Education. control handed to teachers–from playing a key role in its development to assembling the portfolios to having other educators conduct the reviews. “This feels like a really significant…step in the right direction of respecting teachers’ priorities, knowledge, and capacity to make serious evaluative judgments about their own work,” he said. Having other arts educators conduct the reviews “opens 8

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Tennessee Musician • WINTER 2013

Tennessee Arts Growth Measures System Teacher Guide 2.0 Overview Student growth in the arts can be demonstrated in a variety of ways. There is no single common student performance measure. The purpose of this evaluation model is to provide Tennessee Fine Arts Teachers with a teacher evaluation system that is tied to the measurement of student learning in the arts. Teachers will use portfolios of student growth work samples from across the arts learning domains of Perform, Create, Respond, and Connect. Fine Arts teachers will continue to deliver a standardsbased curriculum. Teachers, as always, will be expected to use formative and summative assessments (for individual students and groups when appropriate) for the purpose of informing instructional practice. Under the new system, increased attention will be given to the collection of student-produced work samples. Teachers will collect, prescore, and submit evidence collections in a portfolio using a purposeful sampling process. A blind review committee, made up of content-specific exemplary teachers, will conduct a holistic review of the student evidence collections to measure growth towards state standards. Compilation Guidelines Teachers will complete a cover sheet questionnaire that will provide the peer review committee proper context. A district administrator must sign this sheet before it is submitted. Teachers will review the Evidence Collection Guide and compile a purposeful sample of student growth samples (a minimum of five Collections of Evidence). Teachers will include student growth evidence collections that are standards-based and that are meaningful/authentic measures of student learning. When submitting evidence, teachers will declare which domains correspond to the submitted student growth samples. (At least three of the four domains should be represented at the end of process to be considered standards-based. If a portfolio fails to meet this, the peer reviewer will reject the portfolio). Teachers will complete an explanation form that describes how the evidence submitted for each domain shows growth within that domain. Teachers will then score each Evidence Collection against the provided scoring guides and submit the completed portfolio to the review committee. A completed portfolio contains a cover sheet questionnaire, evidence collections, evidence collection explanation forms, and a score sheet completed by the teacher. The portfolio may be submitted electronically via PowerPoint, website, CD/DVD or USB Flash Drive. 10

Tennessee Musician â&#x20AC;˘ WINTER 2013

Teachers should make every effort to consider compatibility of formats. A second option is to submit the portfolio through a website (in development) that allows for evidence to be uploaded to a management system. The third option is to submit hard-copy, paper documents. Identify each artifact as it corresponds to the domain identification form. Evidence Collection Guide An Evidence Collection is a group of student work samples that demonstrate growth towards the arts domains, Perform, Create, Respond, and Connect. Teachers will submit a portfolio of evidence that demonstrates student growth in at least three of the four domains. Evidence collections should contain student work that shows a comparison between at least two points in time (pre-post/post-post). Evidence may include student work products, audio and visual recordings, adjudicated festival performance assessment reports, end of year course examinations, or other state-approved measures. Evidence representing various populations of studentsâ&#x20AC;&#x2122; work (emerging, proficient, advanced, children with special needs, etc.) should be represented within the portfolio. Note that evidence can be declared to show growth in more than one domain. Rubric Framework The Fine Arts Student Growth Measures Framework has four categorical domains: Perform, Create, Respond, and Connect. These domains were designed to reflect the Tennessee Fine Arts standards. The table below outlines how the subject area standards are organized in music. Perform: Standards 1, 2, 5 Create: Standards 3, 4 Respond: Standards 6, 7 Connect: Standards 8, 9 Standard 1.0 Singing Standard 2.0 Playing Instruments Standard 3.0 Improvising Standard 4.0 Composing Standard 5.0 Reading and Notating Standard 6.0 Listening and Analyzing Standard 7.0 Evaluation Standard 8.0 Interdisciplinary Connections Standard 9.0 Historical and Cultural Relationships

Tennessee Musician â&#x20AC;˘ WINTER 2013

Purposeful Sampling

Scoring

Evidence Collections should be meaningful representations of the classes/students of which you teach. When considering what evidence you will choose to provide the most complete information about your students’ growth, consider the following elements of purposeful sampling:

Guides were constructed to compare the quality of the evidence with Tennessee Student Performance Indicators and Checks for Understanding in the State Standards. Rather than creating separate guides for each standard within each arts discipline, the State Standards have been grouped in four categories: Perform, Create, Respond, and Connect. The portfolios must include standard-based growth evidence or the reviewer will reject the portfolio. Minimum guidelines for achieving a standards-based portfolio are representation from at least three of the four domains by the end of the teacher’s presentation of student growth evidence. A teacher’s comprehensive portfolio score will be weighted proportionately to the number of Evidence Collections submitted by said teacher per domain. For example, if a teacher submits two collections for the Perform domain, two collections for the Create domain, and one collection for the Respond domain, the portfolio would be scored as follows: 2/5 (40%) for Perform; 2/5 (40%) for Create, and 1/5 (20%) for Respond. Thus, the teacher is choosing the weighting of the comprehensive portfolio score with their choice of submitted evidence. Teachers will complete an Evidence Collection Identification Form for each artifact. Teachers will provide a brief explanation justifying the inclusion for demonstrating student growth. Upon submission of the portfolio, teachers score each collection on a scale of 1 (Significantly Below Standards) to 5 (Significantly Above Standards). While the teacher rating will not be used as part of the overall score of the portfolio, it will be used to compare the teacher’s perceptions against the ratings of the peer review committee. In cases where the peer reviewer ratings average plus or minus more than one full point away from the teacher’s ratings, the portfolio will be sent to an additional blind peer reviewer for a second review. In

• •Individual/Group: Evidence Collections must include individual student growth. Some Evidence Collections may include group or ensemble growth, but group evidence may not constitute the entire portfolio. • Reflective of Course Load: If the teacher is responsible for teaching multiple courses within their license area, artifacts must be included which reflect student growth in these multiple areas. • Demonstrate Growth for Multiple Populations: An effective Portfolio of Student Growth in the Arts will contain evidence that reflect student growth for student populations of various performance and learning levels. It is unacceptable to submit student growth samples that represent learning from only one group of students. An effective portfolio will contain evidence from students who are exceptional learners (both gifted and students with disabilities), emerging level students, proficient level students, advanced level students, and other populations served by the teacher. It is helpful to denote some of this information in the “brief explanation” section of the Evidence Collection Submission Form. For at least two of the five total Evidence Collections, growth evidence should be provided representative of multiple levels (emerging, proficient, advanced, etc.). Illustrated below are examples of Type I and Type II evidence.

Tennessee Musician • WINTER 2013

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Tennessee Musician • WINTER 2013

cases where there are still discrepancies, the State Fine Arts Growth Measures Committee will also score the portfolio. In order to facilitate an impartial peer review process, teachers should make reasonable effort to remove references that would identify the teacher or school under review. If it is impossible to remove references in order to display the evidence, it is left up to the discretion of the teacher whether or not to include it. Keep in mind that peer review members are trained to disregard school or teacher references when reviewing portfolios.

from the domain, yet there is no requirement that the assessment be exactly the same. For example, a performance at the beginning of the year would be compared to a different performance at the end of the year, focusing on skill and knowledge development.

Frequently Asked Questions

Even in challenging teaching situations, it is important to demonstrate that students are experiencing growth towards state standards. There is a cover questionnaire with space available for you to provide the peer review committee with pertinent information that will give your portfolio context. The scoring guide assumes an adequate teaching environment and considerations are made when the cover questionnaire indicates a need. (A satisfactory teaching environment is one that meets the desirable minimum standards for curriculum, scheduling, staffing, equipment, materials, and facility as outlined in the Opportunity-toLearn Standards that support the National Standards for Arts Education.)

What is a Portfolio of Student Growth? This is a collection of student-produced work samples that demonstrate and document student growth in the arts. These samples may include student performances, visual artwork, written assessments, individual and group assessments, and/or project-based student work. The evidence will be individually self-assessed by the submitting teacher and holistically reviewed by a content-specific blind peer review committee. In cases where the teacher’s overall self-score has more than one point difference from the peer review overall score, an additional peer review will be conducted and the average of peer review scores is the final score. If you would like to present evidence as a collection of work by a single student, you may do so as long as you “build your case” for purposeful sampling with additional evidence. Must pre-assessments be part of the Evidence Collections? Yes. Three of the four domains (Perform, Create, Respond, and Connect) will need to contain evidence from two points in time, demonstrating student learning across each domain. The pre-post evidence should reflect learning

The teaching situation at my current school is very difficult. Is it fair to be held accountable to state standards when my teaching situation is not conducive to learning?

What is the difference between Type I and II Evidence? Type I Evidence Collections represent individual or group growth without defining population sub-groups. Type II Evidence Collections represent student growth in population sub-groups determined by the teacher. Population sub-groups can include many types of students. Words like emerging, proficient, advanced, special needs, and gifted could embody various definitions that are not necessarily linked to academic achievement. When considering purposeful sampling, it is important that you show how all of your students have grown, not just the high or low achievers.

Our thanks to the partnership between Tennessee First to the Top, Memphis City Schools (now Shelby County Schools) Curriculum and Instruction, and MCS Teacher Effectiveness Initiative for permission to share this information with our membership. For the full document, see http://www2.ed.gov/programs/racetothetop/communities/ tle2-tn-arts-system.pdf.

