Volume 35 Number 3
TEXAS SINGS!
Official Publication of the Texas Choral Directors Association
Photos from the inspiring Dallas Street Choir performance at the convention this summer. See article on page 12.
Fall 2018
TCDA MID-WINTER CONFERENCE January 4, 2019 FUMC, Fort Worth Pre-registration now open! More on page 13.
Tesfa Wondemagegnehu Headliner, 2018 Convention
2018-2019 TCDA OFFICERS
Dr. Pam Elrod Huffman Dallas President
Thomas Rinn Fort Worth President-Elect
Jeb Mueller Houston College/Community
Jason Dove Deer Park High School
Katy Flowers Woodway Elementary
Robert Stovall Decatur Church
Carisa Niemeyer Dallas Secretary/Treasurer
Kari Gilbertson Richardson Past President
Christina Chapman Murphy Middle School/Junior High
Sharon Lutz Austin Executive Director
THANK YOU 2017-2018 OFFICERS! Standing: Dr. Carolyn Cruse, Debra Johnson, Christina Chapman, Dan Baker, Jason Dove, Sharon Lutz, Carisa Niemeyer Seated: Dr. Pam Elrod Huffman, Kari Gilbertson
TEXAS SINGS!
Volume 35 • Number 3
Attention TCDA Members Student Leadership Days will be offered in five locations in Texas in summer 2019. Check website for further details.
A TCDA Mid-Winter Conference will be offered on Friday, January 4, 2019, at FUMC in Fort Worth. See announcement on page 13. Pre-registration ends November 23. On-site registration will be available.
Convention 2019 will be held Thursday-Saturday, July 25-27 in San Antonio. Watch for these exciting changes … • Elementary Division Immersion Day; • New format for Soiree; • Publisher-sponsored new music reading sessions; • and more workshops than ever before! TCDA Membership Year: January 1 – December 31. Membership opens December 1, 2018. Renew or join TCDA at www.tcda.net to receive benefits for the full year. See page 17 for all TCDA benefits.
Fall 2018
Table Of Contents A Thankful and Excited Heart....................................................... page 2 Greetings from the President - by Dr. Pam Elrod Huffman First Things First: Selecting Repertoire.......................................... pages 3-5 by Dr. Hilary Apfelstadt Self-Care: Are You Taking Care of You?....................................... pages 6-7 by Christina Chapman, Middle School/Junior High Division A Special Thanks To Our 2018 Scholarship Donors...................... page 8 2018 TCDA Scholarships............................................................. page 9 2018 TCDA Awards.................................................................... pages 10-11 A Moving Performance by the Dallas Street Choir....................... page 12 by Beverly Schlegel TCDA Mid-Winter Conference.................................................... page 13 “Planning for a Successful U.I.L. Season” In Memoriam.............................................................................. page 14 Advertise, Sponsors, Exhibitors.................................................... page 14 2018 Third Quarter TCDA Financial Report.................................. page 16 TCDA Convention: Coming Attractions....................................... page 17 Benefits for Current Members..................................................... page 17 Memories From The 2018 Convention........................................ pages 18-20
TEXAS SINGS! Editor: Beverly Schlegel Layout and Design: Mary Byrd Official Publication of the Texas Choral Directors Association 7900 Centre Park Drive, Suite A • Austin, TX 78754 512-474-2801 • www.tcda.net 2018 Texas Choral Directors Association No part of this publication may be reproduced without the permission of the Executive Director. TCDA is an affiliate of ACDA.
TEXAS SINGS! • Fall 2018
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A Thankful and Excited Heart by Dr. Pam Elrod Huffman, President As I continue to reflect on the 2018 TCDA Convention, I find I’m still grateful for the wonderful gifts I received from those powerful few days. I am forever changed by experiences provided by our headliners, clinicians, conductors, accompanists, and performers – and I’m thankful for all of the tremendous work put in by the Board, JW Pepper, our committee chairs, committee members, and Texas Tech student workers. I hope you are all feeling that same happy gratitude. But to paraphrase Leonard Bernstein (Happy 100th, Lenny!), “Something’s coming, something good….it’s gonna be great!” And that something is the 2019 Convention… If you’ve ever served on a TCDA Board, you know the level of brain power, creativity, and intensity that exists in our meetings. Sparks fly (in a good way) from beginning to end, and even though we try to turn our brains off during dinners or during the night, we just can’t. The ideas keep cooking, even in the wee hours of the morning. And our September meeting was no different. If you could harness the energy of that meeting, you could power a city for years! And it’s my tremendous honor to share some of the outcomes of that meeting. Here’s what’s on tap for the coming year and for the 2019 Convention:
TCDA Mid-Winter Conference “Planning For a Successful UIL Season”
• Friday, January 4, 2019 at FUMC Ft. Worth • A jam-packed day of Tried and True reading sessions and workshops with an all-star lineup of conductors and clinicians • $40 pre-registration (ends November 23; $50 on-site registration) • Open to everyone
See page 13 for details!
Five High School Student Days These popular workshops for your student leaders will once again be offered at locations across the state during the summer of 2019.
