April 2013 | Southwestern Musician

Page 1

APRIL 2013

30 FEATURES

APRIL 2013 VOLUME 81 — ISSUE 8 On the cover: Garrett Reebenacker, a senior at The Woodlands HS, performs with the 2013 All-State Mixed Choir. Photo by Karen Kneten Cross.

COLUMNS President’s Notes .............................................. 4 by Joe Weir Executive Director’s Notes..................... 9 by Robert Floyd Band Notes ............................................................. 17 by Ronnie Rios Orchestra Notes ...............................................32 by Craig Needham Vocal Notes ............................................................47 by Dinah Menger

14

Legislative Update

22

Music Saves Lives

With the 83rd legislative session well underway, learn more about KRZ WKLV VHVVLRQ FRXOG DIIHFW ÀQH DUWV HGXFDWLRQ TMEA First General Session keynote speaker Karl Paulnack offers a condensed version of his masterful address about how music is powerful enough to save lives. BY KARL PAULNACK

37

Impassioned Beginnings Top TMEA scholarship winners offer a glimpse into how powerful inspiring music educators can be in the lives of their students. BY JAMES WILLBANKS

,

DANIEL W. SMITH, JORDAN JENKINS

,

AND RYAN ROGERS

52

It’s Time to Restart If you haven’t found the time or motivation to incorporate technology in your instruction, read about how a skilled music technologist got past her initial fears. BY JENNIFER AMAYA

61

TMEA Distinguished Administrator Spotlight TMEA continues to offer members the opportunity to recognize outstanding school administrators for their support. Read about three administrators who recently received this distinction.

UPDATES Attend Your Spring Region Meeting..............................................................2 2013–2014 TMEA Executive Board .............................................................3 Arts Education Days at the Capitol Images .............................................. 12 TMEA Clinic/Convention Images ...................................................30, 44, 58

Elementary Notes ...........................................62 by Colleen Riddle College Notes ......................................................69 by Keith Dye

Congratulations TMEA Scholarship Winners ............................................ 43 Membership and Convention Attendee Report .........................................74 Convention Minutes .....................................................................................74

Southwestern Musician | April 2013

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Editor-in-Chief: Robert Floyd

UĂ R\G@tmea.org 512-452-0710, ext. 101 Fax: 512-451-9213

Attend Your Spring Region Meeting

Managing Editor: Karen Kneten Cross

kkneten@tmea.org 512-452-0710, ext. 107 Fax: 512-451-9213

TMEA Executive Board President-Elect: Joe Weir joseph.weir@humble.k12.tx.us 19627 Firesign Drive, Humble, 77346 281-641-7606 – Atascocita HS

Vocal Vice-President: Dinah Menger dmenger@aisd.net 818 W. Park Row, Arlington, 76013 817-459-2128 – Arlington HS

President: John Gillian john.gillian@ectorcountyisd.org 3624 Loma Drive, Odessa, 79762 432-413-2266 – Ector County ISD

Band Vice-President: Ronnie Rios ronnierios@yahoo.com 22343 Paloma Blanca Court, Harlingen, 78550 956-427-3600 x 1080 – Harlingen HS

Orchestra Vice-President: Craig Needham Craig.Needham@richardson.k12.tx.us 1600 E Spring Valley Rd, Richardson, 75081-5351 469-593-7028 – Berkner HS

Vocal Vice-President: Dinah Menger dmenger@aisd.net 1305 Westcrest, Arlington, 76013 817-459-2128 – Arlington HS

Elementary Vice-President: Colleen Riddle sallyhobizal@katyisd.org 319 E. North Hill Dr., Spring, 77373 281-985-6107 – M.O. Campbell Ed Center

College Vice-President: Keith Dye keith.dye@ttu.edu 6607 Norwood Avenue, Lubbock, 79413 806-742-2270 x 231 – Texas Tech University