Tennessee Musician • WINTER 2013

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CALL FOR NOMINATIONS TMEA President-Elect All Regional Associations are asked to submit names of TMEA members, qualified to serve as TMEA President, to the TMEA Executive Committee. Nominations for President-Elect will be accepted through February 1. Information concerning this process will be posted on the TMEA website. TMEA By-Laws, Article V: Government. Section 1. Officers. The officers of the Association shall be a President, Past-President, President-Elect, and Executive Director. All terms of office shall be for a period of two years, beginning on July 1. The Officers comprise the Executive Committee of the Association. The President shall preside at all meetings of the Board of Directors, TMEA Council, Executive Committee, and at all general meetings of the Association. The President shall represent the Association as a member of the Executive Board of the Southern Division of the National Association for Music Education and as a member of the State Presidents National Assembly of the National Association for Music Education. The President appoints members to committees with the approval of the Board of Directors and fill vacancies by appointment with the approval of the Executive Committee. The President-Elect shall be elected on even-numbered years by the Active Membership of the Association. Two candidates shall be nominated by the Council of Past Presidents (Da Capo Committee). Nominations for President-Elect will also be accepted from the Board of Directors. The President-Elect shall assume duties of the President in case of the disability or absence of the President and Past-President.

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Tennessee Musician â&#x20AC;˘ WINTER 2013

A Survey Examining the Dispositions of Music Teachers Regarding the New Teacher Evaluation System in Tennessee and the Possible Impact on Teacher Retention and Recruitment Dr. Jamila McWhirter

Associate Professor and Coordinator of Music Education Middle Tennessee State University The purposes of this study were to examine the dispositions of music teachers regarding the new teacher evaluation system in Tennessee and to explore the possible impact this may have on music teacher retention and recruitment. Tennessee was one of the first states selected to receive “Race to the Top” funding, which has drastically changed the evaluation of practicing teachers, the concept of teacher tenure, and the way in which future teachers are trained and educated. A review of and extensive training in the Tennessee Education Acceleration Model (TEAM) was used to formulate the online survey instrument. In addition, a few questions were included in the survey concerning the Tennessee Fine Arts Growth Measures System. This system includes individual student achievement metrics developed for music and the other fine arts. Currently, school districts have the option to include this assessment for their fine arts teachers or to use the Tennessee Value Added Assessment Scores (TVAAS), which are based primarily upon standardized test scores not in the fine arts areas. Next year, the Tennessee Fine Arts Growth Measures will be utilized statewide for the evaluation of fine arts teachers unless a school district opts out of using this system. Therefore, the questions asked regarding the Tennessee Fine Arts Growth Measures System were focused on the basic knowledge of music teachers and their perceptions of their administrators’ knowledge of this evaluation system. Several Tennessee regional and state music education officers sent a cover letter electronically to their membership. One hundred nineteen music teachers responded by taking the survey. Data collected were reported as frequencies and percentages; responses to the one open-ended question were organized into categories. The majority of participants taking the survey are currently in their eighth to fifteenth year of teaching. Therefore, the majority of teachers participating are not in their early years of teaching, when they may still feel uncertain about their career choice, nor are they close to retirement. The majority of participants reported that TEAM was the observation tool utilized in their school districts (91.4%). It was interesting to note that a 18

Tennessee Musician • WINTER 2013

small percentage (5.2%) were not sure if TEAM was the observation tool used in their districts. Twenty percent indicated that they had not received any type of training to prepare them for the implementation of TEAM, so it is no surprise that nineteen percent of those responding indicated that they did not understand TEAM very well. The majority of those responding (54.7%) reported that they were only observed once or twice in the past year, with only a little over one percent indicating that they were observed more than six times. Ninety-four percent of the participants did receive a post-conference after their observation. Only a slight majority (55.8%) believes that the observation system used in their school districts is implemented fairly. The majority of music teachers participating in this survey believe that the TEAM observation process has negatively affected both tenured (72.6%) and non-tenured teachers (70.3%) in their school districts. Ninety percent of those responding feel that they understand the four domains of TEAM (instruction, environment, planning, and professionalism). However, only eighty percent feel that they understand the performance definitions at levels 1, 3, and 5 used in TEAM. Some participants (17.3%) expressed that they did not understand the scores that they received on their own TEAM evaluations. The majority of participants were not sure if scores in their districts were inflated (53.8%) or unreasonably low (51.3%). Most participants do not feel that their administrators are familiar with the Tennessee Fine Arts Growth Measures System (84.8%). In addition, the majority of music teachers surveyed indicated that they feel only somewhat familiar (42.7%) or not familiar (43.6%) with the Tennessee Fine Arts Growth Measures System. Most of the respondents (79.1%) have never been given the option of using the Tennessee Fine Arts Growth Measures System in place of the Tennessee Value Added Assessment Scores. The majority (53.4%) of those music teachers completing this survey have not contemplated retiring or changing professions due to the implementation of TEAM. The minority percentage (46.6%) is certainly notable when viewing this data through the lens of retention and

recruitment of music teachers. The majority of open-ended comments centered on higher stress levels, frustration, discouragement, time consumption and low morale associated with TEAM and with adding mandated state testing scores to the evaluation formula. Many participants commented on the issue of observation by non-related arts administrators who are not familiar with either the subject matter or the teaching strategies required for music. Several comments focused on the TEAM rubrics and lack of appropriateness for the music classroom. Some mentioned the TEAM rubrics as unrealistic for every class, every day. A few participants also expressed dismay over the numerous artifacts that must be collected for the individual student portfolios in the Tennessee Fine Arts Growth Measures System. Of the comments received (N=174), only two comments were positive regarding either TEAM or the Tennessee Arts Growth Measures System. Both positive comments dealt with teacher accountability and teaching strategies. One of the areas of interest of this study was to obtain information as to the dispositions of music teachers regarding the TEAM evaluation system. Based upon the responses received, the music teachers participating in this survey do not have a positive perception of the TEAM evaluation model. According to comments from the participants, the TEAM evaluation system is not perceived as well designed for the performing arts. In addition, music educators expressed that Tennessee Value Added Assessment Scores as part of the evaluation process presented many issues. One music teacher stated “it clouds the intent of evaluations which should be to evaluate the teacher, not the school.” Another stated, “our scores are tied in with other departments that we cannot control, so if we get 3’s on our individual observations under the TEAM model and the department gets a 1 it brings your score down to a 2 overall.” Another area of interest of this study was to explore the possible ramifications of TEAM on music teacher retention and recruitment. As stated earlier, the majority of those surveyed have not contemplated leaving the profession. However, the minority is very large (46.6%), especially since the majority of those participating are not nearing retirement or in their beginning years as teachers. From these data, the Tennessee State Department of Education and TMEA may learn that retention of music teachers in the state of Tennessee should be of concern. Recruitment of future music educators may also be of concern. Further research may focus on the encouragement given to seniors in high school to pursue music education as a profession. Future research also needs to be conducted concerning the Tennessee Fine Arts Growth Measures System. The results of this survey are indicative of the need for an artsspecific evaluation system. This system is now in place and

ready to be implemented next year statewide. However, the results of this survey indicated that many music teachers do not understand or are not familiar with the portfolio system and how it operates. In addition, many principals do not seem to be aware that this evaluation tool exists and that it can be used in place of the Tennessee Value Added Assessment Scores. Also, as indicated by the openended responses, some music teachers of high-performing school districts do not mind using the Tennessee Value Added Assessment Scores as part of their evaluations. One participant currently evaluated through the Tennessee Fine Arts Growth Measures System did not wish to return to the Tennessee Valued Added Assessment Scores as part of the evaluation process, but did express frustration with the portfolio system, stating that they were “spending huge amounts of time collecting artifacts instead of planning.” In conclusion, music teachers in Tennessee are frustrated with TEAM and with the Tennessee Value Added Assessment Scores being used in the evaluative process. There seems to be little knowledge of the Tennessee Fine Arts Growth Measures System. In addition, retention and recruitment of music educators in Tennessee may be of concern in the near future if these issues are not addressed. Currently, the Tennessee Fine Arts Growth Measures System is the best tool we have in place to allow arts educators to be evaluated on the merits of what they are doing in the classroom. In addition, it is currently the only tool that allows for evaluation by other arts professionals. I can also add that Dr. Dru Davidson has recently formed a task force to help guide the Tennessee Fine Arts Growth Measures System. Members of the task force have been charged with leading the development of training courses for arts teachers and pre-service arts teachers in addition to improving communication with higher education stakeholders. The Tennessee Fine Arts Growth Measures System will also continue to improve as it is aligned with the newly developed Core Arts Standards. It is my personal hope that this will drastically improve the percentage of music educators in the state who feel they are familiar with the evaluation model. In addition, this step will ensure that our higher education arts educators are trained in the use of this evaluation tool so that they may train the arts educators of tomorrow.

The Editor recommends: Emert, D., Sheehan, S., & Deitz, O.D. (2013). Music teacher evaluation in Pennsylvania. Music Educators Journal, 100(1), 30-31. Perrine, W.M. (2013). Music teacher assessment and Race to the Top. Music Educators Journal, 100(1), 39-44. 19

Tennessee Ensembles Perform on Big Stages A number of ensembles from Tennessee competed and performed on some very big stages recently, showcasing just a few of the high-quality performing groups in our state. In October and November, several Tennessee high school bands competed in the Bands of America Championships. These championships, according to the BOA website, “emphasize the pursuit of performance excellence, the educational experience of participation and quality evaluation. Participation offers students the chance to be placed on the nation’s highest pedestals, alongside their peers.   Directors receive commentary from the most skilled judges and educators in the nation, while students have the chance to watch many of the very best bands in the country and observe high levels of programming and performance. Bands of America Championships are an opportunity to demonstrate excellence, to receive invaluable input and feedback, and to evaluate the achievement of your students and the progress of your program on a national level.” Super Regional competitions were held at several locations across the country, with up to sixty bands competing at each site; up to fourteen bands advance to the finals at each event. Union City High School, under directors John Easley and Jason Deem, were Class A champions in the St. Louis Super Regional and earned Outstanding Music Performance, Outstanding Visual Performance, and Outstanding General Effect in their class. They were also selected to perform at the conclusion of the finals. The Collierville High School band also competed in St. Louis; their director is Michael Wilson. At Powder Springs (GA), the Fred J. Page High School band (Matt Emerson, director) placed seventh in the Super Regional finals. Also competing at Powder Springs were Cleveland High School (Jim Burton, director) and Riverdale High School (Mike Aymett and Matt Crossley, directors). Three Tennessee high schools advanced from Super Regional competition to the Grand National Championships. In the Atlanta Super Regional, Nashville’s Father Ryan High School (left), under the leadership of Jeff Schletzer, placed second in Class AA in the preliminaries and advanced to the finals, where they came in eighth. They competed in the preliminaries at the Grand Nationals as representatives of Class AA. The Franklin High School band placed second in Class AAA in the preliminary competition at Powder Springs. They also won Outstanding Music Performance and Outstanding Visual Performance in their class and 20