And for the 2019 Convention: • More workshops than ever • More Tried and True reading sessions for your divisions • Separate publisher-sponsored new music reading sessions • An Elementary Division Immersion Day • Worship service led by The CenturyMen • Featured work for the Sing-In: John Rutter’s “Gloria” • New format for the Soiree (walk out of the Sing-In and straight into the party!) As you can see, there are exciting new changes ahead for TCDA and for the Convention! More details will be forthcoming, so check the webpage and make sure to read your Choral Notes in order to stay up-to-date. And spread the word! Let’s welcome as many new TCDA members and returning members as we can to this great organization!
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First Things First: Selecting Repertoire by Dr. Hilary Apfelstadt The selection of repertoire is the single most important task music educators face before entering the classroom or rehearsal room. Through the repertoire we choose, we not only teach students curricular content, we convey our philosophy in terms of what we believe students need to learn to achieve musical growth. Lofty goals are not met through secondrate repertoire, and students are not challenged by vapid musical selections. Given curricular goals or standards, teachers must select the means through which those goals are met. Even when the selection process is narrowed down, where we have a text series provided by the school district, or in performance-based ensembles where the state contest list can determine some of our choices, it is ultimately our decision to select the music through which we teach musical elements, help students develop understandings or concepts, and enable them to grow. A number of guiding principles are relevant to a variety of music education contexts. In addition to enumerating these, I will discuss ways in which these principles and repertoire selection in general relate to the National Standards.
Principles of Music Selection I have come to rely on three principal criteria for choosing repertoire and a number of related ideas. 1. Select music of good quality. Well-written music finds that balance of tension and release, of structural symmetry and asymmetry, of expectancy and surprise, that makes listening and performing a worthwhile experience. Expressivity means that the music expresses in its form and content something of depth, something that draws humans to its artistic qualities. Whether it has text or not is beside the point. In terms of deciding whether ethnic musics are of good quality, we must often rely on the knowledge of colleagues whose familiarity with a particular type of music surpasses our own. An ethnomusicologist is one possibility; however, where ready access to such an expert is not possible, it is wise to rely on publishers whose reputations are stellar. 2. Select music that is teachable. Generally speaking, “good” music will meet this standard because its content and expressive qualities will be sufficient to provide teaching material. Teachable music holds learners’ attention because it has substance. Whether learning music elements of duration, pitch, form, dynamics, texture, etc., or exploring how phrase shape can heighten expression, students need adequate musical content. The key question is whether our students will learn something significant from the music and whether they will be better musicians for having learned it. Teachable aspects include not only musical elements but technical skills as well. Will the students acquire greater instrumental or vocal proficiency by studying this music? 3. Select music that is appropriate to the context. It is quite possible that the first two criteria (quality and teachability) might be met, but the third would not. If, for example, we are teaching in a region that does not encourage the use of sacred music, we would be unwise to plan a program that promotes a particular religious view, no matter how good a piece selected or how teachable we find it. Other reasons for determining repertoire inappropriate might include: • Text. If choral music, is the text appropriate to the cultural setting, to the age of the group, and to the audience? Is it set well so the music and words are well integrated? If it will be sung by changing voices, will it make impossible demands because it is too melismatic to maneuver? • Range and Tessitura. Are the ranges appropriate for the age and level of the musicians? The beginning string player is not ready to tackle ledger lines in fifth position. The young singer should not be challenged to work extreme ranges of the voice, and a tessitura that is too low may be as harmful as one too high. • Difficulty Level. Are the challenges in the music reasonable for the experience level of the group? Music that is too easy may bore the students; music too hard may frustrate them. • Cultural Content. Can the music be performed with integrity for an appreciative audience? Do we have access to the experts who can help us understand its notation, timbre, technical demands, stylistic aspects, and dialect? (continued) TEXAS SINGS! • Fall 2018
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First Things First: Selecting Repertoire (continued) • Programming Consideration. Does the music balance the overall program? Does it provide variety in style, or is it similar to other pieces being learned? Will it fit into the scheme of things technically, musically, dramatically, or does it simply fill time? Sometimes we are expected to provide programs for a specific purpose, such as graduation or a new arts wing. The music selected for those occasions will differ from that selected for others. Finally, the teacher must be committed to teaching it well and feel it is possible to invest the time and effort to learn it. While we may not love everything we teach, we must have enough enthusiasm that we can present it in an open, positive way.
Since the creation of the National Standards for Arts Education in 1994, music educators have a clear-cut set of standards, and these should be accounted for in the selection of repertoire. If the standards give us a conceptual framework, the repertoire we select is the means to teach those concepts. There are nine content standards, and each can be related to repertoire selection. 1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, varied repertoire of music.