TMEA Staff Executive Director: Robert Floyd | UĂ R\G@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: Tesa Harding | tesa@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Membership Assistant: Rita Ellinger | rellinger@tmea.org Communications Manager: Karen Kneten Cross | kkneten@tmea.org Financial Manager: Laura Kocian | lkocian@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org

70($ 2IÀFH Mailing Address: P.O. Box 140465, Austin, 78714-0465 Physical Address: 7900 Centre Park Drive, Austin, 78754 Phone: 512-452-0710 | Toll-Free: 888-318-TMEA | Fax: 512-451-9213 Website: www.tmea.org 2IÀFH +RXUV Monday–Friday, 8:30 A.M.–4:30 P.M.

Get involved and stay informed by attending your Region meetings.

Region Date

Time

Location

1

May 18

10 a.m.,

Amarillo HS Cafeteria

2

May 18

10 a.m.

Decatur HS

9:30 a.m. food

3

May 18

10 a.m.

Sachse HS

4

May 10

5 p.m.

Mt. Pleasant HS

5

April 23

5:30 p.m.

Juan Seguin HS

6

April 27

10 a.m.

Wagner-Noel PAC, Midland

7

April 27

1 p.m.

Stephenville HS

8

May 4

10 a.m. ,

Midway HS

9:30 a.m. food

9

April 27

9 a.m.

Dekaney HS

10

May 6

6:30 p.m.

Lamar Univ.

11

May 18

12 p.m.

John Marshall HS

12

May 5

2:30 p.m.

Alamo Heights HS

13

May 5

2 p.m.

George Ranch HS, LCISD

14

May 11

10 a.m.

Del Mar College

15

TBD

16

May 6

5 p.m.,

Post HS

4 p.m. Str. Cmt.

17

May 7

6:30 p.m.

Angleton HS

18

April 27

10 a.m.;

Anderson HS PAC

19

May 4

10 a.m.

San Jacinto College North

20

May 11

9 a.m.

Greiner MS, Dallas

9:30 a.m. food

21

May 11

10 a.m.

Lindale HS

22

May 18

12 p.m.

UTEP

23

May 11

9 a.m.

Elsik HS

24

May 18

10 a.m.

Newman Smith HS

25

TBD

11:00 a.m. UIL mtg 8:30 a.m., food

26

April 23

6 p.m.

Stony Point HS

27

May 18

9 a.m.,

Northbrook HS

28

May 28 10 a.m.

8:30 a.m. food

Harlingen HS

Southwestern Musician (ISSN 0162-380X) (USPS 508-340) is published monthly except March, June, and July by Texas Music Educators Association, 7900 Centre Park Drive, Austin, TX 78754. 6XEVFULSWLRQ UDWHV 2QH <HDU ² 6LQJOH FRSLHV 3HULRGLFDO SRVWDJH SDLG DW $XVWLQ 7; DQG DGGLWLRQDO PDLOLQJ RIĂ€FHV 32670$67(5 6HQG DGGUHVV FKDQJHV WR 6RXWKZHVWHUQ 0XVLFLDQ 3 2 %R[ Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941–47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947–54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music (GXFDWRUV $VVRFLDWLRQ ZKRVH RIĂ€FLDO SXEOLFDWLRQ LW KDV EHHQ VLQFH ,Q WKH WZR PDJD]LQHV ZHUH PHUJHG XVLQJ WKH QDPH 6RXWKZHVWHUQ 0XVLFLDQ FRPELQHG ZLWK WKH 7H[DV 0XVLF (GXFDWRU XQGHU WKH editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

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Southwestern Musician | April 2013

Joe Weir President Janwin Overstreet-Goode President-Elect John Gillian Immediate Past-President

2013–2014 TMEA Executive Board

Ronnie Rios Band Vice-President

Craig Needham Orchestra Vice-President

Colleen Riddle Elementary Vice-President

Dinah Menger Vocal Vice-President

Keith Dye College Vice-President

Executive Board contact information is at www.tmea.org/about/board-staff.