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advanced to the finals (at left). Directors David Aydelott and Michael Holland led their ensemble to the Super Regional championship and awards for both Outstanding Music Performance and Outstanding Visual Performance. The Franklin band placed second in Class AAA at the Grand Nationals, held November 13-16 at Lucas Oil Stadium in Indianapolis. Kingsport’s DobynsBennett High School band, under the direction of Lafe Cook, placed third in Class AAA (at left) at the Grand Nationals. Dobyns-Bennett competed in the WinstonSalem Super Regional, winning the Class AAA preliminary and advancing to the finals. They won the finals and all three categories, Outstanding Music Performance, Outstanding Visual Performance, and Outstanding General Effect. They also advanced to the Grand National Championships. The BOA Grand National Championships is a threeday event, with more than ninety bands competing in preliminaries. Thirty bands advance to the Semi-Finals, with bands representing each of the four classes and the top scoring bands from the two separate preliminaries. The top twelve scoring bands from Semi-Finals, regardless of class, advanced to the finals. Indianapolis was obviously the “hot spot" for Tenneseee groups this year as percussionists from across the state participated in concerts and festival competition at the Percussive Arts Society International Convention, held the same weekend as the BOA Grand Nationals. Percussive Arts Society is the world’s largest percussion organization and the conference attracts more than 6,000 participants each year. On the conference program are performances by some of the best percussionists in the world, and this year the percussion ensemble from Science Hill High School (pictured above) was one of only two high school ensembles featured in showcase concerts. Dan McGuire, director of percussion and assistant band director, described this as “arguably the highest honor achievable for high school

The Rudi E. Scheidt School of Music draws top students and faculty from every corner of the globe, offering programs to nurture talent, creating countless opportunities to learn and perform. Here, your music will be heard. Let us hear you. Schedule an audition for one of the following dates: December 7, 2013, February 8, 2014, February 15, 2014, or February 22, 2014 Degrees Offered: B.M. M.M. A.D. D.M.A. Ph.D.

901.678.2541 | memphis.edu/music | music@memphis.edu A Tennessee Board of Regents Institution An Equal Opportunity/Affirmative Action University

percussion ensembles in our country.” The ensemble was selected, through an adjudicated process, to perform a fiftyminute program. The twenty-three members of the ensemble were joined by guest artists Dr. Rande Sanderbeck, percussion professor at East Tennessee State University, and Dr. Eric Willie, assistant professor of percussion at Tennessee Tech. Several Tennesssee collegiate ensembles competed in the Marching Percussion Festival’s Small Ensemble Competition. This competition is for ensembles of bass drums, cymbals and small percussion. Five Tennessee college ensembles participated in this event. Middle Tennessee State University had two ensembles competing. Their “II” group placed third with a score of 94.25 and their “I” group came in fifth with 92.625. Their director is Lalo Davila. The East Tennessee State University ensemble (pictured at right),

under the direction of Dr. Rande Sanderbeck, placed fourth at 93.375. The University of Tennessee at Martin also entered two ensembles in the competition. Their I and II ensembles placed eighth and tenth respectively, with scores of 90.625 and 87.625. Dr. Julie Hill directs the percussion program at UT-M.

FROM HERE TO ANYWHERE

BELMONT UNIVERSITY School of Music Audition Dates for Spring / Fall 2014 UNDERGRADUATE: November 9, 2013 / January 11, 2014 / January 25, 2014 February 8, 2014 / March 22, 2014 (Admission only) GRADUATE: November 9, 2013 / January 24, 2014 February 14, 2014 / February 28, 2014 (A BM in Music Therapy will be offered beginning fall 2014.)

For more information call 615.460.6408 or visit www.belmont.edu/music.

E A S T T E N N E S S E E S TAT E U N I V E R S I T Y

Department of Music

An All-Steinway School Competitive scholarships available

For more information regarding the Department of Music at East Tennessee State University, call 423-439-4270, e-mail music@etsu.edu or visit www.etsu.edu/music.

Every student studies with a qualified faculty member Nationally recognized ensembles

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Tennessee Musician â&#x20AC;˘ WINTER 2013

NAfME National In-service Conference Showcases State Programs Congratulations to the following ensembles that performed at the 2013 NAfME National In-Service Conference in Nashville (see photos on pages 2425). They represented our state well! Belmont University Wind Ensemble Dr. Barry Kraus, conductor Dr. Nola Jones, guest conductor Belmont University Chorale Jeffrey Ames, director Bethel University Renaissance Bluegrass Band and “Vocal Authority” Peter Jeffrey, executive director

The Wizards Linda Lee Friend, director Metropolitan Nashville Public Schools

Bobcat Company/Bel Canto Beckye Justice Thomas, director Knox-Central High School

Soddy Daisy High School Symphonic Band Eric Majors, conductor; Coleen Pruitt, assistant conductor

Bobcat Company/Bel Canto Beckye Justice Thomas, director Knox-Central High School

Tennessee Tech Tuba Ensemble R. Winston Morris, director

Central High School Honors Chamber Orchestra Pamela Wilensky, director Chattanooga Boys Choir Vic Oakes, director Hendersonville High School Brass Quintet Jeffrey T. Phillips, director Houston High School Show Choir “Fifth Measure” William Rayburn, director World Percussion Ensemble Jason Walsh, director John Overton High School Overton High School Symphony Orchestra Chelsea Negray, Chris Piecuch and James Weil, directors Lausanne Chamber Flutes and Lausanne Tre Brass (Lausanne Collegiate School) 26

Terri Green, director Liberty Technology Magnet High School Woodwind Ensemble Karen Henning, director

Riverdale High School Sax Ensemble Mike Aymett, director Siegel Middle “Orff ”-estra and Drumming Ensemble Alexis Yatuzis-Derryberry, director

Tennessee Tech Percussion Ensemble Eric J. Willie, associate professor of percussion Trevecca Jazz Fusion Matt Murdock, director Trevecca Nazarene University Union University Singers Christopher Mathews, director University of Tennessee at Chattanooga Chamber Singers J. Kevin Ford, director White Station Middle School Chorale Emily Frizzell, director In addition, several faculty members from Middle Tennessee State University School of Music, MTSU University Chorale, and the MTSU Jazz Ensemble I were featured in the Young Composers Concert. They performed ten pieces of new music composed by students from elementary through college age.

MARYVILLE, TENNESSEE

Degrees and performance opportunities: B.A. in Music B.M. in Music Education B.M. in Vocal Performance B.M. in Music Theory/Composition Ensembles: Orchestra, Concert Band, Jazz Band, Concert Choir, Community Chorus, and small a cappella groups Music scholarships are available, and worth up to full tuition! Audition dates: Feb. 1 and March 1

M A RY V IL L E CO L L E G E. E DU

MARYVILLE COLLEGE MUSIC DEPARTMENT

Call Ashley Abbott at 865.981.8153 for details.

Tennessee Musician â&#x20AC;˘ WINTER 2013

Collegiate News Austin Peay State University Carson-Newman University Community outreach and professional development are on the rise for APSU’s music education students. In the fall semester, APSU’s Collegiate NAfME chapter attended the annual CNAfME Kick-Off event at Cumberland University, and the chapter’s sponsor, Dr. Eric Branscome, presented a session on PRAXIS preparation. In October, six music education majors participated in the NAfME Conference in Nashville and served the organization by presiding over sessions throughout the week. In November, APSU hosted over 1,100 elementary students from public, private, and home schools throughout Montgomery and surrounding counties in the department’s second annual Children’s Concert in cooperation with the Gateway Chamber Orchestra, directed by Dr. Gregory Wolynec. In preparation for the concert, local students submitted artwork that was later animated by APSU art faculty and professional art collaborators Black and Jones. The animated production was projected on large screens above the orchestra during the performance, resulting in a student-created multi-media event. APSU music majors served as hosts for this year’s Children’s Concert and led craft activities and an instrument petting zoo for a family event hosted by Gateway Chamber Orchestra on the day preceding the concert. Also this fall, APSU students hosted thousands of middle and high school music students for the annual Honor Orchestra (directed by Dr. Emily Crane, Dr. Eli Lara, and Dr. Gregory Wolynec and which had its highest recorded enrollment this fall), Honor Choir (directed by Dr. Korre Foster), Middle School Honor Band, and the MidState Marching Festival (directed by John Schnettler and Dr. Gregory Wolynec). In the spring semester, APSU looks forward to its second installment of the Homeschool Music Program, offering group music lessons to local homeschool students as a component of the university’s elementary music methods course. APSU’s Chamber Singers, conducted by Dr. Korre Foster, is also in preparation for their performance at this year’s TMEA Conference in Memphis. Dr. Eric Branscome will also be conducting this year’s MTVA Middle School Honor Choir and West Creek High School’s Elementary Honor Choir in the coming semester. APSU music, theatre, art, and dance faculty are preparing for this summer’s inaugural season of Watauga Arts Academy. This two-week residential summer camp program for high school students is hosted on the campus of Austin Peay and directed by music faculty Dr. Eli Lara, and dance faculty Margaret Rennerfeldt. For more information, visit www.wataugaartsacademy.org, or www.apsu.edu/watauga. 28