can give students an aural experience on which to build their own improvisational skills. Finally, focusing on the role of various voices and instruments in relation to melodic material will help students become more sensitive to the differences between melody and harmony. One way of doing this is to sing or play two settings of the same tune and compare instrumentation or voicing, texture, the use and treatment of solo versus accompaniment, etc. 4. Composing and arranging music within specified guidelines. Again, this is a standard that needs adequate preparation through examination of already-composed works in the students’ repertoire. Ideally, contemporary music by living composers allows the students to communicate with the creators, who understand the composition process and can clarify it for prospective creators or performers. In these days of rapid communication and easy access to people around the globe, students can get direct information about and from composers. Studying the works of the masers to balance contemporary examples is a way of learning about compositional traditions to supplement current techniques. Here, then, is another reason for choosing both old and new repertoire. 5. Reading and notating music. Much of what we present to our students is in standard
Two implications exist in these parallel standards: 1) we must select solo as well as ensemble music, and 2) we must provide variety in musical styles. Often, state solo and ensemble lists are helpful; however, we must judge its appropriateness. The students’ technical readiness, maturity, and expressive capabilities must be accommodated, and stylistic variety is essential to provide a wellbalanced musical diet. For example, introducing music of the Renaissance or the Romantic period, in addition to contemporary examples from our own heritage and others, is vital to achieve a sense of music history and development of the field. A conscious decision to program chronologically may motivate exploration of programs titled “A Choral Tapestry from Five Centuries,” for example, or “A History of American Band Music,” that can take students back to the beginnings of the band movement. 3. Improvising melodies, variations, and accompaniments. In a performance class, this may be more challenging to meet than in a general music class. A starting point might be to have the students become more aware of melodic characteristics in both warm-ups and repertoire simply by drawing attention to them. How often do we have students think specifically about warm-up patterns, whether stepwise or skipping, whether major or minor? Focusing on the characteristics of the music studied
notation, but music from other cultures and contemporary music from North America and other areas can provide opportunities to learn unusual forms of notating sound. The music of Canadian composer Murray Schafer, for example, once thought to be quite experimental, provides ready access to the world of graphic notation. Schafer’s Epitaph for Moonlight (Berandol: SATB, percussion) or Snowforms (Arcana Editions; treble voices) provide challenging exploration of visual imagery to represent sound. The rising and falling lines, thin or thick, show pitch, duration and dynamics, in concrete ways. This is also a springboard for composition for students (see standard #4) as they can use icons or visual markings to show sound images they create. 6. Listening to, analyzing, and describing music. To do this fully requires a wide variety of repertoire, not all necessarily at the level of performance possibility for our students. It may be helpful to hear a piece of music they won’t perform to understand the language of a composer of the style. The choir preparing Beethoven’s “Hallelujah” from The Mount of Olives (Schirmer) might not be ready to sing the Choral Fantasy, but will learn stylistic information by listening to it. 7. Evaluating music and musical performances. It is intriguing that conductors often select repertoire and musicians perform it with the unspoken assumption that it is a
Repertoire Selection and the National Standards
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TEXAS SINGS! • Fall 2018
“good” choice. By justifying our choices on musical grounds and sharing with students why we have chosen particular repertoire, we enable them to become more discriminating. All music is not equally “good” or profound, or appropriate, and communicating this to the musicians performing it can be a valuable lesson. In two choral settings of one text, for example, such as any two mass movements, one might be more effectively set than the other; one might express the text more clearly or be more technically approachable. When we choose repertoire, we might think in terms of what is accessible, and select something similar for listening purposes as a basis for evaluation. Likewise, when we listen to recordings of other choirs or instrumental ensembles performing the same works, we learn a great deal about the music and performance options. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture. Both standards expand the boundaries of music into related areas and a broader context. If we are to teach about other arts, we must select repertoire rich in possibilities for correlations with visual arts, drama, dance, and literature. In the year of Randall Thompson’s 100th anniversary, for example, it would be appropriate for a high school choir to study “Frostiana,” the set of seven pieces composed for SATB chorus, separate men’s and women’s choruses, and orchestra or piano accompaniment (E.C. Schirmer). To understand the music well, one must read the poetry of Robert Frost – not only these seven poems, but others – for insights into the mind of this highly regarded American poet. Knowing the cultural and historical context of music we teach enables students to experience it more deeply than if we simply emphasize learning the notes and the technical details. Isolated learning is less likely to produce residue than learning that connects to many facets of living and the world around us. Nowhere is this more crucial than in understanding literature from different cultures. Even the way the sound is produced can vary greatly from our North American expectations. Understanding the context of the music, for whom it is intended, how it is used, what
performance practices are appropriate, is essential to authentic performance. Because music exists as a part of a greater whole, the less isolation we engender, the better the understanding we foster. Music has always served to convey feelings, maintain traditions, and enrich living, just as do all the arts. And it has existed in tandem with other arts and in the midst of cultures where many non-artistic elements endure; it does not stand alone. Therefore, to teach it in isolation is to deny its very nature. These standards require that we select repertoire with a broad perspective of going beyond safe and local boundaries of what students are likely to hear around them. We must challenge them and ourselves to learn music that embraces a wide span of time, a range of cultures and traditions, and a variety of styles. It is a tall order, perhaps, but one essential to musical growth and understanding.
Bibliography Hilary Apfelstadt, “Practices of Successful Women’s Choir Conductors,” Choral Journal, 39(5), December 1998, 35-43. Carolee Curtright, “Choosing Literature to Develop the Young Instrument,” Oregon ACDA Choral Focus, XVI (3), June 1991, 1, 4. Todd Fallis, “Standards-Based Instruction in Rehearsal,” Music Educators Journal, 85(4), January 1999, 18-23. Michele E. Kaschub, “Standards in Action: The National Standards in the Choral Rehearsal,” Choral Journal, 38(8), March 1998, 63-72. John J. Mahlmann, Project Director, National Standards for Arts Education—What Every Young American Should Know and be Able to Do in the Arts (Reston, VA: Music Educators National Conference, 1994). Bruce Mayhall, “The Quest for High-Quality Repertoire,” Choral Journal, 35(2), September 1994, 9-15.