Southwestern Musician | April 2013

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United, we are stronger

PRESIDENT’S NOTES IMPORTANT DATES April/May—Attend your spring Region meeting (see page 2 for details). April–June 1—Submit clinic proposals for the 2014 TMEA convention. May—Online TMEA membership renewal available. May 1—Texas Music Scholar application materials postmark deadline. June 30—All TMEA memberships expire. July 21–24—TBA/TCDA/TODA Conventions in San Antonio. February 12–15, 2014—TMEA Clinic/ Convention in San Antonio.

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n this issue that follows our annual convention, the first mention must be hearty congratulations to John Gillian and our amazing Division Vice-Presidents who planned and provided a veritable smorgasbord of sessions and concert offerings. With the extraordinary performances offered by elementary through university level music students, I stood in awe of the incredible work that goes on every day in music classrooms across our great state! In the words of keynote speaker Karl Paulnack, thank you for “saving lives” each and every day. As President of the largest music educators association in the United States, I ask you to join me in promoting two topics: advocacy and teamwork. Working alone can make this seem a daunting task; however, when almost 12,000 of us make a consistent statement, administrators and legislators will listen. United, we are stronger! Advocacy As we move into the second half of this 83rd legislative session, the Executive Board urges you to continue to be a strong advocate for your programs. While March was Music in Our Schools Month, we need to take on an advocacy approach that makes it seem like every month were Music in Our Schools Month. We should go the extra mile to consistently inform and educate our faculty, administrators, and school board members about our programs and about the overall value of music education. Let them know what you are doing. Send them your events calendar and tickets to all performances on your campus. Provide them links to the TMEA General Session keynote addresses available on the TMEA website. Review the advocacy materials found in the Resources

Music is a force that minimizes differences and creates a common bond of understanding within your schools and community. 4

Southwestern Musician | April 2013

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V i s i t u s at o n e o f o u r n e i g h bo r h o o d lo cat i o n s :

SUMMER 2013 Graduate Studies in Music Education TEXAS TECH UNIVERSITY SCHOOL OF MUSIC June 3 - 14 Learning & Music (L/V) Styles in Wind Literature (L/V) Band Strategies & Techniques (L) Music in Special Education (L/V)

Dr. Keith Dye Dr. Peter Martens Dr. Eric Allen Dr. Janice Killian

June 3 - August 7 Intro to Tech. Applications in Music Ed.

Dr. Keith Dye

(O)

June 17 - 28 Voice Building in the Choral Rehearsal (L) Orchestra Director’s Workshop (L) Tests & Measurements (L/V) Harmony & Voice Leading w/ AP Primer (L)

Dr. Carolyn Cruse Dr. Bruce Wood Dr. Janice Killian Dr. Peter Fischer

July 8 - 13 Band Workshop: Curriculum & PLanning

Dr. Keith Dye

(L)

(in conjunction with Band & Orchestra Camp, on campus housing available)

July 9 - August 9 Graduate History Review Symphonic Literature (O)

Dr. Stacey Jocoy Dr. Thomas Cimarusti

(O)

July 16 - August 1 Intro to Graduate Studies (L/V) Current Issues in Music Ed. (L/V)

Dr. Keith Dye Dr. Janice Killian

(L = Live, V = Videoconference, O = Online)

Intensive Music Education Courses –as brief as 2 weeks (plus online components)

Summer Orchestral Conducting Workshop June 21-23, 2013

Designed for professional, college and secondary music educators, and advanced college students.