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Dr. Jeremy J. Buckner, chair of the music department, with fellow Carson-Newman University department chairs, presented a session at the Appalachian College Association Summit in Knoxville on October 25. This session presented four training sessions of a peer-led chair development series implemented at Carson-Newman during the 2012-2013 academic year. Two articles summarizing these training sessions are published in The Department Chair. East Tennessee State University Dr. Stephanie Frye, instructor of tuba and euphonium, has released URSA, a CD featuring the music of women composers. The CD from the Mark Records label is available digitally on iTunes and Amazon.com. The mid-to-late 20th century is the first period when women were recognized as having potential as performers and composers. Similarly, the tuba has been an instrument predominantly played by men, with women performers not accepted as equally capable until approximately the last 40 years. As a woman tuba player, Dr. Frye is excited to showcase talented 20th century women composers through this CD of selected works for the tuba that have not previously been recorded. Through the commissioning of two new works, Dyadic Affinities for tuba and electroacoustic accompaniment by Asha Srinivasan and The Middle Pigeons for trombone, tuba, and recorded sound by Inez S. McComas, she brings two new compositions into the relatively small catalogue of music for the tuba by women composers. Dr. Frye performed the title track of the CD, Libby Larsen’s URSA, as guest concerto soloist with Windiana, northwest Indiana’s professional wind ensemble, in Valparaiso on November 21. The Office of eLearning offered the first session of OpenBUCS beginning in September. The program provides free online courses that can be converted for college credit. The first two courses in the program are a US history course and MUSC 1030, Introduction to Music, taught by Dr. Mary Dave Blackman. More than 60 students enrolled in each of the courses. The next session will begin in January; information about registration is available at http://www. etsu.edu/online/openbucs. Several ETSU students competed in the 2013 MTNA/ TMTA state competitions at Tennessee Tech University November 1-2. Benjamin Dawson, a student of Dr. Maria Niederberger, won MTNA Young Artist Composition. Dr. Chih-Long Hu’s piano students were also successful, with Huayong Sun and Xiaotong Liu winning the TMTA

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AUDITION DATES

SCHOOL OF MUSIC MTSU Box 47 Murfreesboro, TN 37132 (615) 898-2469 www.mtsumusic.com

1013-0550 / Middle Tennessee State University is an AA/EEO employer.

Saturday, February 1, 2014 Friday, February 14, 2014 Saturday, March 1, 2014

Collegiate Piano competition and Zixi Zhou winning TMTA Collegiate Piano Solo. Tong Xuan Qin and Ke Shi were runner-up and Honorable Mention winners in the same category. Xiaotong Liu and Matthew Brickey earned Honorable Mention and Alternate, respectively, in MTNA Young Artist Piano. Yi-Jou Tien, a flute student of Rebecca Paluzzi, was Alternate in MTNA Senior Woodwind. Tatum Spears, a student of Dr. Sun-Joo Oh, was a representative in MTNA Young Artist Voice. Senior music education major Kyle Jones was a finalist in the Elizabeth Harper Vaughan Concerto Competition sponsored by the Symphony of the Mountains. A student of Tom Crawford, Jones performed the Glazunov Concerto for Alto Saxophone and String Orchestra. University of Memphis Dr. Robyn Jones, professor of clarinet, performed in Assisi, Italy, at the annual International Clarinet Association’s ClarinetFest. Prior to the festival, she traveled to music libraries in Milan and Bologna to research Italian clarinet music that is not published or is unavailable in the United States. Dr. Victor Asunción, professor of piano, has been named a Steinway Artist. Asunción recently performed with the Philippine Philharmonic Orchestra and gave master classes at the University of the Philippines, where he is a visiting professor of piano and chamber music. Prior to his trip to the Philippines, he played three concerts at the Music in the Vineyards Chamber Music Festival with musicians from the Los Angeles Philharmonic, the Ortelius Piano Trio and members of the Chicago Symphony and Minnesota Orchestra. In addition, he performed concerts in Brazil, at the International Horn Symposium, at the Santa Fe Chamber music festival and in a chamber music recital in Albuquerque. Dr. Kevin Sanders, professor of tuba and euphonium, performed recently as principal tuba with the Macau Orchestra and the Macau Brass Quintet and traveled with the orchestra to perform at the 2013 Seoul International Music Festival. The Ceruti Quartet, ensemble-in-residence, was reviewed in Gramophone for their recording of the Brahms String Quartet No. 1, Op. 51, No. 1, and the Debussy String Quartet No. 10. The reviewer described their performance as having “lush symphonic colour.” In September, Dan Phillips, professor of horn, performed a recital and presented a lecture and master class at the first meeting of the Brazil Horn Society, held in Natal, Rio Grande do Norte, Brazil. One of the co-hosts for the meeting was Phillips’ former student, Dr. Rinaldo Fonseca. In October, American Bach Soloists released its 30

Tennessee Musician • WINTER 2013

recording of Handel: Laudate pueri, Dominum featuring Mary Wilson, visiting professor of voice. Wilson has been hailed by the Arizona Daily Star as “simply amazing, with a voice that induces goose bumps and a stage presence that is mesmerizing.” Geoff Durbin, D.M.A. student, won first place in the euphonium artist division recently at the prestigious Falcone Festival international competition. Two graduate students performed leading roles in Playhouse on the Square’s production of Les Misérables. Phillip Andrew Himebook, a student in the M.M. program in vocal performance with Susan Owen-Leinert, sang the role of Jean Valjean. Cosette was sung by Elisabeth Hipp, also in the vocal performance master’s program and a student of Evan Jones. Congratulations to our students and alumni who have won new positions: Jim Albrecht (D.M.A., 2011), trombone professor, Akron University; Ed Morse (D.M.A., trombone, 2010), low brass professor, Mississippi Valley State University; Anthony Williams (D.M.A., 2009), trombone professor, Northern Iowa University; Dwayne Heard (M.M., tuba, 2010), assistant professor, Morgan State University; Zack Corpus, D.M.A. candidate in tuba, substitute musician with the Orlando Philharmonic Orchestra; and Paul Criss (Ph.D.), Dean of Faculty for the Belhaven Memphis and DeSoto Campuses. Artist Diploma student Dane Suarez, tenor, was one of three winners selected in the West Tennessee District of the Metropolitan Opera National Council Auditions. He will sing in the Mid-South Regional Finals on February 8 at Germantown Performing Arts Centre, with a chance to advance to the Grand Finals held at the Metropolitan Opera in New York.

National Association for Music Education Announces the Creation of

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.

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

music

AT UNION UNIVERSITY

to exalt

to inspire

Jackson, Tennessee 731.661.5345

uu.edu/music EXCELLENCE-DRIVEN

C H R I S T- C E N T E R E D

PEOPLE-FOCUSED

FUTURE-DIRECTED

Noteworthy.................................. Kellie Brown Turner, Steve. (2011). The Band That Played On: The Extraordinary Story of the 8 Musicians Who Went Down with the Titanic. Nashville: Thomas Nelson.

For over 100 years, people have been fascinated with the tragic story of the Titanic. With such a glorious ship and so many fascinating passengers, there always seem to be new and interesting stories for researchers and writers to explore. Since that tragic night, one of the most popular stories has involved the musicians on board, that band of eight players who were said to go down with the Titanic while playing “Nearer, My God, to Thee.” In The Band that Played On, Turner examines the lives of each of these musicians, providing as much biographical information on their families, musical training, and careers as possible. As an accomplished journalist with many successful books to his name, Turner uses his interest in music and his research skills to create an informative as well as engaging read. The book begins with the background of shipbuilding during the early 20th century and discusses the history of the Titanic from the earliest planning stages to the building and then to the taking on of provisions. It is while covering everything that needed to be on the ship for this voyage, from cabbages to the crew, that Turner segues into the lives of the eight musicians: two violinists, two cellists, one bassist, two pianists, and the band leader (also a violinist). The bulk of this book is devoted to the lives of the musicians, interwoven with a detailed account of the

Tennessee Musician • WINTER 2013

voyage, including the sinking as recounted by survivors and rescuers. He concludes this volume with a discussion of films and compositions that have been created to honor the memory of the Titanic, and hints at the possibility that the violin belonging to band leader Wallace Hartley may have been found. (Since the publication of this book, Hartley’s violin has been authenticated and was sold recently at auction for more than $1.7 million. Interestingly, before it went on the auction block, this violin spent some time in Tennessee at the Titanic Museum.) While this is not the first book written about the band, it is a well-researched book that is not only a historical study, but more importantly, a heartfelt telling of these young men’s story. Parrish, P. J. (2011). The Killing Song New York: Simon & Schuster. If you love an exciting pageturner about a clever serial killer and those trying to apprehend him, then this book will satisfy. In The Killing Song, the two-sister writing team known collectively as P.J. Parrish have created a fast-paced thriller set in the world of chamber music that is expertly conceived and full of twists and turns. Matt Owens, an award-winning journalist living in Florida, makes arrangements for his younger sister to come visit. But during a night on the town, she disappears and, after frantic hours of searching, her body is discovered. As Owens desperately tries to piece together what happened, he discovers that his sister’s iPod, which was left at the crime scene, contains a strange song that he knows his sister did not put on there. This detail will involve him in a series of crimes that he could never have foreseen.

Our new home! The Natalie L. Haslam Music Center

U State-of-the-art recital hall U More than 50 premium student practice rooms U Eight technologyenhanced classrooms U Over 123,000 square feet of music space

Auditions 2014

For admission to the School of Music as a major or minor: January 18, 2014: Graduate vocal January 25, 2014: Undergraduate February 1, 2014: Undergraduate February 8, 2014: Graduate

Pride of the Southland Marching Band for non-majors: February 22, 2014 March 1, 2014

For more information about auditions:

www.music.utk.edu/auditions 117 Natalie L. Haslam Music Center 1741 Volunteer Blvd., Knoxville TN 37996-2600

www.music.utk.edu

865-974-3331

The University of Tennessee is an EEO/AA/Title VI/Title IX/Section 504/ADA/ADEA institution in the provision of its education and employment programs and services.