Hilary Apfelstadt is retired and resides in Ohio. Apfelstadt is former director of choral activities and professor of conducting at the University of Toronto.
*** Editor’s Note: This article was originally printed in Music Education Journal, July 2000. It was reprinted in 2000 by MENC, the National Association for Music Education. It has been edited and reprinted with the permission of the author for this edition of Texas Sings!, Volume 35, Number 3, Fall 2018.
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Self-Care: Are You Taking Care of YOU? by Christina Chapman, Middle School/Junior High Division As music educators we are planners, go-getters, goal setters, encouragers, and more, to those we teach every day. It is so easy to plan for everyone else, set goals for all your students, encourage those around you and completely leave yourself for last. However, the most important person that you should be concerned with is YOU. The one person that you need to make sure gets the best care is YOU. We can’t pour life into our students when we are running on empty emotionally, physically and psychologically. One great reference I use to focus on self-care is an article by author Katherine Hurst at http://www.thelawofattraction.com/self-care-tips/. Hurst lists five main categories of selfcare, and a number of ideas and strategies to address this issue. Her main topics include:
Sensory Self-Care • • • • • • •
Feeling the water on your skin during a hot bath or shower. Focusing on the movements of your own breathing. Lying down and listening to music with your eyes closed. Sitting in the heat of the afternoon sun. Walking barefoot in the grass. Having a massage with essential oils. Holding a pet in your arms.
Emotional Self-Care • • • • • • •
Keeping a daily journal, and being honest about your feelings. Seeing a therapist, even if just for 8-10 sessions of general personal development. Writing a list of “feeling words” to expand your emotional vocabulary. Taking time to be with a friend or family member who understands you. Allowing yourself to cry. Encouraging yourself to laugh with old memories or funny videos. Singing along to a song that expresses your current emotions.
Spiritual Self-Care • • • • • • •
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Keeping up a daily meditation or mindfulness practice. Attending a service, whether religious or humanistic. Reading poetry. Walking in nature and reflecting on the beauty around you. Making a daily list of 5-10 things that make you feel grateful. Being creative, whether through art, music, writing or something else. Making a list of 5-10 things that make you feel alive, then addressing how you can better incorporate these things into your life. • Reciting affirmations that ground your sense of self and purpose. • Taking a trip with the purpose of photographing things that inspire you.
TEXAS SINGS! • Fall 2018
Physical Self-Care • Dancing to your favorite songs. • Practicing yoga. Even if you’ve never tried it, there are poses that are perfect for beginners. • Joining a class or learning a new sport. • Running with your dog (or a friend’s)! • Cycling through the countryside. • Simply going for a walk. In addition, remember that physical self-care is as much about the things you don’t do as the things you do! In our busy days, we often fail to make time for, or say “no” to actions that are not in our best interest. Simple strategies like those listed below can be very effective in our pursuit of health and happiness. • A 20 minute nap can help in refreshing you mentally and physically. • Consider saying “no” to invitations when you’re simply too tired to enjoy them. • Don’t push yourself to do your exercise routine when you’re run down or unwell. • Commit to 7-9 hours of sleep per night, barring exceptional circumstances.
Social Self-Care • • • • • • •
Make a date to have lunch or dinner with a friend. Reach out to someone you haven’t seen in a while. Consider joining a group of people who share your interests. Stop socializing with those who undermine or disempower you. Strike up a conversation with someone interesting. Join a support group for people who struggle with the same things you do. Sign up for a class to learn something and meet new people at the same time.
More often than not, educators succumb to the idea that their entire focus is the needs and wellbeing of their classes and students. The concept of self-care leads to thoughts of, “If I take care of myself, doesn’t that mean I’m being selfish?” Absolutely not. You are taking care of you, so that you can give back to others through the best means possible. As the school year continues to progress, make YOU a priority and schedule in that time that you need to ensure you are the best version of you possible. Don’t try to pour from an empty cup. Happy Self-Care!
Invest in our Future Music Educators! Donate to the TCDA Scholarship Fund and Support the Future of Choral Music Donate online www.tcda.net or call the TCDA office at 512-474-2801. Thank You!