Tennessee Musician â&#x20AC;˘ WINTER 2013

Band Chair Report..................... Debbie Burton Have you seen the new TMEA website? If not, you must visit the site today at www.tnmea.org. The site is easy to navigate and has all the TMEA information you need. Under the Divisions & Regions link, each division now has its own blog. Members can follow the TMEA Band Blog and receive e-mail notifications when new information is posted. This will be a great way for members from all across the state to discuss issues and topics related to bands in Tennessee. A huge “thank you” goes to Ken Greene, our TMEA Ed Tech Chair and webmaster, for designing this new site.

Assistant Director of Bands, Western Carolina University; and Eric Wilson, Director of Bands, Baylor University. U.S. Army All American Marching Band The U.S. Army All American Marching Band is a prestigious event sponsored by the U.S. Army in partnership with NAfME and DCI. Students are selected from across the nation through a comprehensive audition process; winners receive an all-expenses-paid trip to San Antonio to perform at halftime at the High School All-American Bowl in January. Congratulations to the thirteen students from our state selected this year (director names in parentheses). •

NAfME National In-Service Conference • The National Association for Music Education held a very successful conference in Nashville in October. The 2014 NAfME National In-Service Conference returns October 26-29 to Nashville and the Gaylord Opryland Hotel and Resort. Members of TMEA played a huge role in making the 2013 conference a success and next year will be no different. If you would like to present a session at the conference, visit the NAfME website at www.nafme.org. State Concert Festival The TMEA State Concert Festival will be April 2526, 2014, at the Blair School of Music on the campus of Vanderbilt University in Nashville. The festival was created to provide a performance venue for instrumental programs across the state that have been recognized by their regional associations as having attained the highest level of excellence in stage performance and sight-reading. Ensembles qualify by receiving superior ratings at either the 2013 or 2014 regional concert festivals. The registration window will be open from March 1 to April 1. Clinicians for the festival are: Roy Holder, retired Director of Bands, Lake Braddock HS, Virginia; Richard Saucedo, retired Director of Bands, Carmel HS, Indiana; David Starnes,

Tennessee Musician • WINTER 2013

• • • • • • • • • • •

Ben McCurry, multi-tenor drum, Carter HS (Matthew McCurry and Kristin Arp) Michael Gary, alto sax, Collierville HS (Michael Wilson) Jaske Goff II, snare drum, Germantown HS (Lanny Byrd) Luke Branstetter, mellophone, Goodpasture Christian School (Adam Laman) Lyndsey Moulton, color guard-flag, Goodpasture Christian Andrew Neighbor, multi-tenor drum, Halls HS (Eric Baumgardner) Jakob Womack, baritone, Henry County HS (Michael Nelson) Jenna Kirby, marimba, John Overton HS (Debbie Burton) Jazmon Tate, sousaphone, John Overton HS Tony Caldwell, trombone, Munford HS (Barry Trobaugh, Gary Fite and Peter Colin) Kelsey Lumpkin, color guard/flag, Munford HS Kyle Biggs, mellophone, Station Camp HS (Eric Scott) Florin Matei, trumpet, Station Camp HS

Directors interested in nominating students for the 2015 U.S. Army All-American Marching Band should visit the NAfME website at http://musiced.nafme.org/usaaamb/. Directors can nominate current 11th grade students through January 31, 2014.

Instrumental Performance • Vocal Performance • Theory/Composition • Music Education

Music Performance Grants are awarded on the basis of audition to music majors and non-music majors. Prospective music majors will audition for admission to the Music Department on these dates:

February 8, 2014 March 1, 2014 March 22, 2014 To schedule an audition: www.utc.edu/Auditions or call (423) 425-4601 SCAN WITH BARCODE SCANNER

Bachelor of Music • Bachelor of Arts • Master of Music

Instrumental and Vocal Auditions

FOR MORE INFO

Visit the Audition Requirements website by scanning the code.

www.UTC.edu/Music UTC is an equal employment opportunity/affirmative action/Title VI/Title IX/Section 504/ADA/ADEA institution.

Choral Chair Report........... Jeffrey Chipman I began my journey to become a teacher in the 10th grade. That’s when it really hit me that I loved singing. I knew I wanted to do what my inspirational high school director (Suzanne Callahan, Brookland High School, Brookland, AR ) did: change lives. It sounds clichéd, but it’s true. I would venture a guess that many of you started your journey in much the same way. I started taking voice and piano lessons. I worked constantly at home on my All-Region and All-State music to make the highest chair possible. I was hooked. Things were different for many of my classmates. While they enjoyed music and singing in choir it was not their main focus. They had other aspirations and dreams. I applaud them for it. We all learned a lot about music and we all became better people because of the personal and social skills we honed in choir. I took it further than most. I wanted to teach music so I knew I needed to think about things differently. Not only was choir an experiential exercise, it was preparing me academically for my future as a music teacher. I recently had time to reminisce about those days after reading over the new draft High School Ensemble National Core Music Standards. I hope you have read them, too. If you have not, do so immediately. You can find them at http://nccas.wikispaces.com/Music+Standards. During my review of the draft standards I began to wonder how these standards would have impacted my experience and the experiences of my friends in a great high school ensemble. After reading over the High School Ensemble standards I had a few questions. 1. What are they talking about? Many of the standards or indicators are so amorphous that a teacher could use elementary concepts far below the ability level of a high school student and still actually approach the standard. Specificity in standards is not an evil thing. If we want our students to understand key signatures, we better ensure that our standards have that expectation. The closest thing I have seen in the standards that could be used for understanding key signatures is this: “c) Independently develop musical ideas and analyze and articulate the technical and artistic challenges.” This is quoted from the ARTISTIC PROCESS: Creating, PROCESS COMPONENT: Plan and Make Advanced level indicators. I realize these standards are in draft 36

Tennessee Musician • WINTER 2013

form and that more specificity is planned, but how can we truly assess the appropriateness of what we currently see if content is wholly removed from the indicators or descriptors? 2. Why does the student’s choice seem to matter more than the professional educator’s? While I understand that students deserve to be heard and can often bring great ideas to the table, the teacher in the room is the authority on teaching music. Many of the standards seem to expect that a child will select their own repertoire as soloists and choir members. It is a rare child that has the skill set to choose appropriate repertoire or pedagogy for teaching skills in the music classroom. 3. What gives with collaborative work being proficient, but in order to be accomplished or advanced one must do things independently? Are we to give group projects and individual projects on the same skills to determine if they are only able to complete the assigned task with help from classmates? Furthermore, there are many ensemble skills that cannot be assessed independent of others. 4. Why am I reading the ENSEMBLE standards and finding that most of the indicators needed to show advanced skill levels in PERFORM are reserved for individual tasks such as “research,” “deconstruct,” “create,” “analyze,” “document” or “critique”? What happened to tone, breath support, vowel placement, etc.? I hope you are getting my point. Again, I realize what has been released to this point is a draft of what we will eventually see, with most of the specificity stripped out. However, I am concerned that we are embarking on a new set of goals for ensemble classes that deemphasizes the performing ensemble and puts the focus on individual vocal and written work. I am concerned that we are creating a complexity level in our ensemble classes that will kill the joy that many of our students have when they enter our classes each day to sing and experience music with us. I am fearful that, as a middle school teacher, I will be searching for a way to get my students prepared for these new expectations at the high school level when I find most of the high school indicators to be aimed at future college music students and not the typical student who participates in our school programs. Please understand, I am not saying the students we have now are leaving our programs without the skills they need to perform and enjoy music in the adult world. They certainly are. We must recognize that most will not continue with music in any significant academic form. They are with us in school because they love to make music and connect with others through the human experience of singing. Are we beginning to say that that is not valid? Is the

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February 22, 2014 March 1, 2014

(Woodwinds/Brass/Percussion/Color Guard)

For more information on how to join the Pride of the Southland Band, visit our website http://web.utk.edu/~utband/ or call us at 865-974-5031

January 25, 2014 February 1, 2014

(Woodwinds/Brass/Percussion)

2014 MARCHING BAND AUDITION DATES NON-MUSIC MAJORS MUSIC MAJORS/MINORS

THE UNIVERSITY OF TENNESSEE

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technical more important than the experiential in the Arts? What is the appropriate balance? I am hopeful that I will be pleasantly surprised and be in an “eating crow” situation in a few months when the final version is released. Your voice can help me do just that. Please read the standards and communicate your agreement or disagreement to the proper individuals and organizations. Also, let me know what you think!

Speaking of getting your voice out there, please bookmark the new TNMEA website and follow the blogs associated with each of the division chairs. It is easy to do! We have amazing connectivity with modern technology. It would be a huge and avoidable failure if we did not use it to make us more informed and efficient. If you have a comment or suggestion, post it there. If there is information pertinent to the rest of our colleagues in the state, forward it and we will get it posted.

TN Musician13winter-r1:TN MusicianWinter 2/26/13 2:26 PM Page 1

• Intensive professional training with a superb

liberal arts education-in a place long known to the world as Music City U.S.A.

• Internationally recognized faculty and

uniquely personal student/teacher ratio – a hallmark of the Blair community Vanderbilt University Wind Ensemble • Thomas Verrier, Director

VANDERBILT UNIVERSITY • New, state-of-the-art classrooms, studios,

and performance halls – a new dimension in the learning experience

• Degree programs offered in instrumental

and vocal performance, composition/theory, and musical arts – and a five-year Bachelor of Music/Master of Education program

• Ranked as one of the nation’s top twenty universities

Tennessee Musician • WINTER 2013

A U D I T I O N D AT E S 2 0 1 3 / 1 4 December 7, 2013 • January 24 & 25, 2014 February 7 & 8, 2014 • February 21 & 22, 2014 For more information:

Dwayne Sagen, Assistant Dean of Admissions Blair School of Music, Vanderbilt University Nashville, TN 37212-3499 PHONE: (615) 322-6181 WEB: blair.vanderbilt.edu E-MAIL: Dwayne.P.Sagen@vanderbilt.edu

Dr. Frank J. Grzych, Director

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Southern Illinois University welcomes Dr. Frank J. Grzych as the new Director of the School of Music.

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JAZZ Studio Jazz Orchestra Lab Jazz Orchestra Jazz Combos

CHORAL Concert Choir Choral Union Chamber Singers

OPERA ORCHESTRA SouthernIllinoisSymphonyOrchestra MUSICAL THEATER Civic Orchestra

UNIVERSITY BANDS Wind Ensemble Symphonic Band Marching Salukis Saluki Pep Band

INSTRUMENTALENSEMBLES New Music Ensemble Percussion Group siu Improvisation Unit Guitar Ensemble Flute Choir

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Educational Technology Chair Report......... Ken Greene The first T4 Session Online was posted to the TMEA website in early December, kicking off what will hopefully become a regular offering of collaborative webinars and helpful tutorials presented by TMEA leadership, TMEA members, and our industry partners. The first session was a prerecorded tutorial on the basics of digital video and audio recording, including the use of smartphones and tablets for recording and of mobile apps such as Google Docs and Dropbox for uploading and storing recorded media. A number of my colleagues had requested this topic for the first T4 Session Online, especially with the increasing need to capture video and/or audio samples of student growth for their portfolios. Follow-up questions and comments are welcomed.

Common Core in the arts, or if you want to share some of your best practices with others throughout the state, then visit tnmea.org and let us know what interests you most. Hope to hear from you soon!

Professional Development Credit Opportunities for Viewing Recorded T4 Sessions Online

Each state officer–Band Chair, Orchestra Chair, etc.– has his/her own blog embedded in their page on the website. The embedded blogs allow our state officers to deliver important information to TMEA membership in a timely manner. “Follow” a blog and receive an e-mail when new posts are added. Each embedded blog has the same six features in the right column of the page:

Some school districts in Tennessee have allowed their music teachers to receive professional development credit for viewing the recorded T4 Sessions Online. After completing a brief questionnaire, just as you would with most online PD, you will be able to download and print a certificate of completion that you can submit for PD credit. Check with your school administration or music supervisor to find out if they will add TMEA T4 Sessions Online to their list of approved professional development options. Contact me at knrgreene@gmail.com if you have any questions.

TMEA Website Update As you probably know by now, the TMEA website was recently redesigned. While the new design has been well received, there will likely be a few changes throughout the site in an ongoing effort to provide our members with the best online experience possible. With that goal in mind, I would like to ask you to please take a moment and look through our website–tnmea.org–and let us know if you have any suggestions for improvement. Look for the yellow website survey button on our homepage. TMEA Officer Blogs

Do you have a suggestion for a T4 Sessions Online topic? Visit the Tech Boutique section on our TMEA website and fill out the T4 Sessions Online Topic Suggestion Form and share your suggestions with us. Remember, T4 Session Online topics do not have to focus solely on technology. We’re using available technology to conveniently connect with our membership, provide timely information on relevant issues, and offer opportunities for members to present or participate in online sessions that are of particular interest to them. So if you would like to participate in a live session focusing on the upcoming 2014 TMEA Professional Development Conference in Memphis, or if you would like to learn more about 40

Tennessee Musician • WINTER 2013

The black information box on the left of each blog post includes links that allow you to communicate directly with TMEA officers and respond to specific posts through the “comments” feature.

Teaching Tips Featured on NAfME’s My Music Class!

Team TMEA Presidents’ Blog The Team TMEA Blog is the official blog of the TMEA president, where you will find information on regional, state, and national issues related to music education. Our current TMEA President Dian Eddleman has been doing a terrific job managing the blog. The Team TMEA blog has the same features as the TMEA officers’ blogs in the right column of the page, including the option of following the Team TMEA Blog via e-mail. Look for the red “Team TMEA” link on the TMEA home page and throughout the site.

Here are some examples: •

Designing Effective Rehearsals

•

Creating a Student Handbook •

•

Developing a Relationship with Administration

Your First Day of Class

Visit musiced.nafme.org/mymusic-class to browse tips.

Be a T4 Session Presenter at the 2014 TMEA Professional Development Conference Last year’s T4 Sessions were a tremendous success! Several Tennessee music educators participated in the inaugural T4 Sessions, presenting two full days of presentations on a variety of topics. Last year’s T4 Sessions are available for viewing in the Tech Boutique section of our TMEA website, where you will also find video testimonials from T4 Session presenters and attendees and additional information on the T4 Sessions. We hope to build on last year’s success by having more teachers present sessions at the 2014 conference in Memphis on April 10-11. Take the TMEA Tech Boutique stage in Memphis and share your success stories, student accomplishments, and project ideas with other music educators. Modeled after the successful and highly popular TED Talks series (www. ted.com), T4 Sessions presenters will have 20-minute slots for delivering their presentations in the TMEA Tech Boutique. Of course, longer presentation slots can be scheduled if needed. The goal is to provide TMEA members with the opportunity to share what works best for them while engaging audience members in concise, relevant, and informative presentations.

Online Professional Development! Got music education questions? Want some expert advice? NAfME offers this exciting free benefit to members throughout the school year. NAfME members visiting the band, orchestra, chorus, jazz, inovations, guitar, general music, composition, and Collegiate networks can get expert advice in answer to their questions.

Visit the forums at www.nafme.org

Visit the Tech Boutique section of the TMEA website and sign up to be a T4 Session presenter at the 2014 TMEA Professional Development Conference in Memphis! Tennessee Musician • WINTER 2013

General Music Chair Report......................... Alexis Yatuzis-Derryberry A huge thank you to 35 schools that sent in 300-plus auditions for the 2014 Tennessee Treble Honor Choir! I know how much extra work it is to record (and re-record) your students’ auditions, collect fees, and get them mailed in. Thank you so much! I also want to thank our judges who gave up their Saturday to adjudicate all of the submissions. Your time and expertise is very much appreciated! One hundred forty students were selected for the 2014 choir. The ensemble will rehearse on Wednesday, April 9, from 1:00 to 5:00 PM (CST) in Memphis’ beautiful Cannon Center for the Performing Arts. Their performance will take place on Thursday, April 10, at the 9:00 AM (CST) Opening Session for the TMEA Professional Development Conference. Our guest conductor this year is Dr. Andrea Ramsey. Dr. Ramsey holds an appointment in choral music education at The Ohio State University where she teaches choral methods and undergraduate conducting, and conducts the University Chorus. A native Arkansan, Ramsey has thirteen years of teaching experience with children’s, public school, and university choruses. She received her Ph.D. in music education from

Michigan State University, where she was a University Distinguished Fellow, and her M.M. in choral conducting from the University of Kansas. Enjoying regular guest conducting and presenting opportunities, Ramsey looks forward to presenting and conducting engagements this year in Canada, New Jersey, New York, Michigan, Mississippi, Kentucky, Tennessee, Alabama, Arkansas, North Carolina, Minnesota, and West Virginia. An ASCAP award-winning composer, she composes for a wide range of voices and ability levels and has over 60 works in press. She is composerin-residence to the Allegro Choirs of Kansas City; she has twice toured abroad with the choirs to Italy, Austria, and the Czech Republic. Dr. Ramsey will also be presenting a session on Thursday, April 10, titled “ Embracing the Non-Auditioned Chorus: Dumping Ground, or Land of Opportunity?” This session will focus on the realities and challenges of teaching adolescent singers in non-auditioned choirs. While the majority of the session will focus on the nonauditioned middle school chorus, ideas and activities will be applicable to younger and older singers. The target audience is primarily middle school teachers, with applicable ideas to other areas. I do hope you will make plans to attend the 2014 TMEA Professional Development Conference and will place the Tennessee Treble performance and Dr. Ramsey’s sessions on your agenda!

2014 Tennessee Treble Honor Choir Repertoire “The Tiger” by Lauren Bernofsky “E Nana Kakou, Mahelona,” ed. Henry Leck “When I Lay Me Down to Sleep” by James Mulholland “Wake Me a Song” by Andrea Ramsey “Three Quotes by Mark Twain” by Andrea Ramsey

Tennessee Musician • WINTER 2013

Higher Education Chair Report.................

Barry Kraus

NAfME National In-Service Conference The recent NAfME National In-Service Conference in Nashville was a terrific success. Dian Eddleman and the TMEA board members did much behind the scenes to make this event possible. Thanks to our Tennessee higher education faculty presenters who gave interesting and well-attended clinics. The conference also featured many of our Tennessee college and university ensembles, and each represented our state with outstanding performances. The conference returns to Nashville in 2014, so please make plans to participate, present, or perform. Institutional Partnership Proposal Over the summer, the TMEA board considered the possibility of an institutional partnership that would offer higher education institutions more incentives to participate in the annual convention. The partnership, which is based on the Ohio MEA model, is an expansion of the exhibitor registration and would include additional opportunities for advertising, clinic presentations, and performances. The partnership model is designed to allow increased participation from collegiate faculty, particularly those in applied and ensemble concentrations. More information about this option will be shared via the TMEA website in the spring.

Does the convention timing work for higher education? Many colleagues have expressed that the timing of the April convention presents difficulties for higher education faculty members and administrators. For most colleges and universities in the state, the annual convention falls during the final weeks of the spring semester, often conflicting with concerts and preparations for final examinations and prohibiting participation from institutions across the state; however, it seems to be an ideal time for K-12 programs. In preparation for the convention, I challenge higher education faculty and administrations to discuss how the timing affects potential participation and to bring ideas forward for conversation. The desire to increase higher education involvement in TMEA has been an important issue for many years. Higher Education Caucus and Round Table The higher education caucus will gather on Thursday during the April convention and we have planned a roundtable meeting for Friday to continue discussion surrounding higher education issues. We will discuss all of the topics above as well as changes in teacher education and how institutions are adapting. I hope that you are able to attend and bring ideas to the meetings. In the meantime, please follow the higher education blog on the new TMEA website. Announcements and discussion topics will be posted there frequently in the spring semester.