TEXAS SINGS! • Fall 2018
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Listing as of 6/5/18 through 10/1/18
A Special Thanks To Our 2018 Scholarship Donors Joseph Akers James Allen Charlotte Angel Jennifer Arisco Christopher Aspaas Jimmy Baas Christy Barber Stephanie Barrett Eugene Barrett Karen Batsel Shawn Bell Eric Bellah Nathan Benavides Laura Bendorf Tammy Benton Arali Berumen Stephanie Biffle Michaela Billett Clinton Blanco Paula Boderek Elizabeth Ann Bongat John Bordelon Joel Bourdier Judy Boyter Derrick Bready Wanda Brent Mischa Brinkmeyer Cynthia Broughton Evan Brown Alexander Bruce Michael Bryson Rebekah Bulen Rashaad Calaham Jesse Cannon II Randall Capshaw Meri Jane Cargile Casey Carruth Will Chandler John Chen Cintia Ciorciari Karen Clark Anna Clarkson Jon Michael Clifton Heather Cole Sarah Collier Becky Compton Brian Cook Dylan Corder Emily Corley Mary Cowart Jeanene Craig Keith Critcher
Dawn Crnkovic Emily Crocker Chris Crook Andrea Cruz Ricardo Cruz Michal Curry Kyle Damron Deborah Daniel Claire Daniels Barbara Dardeau Lauren Dastmalchian Ashley Delaney Leslie Delgado Frank DeMiero Leslie Detrick Danny Detrick Don Doss Cynthia Douglas Joel Duarte Shannon Duckett Garrett Dunaway Karla Dunning Matthew Fabilenia Joshua Heath Farr Rachel Fiorini Clint Fleming Victoria Flores Charles Flores Katie Forbis Ryan Forkner Toryn Fowler Ron Franklin Wayland Frazier Emily Fry Caryn Fulford Rachel Fuller Jason Gallardo Melody Gamblin-Bullock Gershom Garcia Josiah Garcia Elda Garcia Raquel Garza Greg Gathright Catherine Genzer Ashley Ghent Dana Gibson Philip Glenn Karen Gonzalez Judy Gorrell Clorese Gray-Porter Bethany Green Michael Grijalva
Rosalba Guillen Emily Gunter Amy Haga Julie Hamil Rico Hamilton Terri Hamilton Michelle Hank Carla Hardy Nakita Harris Jeb Harris Emily Hatzel Greg Haugen JT Hauser Abigail Hawes Michael Hawley Loyd Hawthorne Alison Haygood John Hemmenway Edward Hinderer Michael Hitt Kathleen Holder Linda Holkup Amanda Hollis Randy Hooper Joy Hope Robert Horton Kelly Howard Courtney Howard Teresa Hughes Jenna Hyatt Imani James Randy James Valerie Jeannin Chelsea Jimenez Sierra Johnson Victor Johnson Sara Johnson Seth Johnston Cory Jones Amy Kelley Vicke King Cassandra Kirby Adrian Kirtley Paula Knight Rebecca Koch Henrietta Kolb Anita Ladd Cheri Lafferty Crystal Lamb Hanna Lee Janice Lemm Holly Lewallen Karen Lewis
Jennifer Lewis Nicholas Likos Suzanne Liles Mariana Limon Anna Long Nohemi Loza Gary Mabry Elena Maeurer Sara Mahmalji Kat Mangum Joey Martin Laura Martin Jay Martin Alexandra Martinez Mark Marty Rodney Mason Melissa Massie Amanda Mata T.J. Mattson Candice Maughan John May Rachelle McClellan Leigh Ann McClure Candy McComb Helen McDaniel Mikey McDermott Joshua McGuire Brian McKinney Amy Moore Melanie Moore Eli Moralez Shannon Moriak Kelly Moss Stephanie Mouat Gerald Nicholas Braunshea Norris Sophia Olivares Brittany Oliver Veronia Orozco Heather Orr Christopher Ortiz Oscar Padilla Barbara Paisley Tracey Patterson Karen Patton Sharon Paul Lamar Peeples Dora Perez Robert Phillips Meredith Phillips Chuck Pineda Jennifer Portele Terri Preskitt-Brown
Mary Price Gloria Quinlan Laura Rachita Jed Ragsdale Karen Ramirez Veronica Ramirez Elise Rauschenbach Sarah Reyes Rodrigo Reyes Elizabeth Reyna Jannifer Rice Jeffery Rice Katie Richardson Christina Rivera David Rives Alejandra Rodriguez Jesse Rodriguez Refugio Rodriguez Scott Rogers Collie Roland Isabel Romero Jonathan Rosales Tricia Russell Mitzi RuttanLeatherland-Anderson Delanie Sager Rob Saldana Phillip Sammons Gabrielle Sanchez Crystal Sanchez Amanda Sanderson Dominic Savedra Erin Scalisi Micah Schirado Elizabeth Schmidt Brian Schmidt Julie Scott Savannah Sepulveda Pauline Sexton Heather Sharp Derrick Shears Richard Shehulski Lauren Shelton Justin Shen Jessica Shine Bo Shirah Hope Shiver Tara Sikon James Smith Melida Smith Margaret Sorrell Catherine Stevenson Jill Stewart
Christine Stratton Sandra Strickhouser Shane Studdard Sean Stultz Monica Suarez Jessica Taber Emory Tanner John Tatum Joshua Taylor Neena Taylor Michael Taylor Crystle Taylor Diana Taylor Becky Terrazas Carolyn Terrell Akeila Thomas Shelby Thomas Mary Jane Thornton Kimberly Tobola Tommie Trinh Tara Trowbridge Colin Varville Yvette Vasquez Aaron Vaught Christy Vineis Jacquelyn Vondette Amanda Wade Sandra Walker Chelsea Waschek-Gaukin Mitchell Washington Katherine Webb Krystle Wells Elisa West Josh Westman Christopher Wheelock Nathan White Sarah White Elizabeth Wiley Cydney Wilkerson Kristin Willis Dorothy Wilson Glenn Wilson Matthew Woodward Melanie Wright Melissa Wright Coleen Wright Amber Yarborough David Young Jennifer Zaccagni Kathryn Zetterstrom
Scholarship funds given in memory of Bill Chand ler, Wynona Lipsett, and Michael O’Hern Thank you for Supporting the Future of Choral Music 8
TEXAS SINGS! • Fall 2018
2018 TCDA Scholarships
2018 TCDA Student Scholarship Recipients Left to right: Rachel McCormick, Pam Elrod Huffman (President), Greg Goedecke, Kari Gilbertson (Past President), Kameryn Mattingly, Casey LeVie, Joshua Brown, Jazmin Almendarez, Tiffany Ibarra, Debbie Pilgrim, Joel Price (Scholarship Committee), Marissa Garcia, Clinton Hardy. Not pictured: Ashley Dean, Olivia Havel, Aaron Wardlaw.
“
I had a fabulous time attending my first ever TCDA convention this summer. In addition to receiving a scholarship to help me with my last year of school, I was a TCDA undergraduate student conductor. TCDA was a really valuable opportunity to network and form new professional contacts, greet old friends, and grow as a future educator. I plan on making TCDA part of my yearly professional development.
”
Greg Goedecke University of Houston Moores School of Music
deeply honored to be the first recipient “of ItheamMary Ann and Art Winden Endowed Scholarship. I desire to teach middle school and high school choirs because I believe that experiencing music through singing has a profound impact on students that carries beyond the classroom into all facets of life. It is a privilege to follow in the footsteps of such dedicated educators, and I am grateful for the Windens’ investment in the educators of tomorrow through their generous scholarship.
”
Ashley Dean
University of Texas at Arlington
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Congratulations! Jazmin Almendarez University of Texas at Arlington GENERAL FUND
Tiffany Ibarra University of Mary Hardin-Baylor GENERAL FUND
Joshua Brown University of North Texas ABBOTT IPCO
Casey LeVie Baylor University DONALD BAILEY
Ashley Dean University of Texas at Arlington MARY ANN AND ART WINDEN
Kameryn Mattingly Texas Tech University CLOYS WEBB
Marissa Garcia Texas Tech University GENERAL FUND
Rachel McCormick Baylor University JACKIE COCKE
Gregory Goedecke University of Houston WILLIAM GORHAM
Debbie Pilgrim Texas Tech University GANDY INK
Clinton Hardy University of North Texas JIM AND GLENDA CASEY
Aaron Wardlaw Texas A&M Commerce JAMES EDWARD MATHENY
Olivia Havel University of North Texas PAST PRESIDENTS
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2018 TCDA Awards Texas Choirmaster Award
Dianne Brumley Director of Choral Studies Emerita University of Texas Rio Grande Valley-Brownsville
Young Director of Distinction Awards
Rachel Holliday Choir Director Alamo Heights ISD
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Francis Vu Director of Choirs Centennial High School
TEXAS SINGS! • Fall 2018
Texas Choral Excellence Awards
Amy Allibon Faculty Baylor University
Brad Bouley Retired Texas Master Chorale
Morris Stevens Head of Music Department St. Edward’s University
E.A. “Amby” Tanner III Retired Private Instructor
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A Moving Performance by the Dallas Street Choir by Beverly Schlegel Many members attending the 2018 TCDA convention were privileged to hear a spectacular and unforgettable performance by the Dallas Street Choir. TCDA received overwhelmingly positive feedback about this group, leading us to reach out to Jonathan Palant, founder and conductor, for information about their formation and history. Jonathan relayed that in 2007, he was asked by a Dallas-based arts philanthropist and affiliate of The Stewpot, a day shelter for those experiencing homelessness, to conduct an ad hoc choir consisting solely of those living on the street. The Stewpot Choir, as it was known, convened two or three times a year with no prescribed or consistent structure. It was not until the autumn of 2014 that the Dallas Street Choir (DSC) was formed, weekly rehearsals were established, and local performances began. The DSC debuted on January 25, 2015, at Dallas’s City Performance Hall (now the Moody Performance Hall) singing the North American premiere of Street Requiem, a work composed by Kathleen McGuire, Andy Payne, and Jonathon Welch, in memory of those who have died living on the streets. Since that night, the ensemble has mounted several of its own concerts, but now it focuses more on outreach performances, visiting churches and synagogues, schools, philanthropic events, and agencies serving the poor and marginalized. When the DSC first began, three tools were used to recruit new singers: word of mouth, signage, and broadcasting an attractive incentive program. Unlike in a school, church, or other “usual” choir setting, DSC members benefit from even the smallest incentive. After much trial and error, the incentive program now offers each singer his or her choice of a two-dollar bill or an all-day public transportation voucher usable on any Dallas bus, trolley, or train. Members receive this as motivation to successfully complete each hour-long rehearsal or performance per the rules set forth by the director. Because of the success of these incentives, early recruiting strategy included doubling the reward for members who helped spread the word: those returning members who brought a friend to rehearsal were offered a two-dollar bill and a transportation voucher. As a result, membership numbers skyrocketed, and after about three months, the DSC did away with the double-incentive program. The DSC now consistently rehearses with eighty to ninety singers and has welcomed nearly two thousand individuals into its room. The mission of the DSC is to offer a musical outlet for those experiencing homelessness and severe disadvantage. The choir is open to any person who is experiencing or has experienced homelessness. There is no audition, and singers are welcome to participate regardless of musical ability or experience. New members are welcome to join at any rehearsal throughout the year. Of their performance at TCDA, Jonathan Palant says, “The Dallas Street Choir makes no claim that we help our members with housing or employment, rather, we offer the most marginalized residents of our city a path to regain their dignity. To be celebrated by choral musicians from across the State of Texas (and beyond) for our work is not only affirming, but it is also a sign that we really are ‘singing for our lives.’” What followed at the TCDA convention was an unforgettable night of music and human connection. TCDA thanks Jonathan and the fantastic members of the DSC for being with us, and contributing to a memorable convention. If you would like to contribute to the DSC, please go to www.dallasstreetchoir.org and follow the group on Facebook.