All Collegiate Orchestra Cancellation The intercollegiate orchestra has been cancelled for the April convention. As plans moved forward in the fall, it became increasingly apparent that many ensembles were not able to participate due to location and travel costs. The event has been tabled, Need information about your membership? and the board will consult regarding future plans for another offering in 2017. The intercollegiate program currently operates Contact NAfME Member Services at on a three-year rotation. In 2015, the 1-800-336-3768 or intercollegiate choir will return and band will return in 2016. Please keep these events MemberServices@nafme2.org. in mind and encourage your students to participate. www.nafme.org 0XVLF (GXFDWLRQ É&#x17D; 2UFKHVWUDWLQJ 6XFFHVV

Tennessee Musician â&#x20AC;˘ WINTER 2013

Orchestra Chair Report......... Ross Bader Hello Tennessee Orchestra Folks, As we get into the busiest time of the year for musicians, there is not too much to report. Plans are continuing to proceed for our convention. Congratulations to the University of Memphis Orchestra for being selected to perform. As we are all aware, there are many changes coming up for the 2014 TMEA Professional Development Conference and All-State. With so many things being different–venue, travel distance, All-State ensemble structure–I’m sure many people will have concerns and suggestions. We all want these changes to be successful. I encourage you to let us know of positive ways we can improve, but also to have a “go with the flow” attitude this year as we implement these changes. Several people on the TMEA board have been hard at work since this summer to plan for an outstanding conference. Please visit our recently redesigned TMEA website (www.tnmea.org) if you have not done so already. I think you will find it very up-to-date and easy to navigate. This will be especially important as we approach the time for conference and All-State registration, so I encourage you to familiarize yourself with it now. Also, there is a blog space for each focus area, so if you ever have news or announcements that you’d like me to publicize, please e-mail the information to me at rbader@ k12k.com and I’ll be glad to put it on the blog. East Tennessee folks, I’d like to make a plug for this year’s new orchestra concert festival to be held on Monday, March 3, at the Clayton Performing Arts Center in Maryville. Matt Wilkinson has put this opportunity together for us, securing a wonderful performance hall and excellent clinicians. The judges for this festival will be: Hillary Herndon, viola professor at the University of Tennessee; Dr. Wesley Baldwin, TNASTA President and cello professor at UT; and Dan Allcott, Director of Orchestras and cello teacher at Tennessee Tech University. Please help us make this event a success by registering your orchestra to participate.

Here are some simple, time-effective ways principals can assist their school’s music educators: Create and Foster an Environment of Support • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and correlates with gains in standardized test scores. • Provide adequate funding for instruments and music education materials. • Make certain that your school has a fully staffed faculty of certified music teachers.

Tips to Share with

Your Principal

Principals and school boards have the ability to substantially aid music educators in their quest to enrich children’s minds through music. Fostering a strong music program will help them achieve their goals as a leader in the education community, and, most of all, will aid the growth and development of children in their school. 44

Communicate Constructively • Make statistical studies and research supporting the value of music education available to other administrators and school boards. • Encourage music teachers to support their cause by writing articles in local newspapers, professional journals, or by blogging online about the value of music education. • Share your students’ successes with district colleagues. Include articles in school and district newsletters to communicate the value of music in a student’s education.

Visit www.nafme.org for more Principal Resources.

SMTE Chair Report.............. Jamila McWhirter The Society for Music Teacher Education 2013 National Symposium on Music Teacher Education was held September 2628 on the lovely campus of UNCGreensboro. The SMTE National Symposium is unlike any other music education conference because of the focus on completing collaborative work that can be disseminated within SMTE and to broader audiences. If you are interested in the issues concerning music teacher education, either of pre-service teachers or practicing teachers, then I urge you to consider attending in the future. One of the ways in which SMTE brings this type of collaborative effort to the forefront is through the Areas for Strategic Planning and Action (ASPAs). These ASPAs are designed to foster discussions of concentrated areas of issues and topics of concern. The ASPAs foster collaborative efforts among music teacher educators and those interested in the recruitment, preparation, and professional development of music teachers. In addition, the design of the ASPAs allows for research activities that help build a coherent and systematic base of knowledge in music teacher education. Each ASPA is guided by a facilitator and a mission statement. The ASPA areas are Critical Examination of the Curriculum; Cultural Diversity and Social Justice; Music Teacher Educators: Identification, Preparation, and Professional Development; Music Teacher Socialization; Policy; Professional Development for the Beginning Teacher; Professional Development for the Experienced Teacher; Program Admission, Assessment and Alignment; School/ University Partnerships; Teacher Recruitment; Teacher Retention; and Teacher Evaluation. In addition to the ASPA working sessions, participants may attend numerous presentations and poster sessions on research and best practice. The symposium begins with a keynote speaker who sets the tone for many of the informal discussions that occur at the conference. This year’s keynote address was presented by Dr. Karen Hammerness, who is an associate professor and Director of Program Research in the Bard College Master of Arts in Teaching program. Her research focuses upon the design and

pedagogy of teacher education in the United States and internationally. She is particularly interested in the role of personal vision in teachers’ work and in the role of program vision in teacher education. The overall theme of the 2013 symposium was Navigating Crossroads, so many of the presentations examined various crossroads related to the conceptions of music teaching. One of the most interesting sessions was given by Dr. Glenn Nierman, NAfME president-elect, on the work of NAfME’s Music Teacher Evaluation Taskforce. This is definitely a crossroad in music education that is on the minds of most of us in the profession, whether we be a music educator, future music educator, or music teacher educator. SMTE accepted only 38% of proposals submitted for poster presentation. Those from Tennessee chosen to present were Dr. Johnathan Vest (UT-Martin), who presented “Classroom Management Instruction: An Organic Extension of Pedagogically Sound Music Teacher Education,” and Dr. Jamila L. McWhirter (MTSU), “A Survey Examining the Dispositions of Music Teachers Regarding the New Teacher Evaluation System in Tennessee and Possible Impact on Music Teacher Recruitment and Retention.” Also, Dr. Christopher Baumgartner (MTSU) presented a joint study with Dr. Brian A. Silvey (University of Missouri -Columbia) on “Undergraduate Conductors’ and Conducting Teachers’ Perceptions of Basic Conducting Efficacy.” One of the highlights of the biennial event is the symposium summary presented as a mind map. All of the ideas from the ASPA work are presented to the attendees of the symposium, who then take a walk across the beautiful campus to a banquet of North Carolina BBQ. One of my goals for this next year is to hold a state SMTE Symposium this coming fall. If you would like to contribute ideas, please contact me. I would love to have your input. I hope that if you are involved with music teacher education as a higher education faculty member, as a music education supervisor, or as a mentor teacher that you will consider attending the 2015 SMTE National Symposium. I am happy to provide information if you would like to know more. 45

TENNESSEE MUSIC EDUCATION ASSOCIATION COUNCIL 2013-14 TMEA OFFICERS 2013-2014 President: Dian Eddleman University School of Jackson 232 McClellan Rd, Jackson 38305 deddleman@usjbruins.org H 731.424.3418; C 731.695.8270 Fax 731.664.5046 President-Elect: Jeffrey Phillips Hendersonville HS 123 Cherokee Rd., Hendersonville 37075 jpband@bellsouth.net H 615.824.4977; W 615.824.4526 Past President: Ronald Rogers William Blount HS 219 County Farm Rd., Maryville 37801 RRogers886@aol.com C 865.363.3500; H 865.247.7255 Executive Director: Ron Meers 129 Paschal Dr., Murfreesboro 37128 execdirector@tmea.org H 615.890.9308; C 615.542.5012 BOARD OF DIRECTORS TMEA officers plus the following state chairs, Tennessee Department of Education representative (ex officio) and the conference coordinator and All-State general chairs (nonvoting): Band Chair: Debbie Burton John Overton HS 4820 Franklin Rd., Nashville 37220 DLBurton98@gmail.com Debra.Burton@mnps.org W 615.331.8586; C 615.887.7718 Choral Chair: Jeff Chipman Bellevue Middle School 575 South Bellevue Blvd, Memphis 38104 choralchair@tnmea.org W 901.416.4488; C 901.240.6963 General Music Chair: Alexis YatuzisDerryberry Siegel Middle School 355 W. Thompson Lane, Murfreesboro 37129 derryberrya@rcschools.net ayatuzisderryberry@mac.com W 615.904.3830, ext. 28573 C 615.519.1392; Fax 615.904.3831 Educational Technology Chair: Ken Greene Overton HS 1770 Lanier Lane, Memphis 38117 knrgreene@gmail.com C 610.613.9107

Tennessee Musician â&#x20AC;˘ WINTER 2013

Higher Education Chair: Barry Kraus Belmont University 1900 Belmont Blvd., Nashville 37212 barry.kraus@belmont.edu W 615.460.6024 Orchestra Chair: Ross Bader Dobyns-Bennett HS 1800 Legion Dr., Kingsport 37664 rbader@k12k.com W 423.378.8589 Collegiate NAfME State Chair: Michelle Paynter Paise Cumberland University One Cumberland Square, Lebanon 37087 mpaise@cumberland.edu 615.547.1301; 615.410.0790

MTGM A President: Jason Simmons Barfield Elementary 350 Veterans Pkwy., Murfreesboro 37128 barfieldmusic@aol.com 615.904.3810 MTSBOA President: Craig Cornish Middle Tennessee State University P O Box 63, Murfreesboro TN 37132 craig.cornish@mtsu.edu W 615.898.2486 MTSBOA President-Elect: David Aydelott Franklin High School 810 Hillsboro Rd., Franklin 37064 david@wcs.edu W 615.472.4465