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TEXAS SINGS! • Fall 2018
Winter Conference
Friday, January 4, 2019 *
Planning for a Successful U.I.L. Season First United Methodist Church
Workshops
Fort Worth, TX
High School Sight-reading, Rachel Forrester
$40 Pre-Registration
Middle School Sight-reading, Mary Jane Phillips
9am-6pm
$20 for Students October 10 - November 23
$50 Onsite Registration
www.tcda.net
Planning for Success: Reflections from Choral Fine Arts Administrators, Danny Detrick & Dinah Menger
Reading Sessions Middle School Grade 1-2 Treble Middle School Grade 1-2 TenorBass Developing Mixed Choir Grade 1-3 Off the list a cappella selections for your developing Treble Choir High School Treble Grade 2-3 High School Tenor Bass Grade 3-5 High School Treble Grade 4-5 High School Mixed Grade 4-5
TEXAS SINGS! • Fall 2018
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In Memoriam Marsha Ann Robinson, Conroe TX. Choir Director Frasier Elementary; Cypress Woods HS. DOD 9/1/2018.
Advertise In Texas Sings! The official publication of TCDA, Texas Sings! reaches over 1600 Texas choral directors and represents Elementary, Middle School, High School, College and Church. Advertising supports our publications and offers companies an opportunity to publicize educational tools and resources, and connect with decisionmakers. Texas Sings! is published in May, July, and late October.
Be A Convention Sponsor! This is a great way for Exhibitors to connect with customers! Increase your exposure outside the Exhibit Hall. Set your company apart from competitors and build brand recognition with TCDA directors. Sponsor an event or activity at Convention, and reach more customers!
We appreciate our Advertisers and Sponsors! Call us at 512-474-2801, or visit us at www.tcda.net
Many Thanks To Our Exhibitors TCDA appreciates the loyalty of our many longtime exhibitors, and we welcome new Exhibitors to our family each year! TCDA has existed for over 63 years due to the support of our exhibitors and their patronage. We thank you and our members thank you!
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TEXAS SINGS! • Fall 2018
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TEXAS SINGS! • Fall 2018
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2018 Third Quarter TCDA Financial Report Scholarship Report
Revenue & Expenditures
as of September 30, 2018
Scholarships Beginning Balance, 1/1/2018 Contributions to 9/30/18 Awards Paid Adjustments* Scholarship Balance, 9/30/2018 Scholarships funded by: Abbott IPCO Gandy Ink
*investment interest & golf net profit
January through September, 2018
233,139.85 10,029.97 (19,000.00) (1,278.25) 222,891.57 500.00 1,000.00
as of September 30, 2018
Current Assets Checking/Savings Bank of America, Checking Petty Cash Total Checking/Savings Other Current Assets Accounts Receivable, Gen Accounts Receivable, NSF Accounts Receivable, TODA Lincoln Financial Investments Prepaid Exp, Bulk Postage Scholarships Total Other Current Assets
1,500 648 50 144,707 188 222,892 369,985
Total Current Assets
508,811
Fixed Assets Depreciation Reserve Fixed Assets, Electronics Office Furniture/Equipment Total Fixed Assets
-28,278 15,822 17,640 5,184
138,776 50 138,826
513,995
LIABILITIES & EQUITY
Total Liabilities Equity Net Assets, Restricted Opening Balance Equity Net Income Total Equity
5,433 300 100 -1,084 -8,586 3,162 -675 222,892 243,700 48,079 514,670
TOTAL LIABILITIES & EQUITY 513,995
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Convention Income Exhibit Rents Golf Tournament Honor Choir Income Miscellaneous Income Registration Fees Showcases Sponsorship Sustaining Dues Total Convention Income
89,247 2,207 23,075 894 174,123 936 10,440 7,243 308,165 9,225 410 9,635 10,473
TOTAL INCOME EXPENSE
ASSETS
Current Liabilities Accounts Payable, Gen Accounts Payable, TODA Deferred, Member Dues Sch Payable, Bank of Amer Sch Payable, Lincoln Fin Soc Sec/Medicare, FICA
5,611 75,470 194 138 2,400 83,813
Program Income High School Day Habermann Total Program Income Total Publications Income
Balance Sheet
TOTAL ASSETS
INCOME
Operating Income Collection Fees, ACDA Membership Dues Investment Income Royalties/List Sales Shared Office Income Total Operating Income
412,086
Total Administrative Expenses
157,926
Convention Expenses Advertising/Promo Audio/Visual Child Care, Security, First Aid Contract Labor Decorating Facilities Rents Functions Golf Tournament Honoraria, Accompanists Headliner Clinicians Member Souvenirs Photography Piano and Organ Rentals Printing, Supplies, Misc Student Assistants Technology Total Convention Expenses
229 25,472 3,301 572 15,066 22,146 24,238 564 50 4,852 4,956 2,277 2,158 3,933 4,414 10,086 124,314
Total Church Service Expenses Total Honor Choir Expenses
3,229 14,186
Total Program Expense
5,774
Scholarship Donation
1,643
Directors’ Expenses Board Meals Meetings Expenses Travel, Directors Total Directors’ Expenses
8,644 309 20,417 29,370
Total Publications Expenses
23,304
Technology
TOTAL EXPENSES NET INCOME
4,261
364,007 48,079
TEXAS SINGS! • Fall 2018
TCDA Convention: July 25-27, 2019 Coming Attractions… Dr. Kent Hatteberg, Director of Choral Activities at the University of Louisville, will be our High School Headliner. Tom Shelton, Composer, Conductor, ACDA President, and Assistant Professor of Sacred Music at Westminster Choir College, will be our Honor Choir Conductor. The CenturyMen, an auditioned men’s chorus of professional Christian musicians, will perform at the TCDA Worship Service.
Stay tuned for more 2019 exciting Convention News!
TCDA Membership Year January 1 – December 31. Membership opens December 1, 2018. Renew or join TCDA at www.tcda.net to receive benefits for the full year. Benefits For Current Members: • • • • • • • • •
TEXAS SINGS! • Fall 2018
Annual Convention in scenic San Antonio, offering world-class workshops, reading sessions, memorable performances, continuing education credits. An Exhibit Hall full of shopping and exciting educational resources. Outstanding network opportunities. Session handouts available on website after convention. Three annual publications: (Fall, Spring, and at Convention). Choral Notes, our on-line newsletter sent monthly. Regionally acclaimed awards, given annually for Young Director of Distinction, Choral Excellence, and Choirmaster. Job Board, for finding and posting jobs. Financial planning, health plans, dental, long-term care, and life insurance. Contact Dan Samuel at 512-659-7101 (cell).
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Memories From The 2018 Convention my experience at TCDA. “I wasI loved pleasantly surprised that there is a tradition of singing “The Lord Bless You And Keep You” at TCDA. When I was in high school, my choir director always had us sing this piece as our alumni, ending song. It’s been a tradition for years, and I loved that it is a tradition at TCDA. I wonder if he had gotten the idea from TCDA, but I do not know. I attended many wonderful sessions, and I especially loved the Dallas Street Choir. It was an amazing experience to hear them sing, and to have the opportunity to talk with many of them after the concert. I also enjoyed hearing the Elementary Honor Choir, and I took back many ideas for teaching this year.
”
Heidi Scheibmeir Piner Middle School Sherman TX
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TEXAS SINGS! • Fall 2018
I enjoy the way the TCDA convention is set up “because we benefit from having a committee that chooses the seminars and classes. I don’t have to spend my time trying to figure out what I want to do between three different things that are happening at the same time, like I do at the TMEA convention. I stayed for the performance of the Dallas Street Choir, and found it to be a very moving experience. I am so glad I got to be there for that performance.
”
Collie E. Roland Walsh Middle School Round Rock TX
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Mark your calendars for future TCDA Convention Dates July 25-27, 2019 July July July July July July 20
23-25, 22-24, 21-23, 20-22, 25-27, 24-26,
2020 2021 2022 2023 2024 2025 TEXAS SINGS! • Fall 2018
ATTEND THE 2019 CONVENTION! THURSDAY-SATURDAY, JULY 25-27 • SAN ANTONIO, TEXAS
Stay Relevant
NEW! Elementary Division Immersion Day! NEW! Format for Soiree NEW! Publisher-sponsored New Music Reading Sessions
Sing-In featuring John Rutter’s “Gloria”
Worship Service led by The CenturyMen
HS Headliner Dr. Kent Hatteburg
HC Conductor Mr. Tom Shelton
Stay Connected
Interactive workshops taught by expert music educators;
Have Fun
Improve classroom instruction: gain ideas, information
New Teacher Academy for new directors;
Connect with old friends and new.
and educational techniques; Powerful performances by nationally renowned groups; Exhibit Hall with music, software, attractions, retail and more!
50% Convention Fee discount for first-year teachers. NOTE: convention expenses are tax-deductible (fee, lodging, transportation, meals). Consult IRS website www.irs.gov. Pre-register for convention by July 1st and save $20 Make hotel reservations before June 30th for availability and contract rates; Renew membership early to receive pre-convention issue of Texas Sings!
Feedback? Suggestions? Comments? Write Sharon Lutz at sharon@tcda.net. We love to hear from our members!
DON’T MISS THE CONVENTION JULY 25-27, 2019 . . . ENHANCE TEACHING ENERGIZE
GET INSPIRED SHOP EXHIBITS MEET FRIENDS
. . . RETURN HOME A BETTER EDUCATOR!