TMEA COUNCIL Members of the Board plus association presidents and vice presidents, and project chairs: Association Presidents and Presidents-Elect ETGMA President: Teresa L. Ryder Farragut Primary School 509 Campbell Station Rd., Knoxville 37934 teresa.ryder@knoxschools.org W 865.966.5848; H 865.692.8837; C 865.310.5208 ETGMA President-Elect: Margaret Moore Lanier & Montvale elementary schools P O Box 5082, Maryville 37802 mamcmoore57@aol.com H 865.216.5482 ETSBOA President: Jim Burton Cleveland High School 850 Raider Dr., Cleveland 37312 etsboaemail@gmail.com W 423.478.1113, ext. 8584 ETSBOA President-Elect: Lafe Cook Dobyns-Bennett High School 1800 Legion Dr., Kingsport 37664 lcook@k12k.com W 423.378.8589 ETVA President: Janet Johnson Signal Mountain Middle and High School 2650 Sam Powell Trail Signal Mountain 37377 johnson_j@hcde.org W 423.886.0880, ext. 336 ETVA President-Elect: Jason Whitson Volunteer High School 1050 Volunteer St., Church Hill 37642 jason.whitson@hck12.net W 423.357.3641

MTVA President: Lia Holland Robertson County Schools 3276 New Chapel Rd., Springfield 37172 president@mtva.org W 615.584.5782 MTVA President-Elect: Alexis YatuzisDerryberry See General Music Chair WTGMA President: Amy Vails Balmord/Ridgeway Elementary School, Memphis avails@bellsouth.net H 901.219.7339 WTSBOA President: Karen Henning Liberty Technology Magnet High School 3470 Ridgecrest Road Ext., Jackson 38305 kbhenning@jmcss.org W 731.410.6446 WTSBOA President-Elect: Chris Piecuch Overton High School 1770 Lanier Lane, Memphis 38117 chris.piecuch@yahoo.com W 901.416.2136 WTVMEA President: Gaylon Robinson Memphis Central High School 306 S. Bellevue Blvd., Memphis 38104 gbrobnsn@memphis.edu W 901.416.4500 WTVMEA President-Elect: Lalania Vaughn Tipton-Rosemark Academy 8696 Rosemark Rd., Millington 38053 lvaughn@rebelmail.net W 901.829.4221, ext. 4307 Conference Management Team Conference Chair: Brad Turner Houston MS 9400 Wolf River Blvd., Germantown 38139 turnerb1@scsk1.org H 901.867.1870; W 901.756.2366; C 901.438.8020

TMEA Council, cont. Conference Exhibits Chair: Jo Ann Hood 829 Rocky Mountain Pkwy, Antioch 37013 jhood10105@aol.com H 615.361.1579; C 615.957.1266 Conference Registration Chair: Mark Garey 628 Hampton Ct., Franklin 37064 mgarey86@comcast.net W 615.472.3544; H 615.790.8756 Fax 615.790.4742 Treble Honor Choir Chair: Alexis Yatuzis-Derryberry See General Music Chair Collegiate Ensemble Chair: Barry Kraus See Higher Education Chair

9th-10th String Orchestra Chair: Gary Wilkes Chattanooga School for the Arts & Sciences 865 East Third St., Chattanooga 37403 gwilkes428@gmail.com C 423.718.4974 11th-12th Symphonic Orchestra Chair: Sandy Morris Chattanooga Youth Philharmonic Orchestra sandyronmorris@gmail.com C 423.596.2703 Jazz Band Chair: Philip Gregory Siegel MS 355 W. Thompson Lane, Murfreesboro 37129 gregoryp@rcschools.net W 615.904.3830, ext. 28575; C 615.439.5818 Project Chairs

Conference Performance Group Chair: Randal Box Brentwood HS 5304 Murray Lane, Brentwood 37027 ranbox@comcast.net W 615.472.4236; H 615.395.7018

Advocacy/Government Relations Chair: Stephen Coleman Cumberland University One Cumberland Square, Lebanon 37087 scoleman@cumberland.edu C 931.607.7870

Retired Teachers Chair: Bobby Jean Frost 5816 Robert E Lee E Dr., Nashville 37215 bjfrost@aol.com H 615.665.0470; C 615.973.1537 Tri-M Chair: Melissa Powers Daniel Boone HS 1440 Suncrest Dr., Gray 37615 powersm@wcde.org C 423.341.9678 Society for Music Teacher Education Chair: Jamila McWhirter Middle Tennessee State University Box 47, Murfreesboro 37132 jamila.mcwhirter@mtsu.edu W 615.898.5922 Webmaster: Ken Greene See Educational Technology Chair Collegiate NAfME State Officers East Tennessee President: Adam Ford University of Tennessee-Knoxville aford17@utk.edu

All-State Management Team All-State Instrumental General Chair: Martin D. McFarlane Wilson Central HS 419 Wildcat Way, Lebanon 37090 mcfarlanem@wcschools.com W 615.453.4600, ext. 3077; C 931.247.1361 All-State Choral General Chair: Christopher Davis Dyersburg HS/MS 125 Highway 51 Bypass W, Dyersburg 38024 970.901.9293 SATB Choir Chair: Lia Holland (see MTVA above) Women's Chorale Chair: Amanda Ragan Oak Ridge HS 1450 Oak Ridge Turnpike, Oak Ridge 37830 aragan@ortn.edu W 865.425.9644 Menâ&#x20AC;&#x2122;s Chorus Chair: John Kimbrough Jackson Christian School 832 Country Club Lane, Jackson 38305 johnnykimbroughj@jcseagles.org 9th-10th Band Chair: J.R. Baker White House Heritage HS 7744 Highway 76, White House 37188 john.baker@rcstn.net W 615.478.7181 11th-12th Band Chair: Will Sugg Martin Luther King Magnet School 613 17th Avenue North, Nashville 37203 William.Sugg@mnps.org W 615.483.3961

Editor, Tennessee Musician Mary Dave Blackman 704 S. Mountain View Circle, Johnson City 37601 tnmusician@charter.net C 423.502.8514; Fax 423.439.4290 Associate Editor, Tennessee Musician Michael Chester Stewarts Creek HS 301 Red Hawk Parkway, Smyrna 37167 michaelchester98@gmail.com H 615.308.6098; W 615.904.6771 Advertising Manager, Tennessee Musician Catherine M. Wilson 501 Barton Shore Ct., Lebanon 37087 tmea_advertising@charter.net H 402.984.3394

Middle Tennessee President: Jon Wiggins Belmont University Jonathan.wiggins@pop.belmont.edu West Tennessee President: J.J. Norman University of Tennessee-Martin johjnorm@ut.utm.edu Vice President/Publicity: Katie Roddy Belmont University Katie.roddy09@gmail.com Secretary/Treasurer: John Michael Duncan Tennessee Tech University johnmichaelis@hotmail.com

Membership Chair: Laura Coppage Christiana Middle School 4675 Shelbyville Pike, Christiana 37037 coppagel@rcschools.net H 615.355.4314 Music In Our Schools Chair: Richard Mitchell Knox County Schools P O Box 2188, Knoxville 37901 richard.mitchell@knoxschools.org W 865.594.1727; Fax 865.594.3659 Research Chair: William Lee University of Tennessee at Chattanooga 615 McCallie Ave., Chattanooga 37403 William.Lee@utc.edu W 423.425.4601; H 423.425.5269 Fax 423.425.4603

Tennessee Musician â&#x20AC;˘ WINTER 2013

Advertisers Index Please support these advertisers. They support music education in Tennessee. American College of Musicians...................................32 Belmont University.....................................................22 Bethel University.........................................................17 Carson-Newman College..............................................5 D'Addario...............................................................9, 11 East Tennessee State University...................................23 Lee University...................................... Inside back cover Maryville College........................................................27 Middle Tennessee State University...............................29 Music & Arts Centers...................................................7 NAMM........................................................................3 Quaver Music....................................Outside back cover Southern Illinois University.........................................39 Tennessee Tech University...........................................16 Union University.........................................................31 University of Memphis................................................21 University of Tennessee Bands.....................................37 University of Tennessee-Chattanooga..........................35 University of Tennessee-Knoxville...............................33 University of Tennessee-Martin........... Inside front cover Vanderbilt University..................................................38 Yamaha.................................................................13, 15

The Tennessee Music Education Association is a voluntary, non-profit organization representing all phases of music education at all school levels with the mission to promote the advancement of high quality music education for all. Active TMEA membership is open to all persons currently teaching music and others with a special interest or involvement in music education. Collegiate membership and retired memberships are available. Membership applications are available on the TMEA web site, www.tnmea.org. Tennessee Musician is mailed to members four times each year at an annual subscription rate of $6.00 (included in dues). Non-member subscription rate (includes S&H): $30.00 per school year; single copies: $10.00 per issue Place non-member subscription and single copy orders at TMEA, 704 S Mountain View Circle, Johnson City TN 37601, or e-mail to tnmusician@charter.net. All editorial materials should be sent to: Mary Dave Blackman, Editor, 704 S. Mountain View Circle, Johnson City TN 37601; e-mail: tnmusician@charter.net. Submit materials by e-mail or on an appropriate disk or CD. Microsoft Word preferred. Advertising: Information requests and ad orders should be directed to: Tennessee Musician Advertising Manager, (402)983-3394, e-mail: TMEA_advertising@ charter.net. All advertising information is on the TMEA web site, www.tnmea.org. Deadlines for advertisement orders and editorial materials: Fall, August 15; Winter, November 15; Spring, January 15; Summer, April 15. Tennessee Musician is copyrighted. Reproduction in any form is illegal without the express permission of the editor. Postmaster: Send address changes to: Tennessee Musician, c/o MENC, 1806 Robert Fulton Drive, Reston, VA 20191-4348. Non-Profit 501(c)(3) Organization U.S. Postage Paid at Lubbock, Texas. ISSN Number 0400-3332; EIN number 20-3325550

Editorial Board Michael Chester, Associate Editor Terri King, Knox County Schools Michele Paynter Paise, Cumberland University Reggie McDonald, Tennessee State University Ellen Koziel, Cordova Elementary School Jack Cooper, University of Memphis Sally McFadden, Hume-Fogg High School Catherine Wilson, Advertising Manager

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Tennessee Musician â&#x20AC;˘ WINTER 2013

Tennessee Music Education Association 129 Paschal Drive Murfreesboro TN 37128 QuaverCurrAd_TN_TMEA_Winter14.pdf

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