For more information: online –www.ttu.edu/music

Available as a stand alone workshop, or as part of the “Orchestra Director’s Workshop” 2-week intensive summer course for music educators.

advising –

For more info and to apply, visit the “Summer Programs” link at www.ttu.edu/music

Dr. Michael Stoune, Director, Graduate Studies michael.stoune@ttu.edu 806-742-2270 x255 Dr. Janice Killian, Chair, Music Education janice.killian@ttu.edu 806-742-2270 x264

section of the website and plan to use them in future programs or correspondence with parents and administrators. In conjunction with Music in Our Schools Month, we mailed a letter to all Texas school superintendents and fine arts coordinators praising your efforts as music educators. Included in the letter was the following: Texas Music Educators Association is very proud of the work being done by music teachers in your district. These music educators work tirelessly with hundreds of students on a daily basis to enhance their musical knowledge and skills. They also support their students’ development of teamwork, self-esteem, and empathy— qualities that continuously foster student success in other academic areas as well. As they graduate from high school and college, these are the types of well-rounded students that employers will look for in the workforce. We hope you will continue to support the growth, staffing, and budget of music programs in your district as these programs provide positive environments for students on every campus. Music is a force that minimizes differences and creates a common bond of understanding within your schools and community. I cannot stress enough the importance of promoting your programs by keeping your work on the radar of administrators and in the public eye. Your community wants to hear about the positive things going on in the fine arts hallway. It will be a welcomed relief from what they hear every morning on the local newscast. If you do not have a publicity chair within the ranks of your booster organization, appoint one today!

Teamwork One of the many roles of the TMEA president and president’s committee is to review and rule on grievances filed by our members. I am often surprised when we receive grievances that involve the way we treat each other as colleagues, even in the presence of students. We need to remember that we are all professionals— some very experienced, and some still on a learning curve. Our collective mission and purpose should be to promote music education, set a daily example for young adults, and bring out the best in every student who comes through our doors. Remember this when situations involving colleagues or students become heated or blown out of proportion. Like many others, my mother always said that if you can’t say something nice, don’t say anything at all. We need to develop positive and supportive relationships with band,

choir, and orchestra directors, as well as with theater and dance instructors on our campuses and in our districts. Plan periodic meetings to discuss the goals of your fine arts department or to simply see how others are doing. Share that ensemble room knowing that we all have UIL programs and performances to prepare and present. Support each other with your administration. Help each other promote the best music education possible for all students. United, we are stronger! As I assume the role of your 74th TMEA President, I would like to share some fairly profound advice I recently heard on a YouTube video entitled “A Pep Talk from Kid President to You.” A young boy dressed in a suit and tie acting as “Kid President” poses the following question and charge: If life is a game, aren’t we all on the same team? . . . If we’re all on the same team, let’s start acting like it. We’ve got work to do!

Couldn’t Attend Every Clinic? If you attended the 2013 Clinic/Convention, you can purchase online access to clinic audio recordings for only $10.

www.tmea.org/audiofiles Southwestern Musician | April 2013

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Your Band and Orchestra Author ity Anniversary

From the practice room to the performance ďŹ eld,

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Many moving parts B Y

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s someone who has played a role in the production of the convention off and on since 1978—as Band Vice-President, then President, and finally as Executive Director for the past nineteen years—I still stand in amazement at the number of contributors it takes to make our convention a success. Certainly the success begins with our staff and board. In addition, from an operational perspective, over 50 professionals attend the preconvention meeting on Tuesday afternoon, all representing a service component of the total production—convention center management, decorating, security, housing, engineering, catering, audio/visual—the list goes on. There are indeed many moving parts, and this does not count any of the sales and support staff from the numerous hotels that house our attendees. This year there were 306 clinics, 69 performances, 1,149 exhibit hall booths, 8,780 active member attendees, and almost 2,500 support staff to manage the exhibit hall booths and college night. Including the parents of performing students and visitors and family, our staff put a badge in the hands of 24,644 people (for more detailed data, see page 74). Hosting the national TI:ME conference was an added bonus that peaked at over 500 registrants for the Wednesday preconference. San Antonio loves to boast that TMEA is its largest annual convention that returns each year, not having been out of the city since 1984. And as I mentioned in a previous column, this past year we successfully locked in contracts with the

EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES April/May—Attend your spring Region meeting (see page 2 for details). April–June 1—Submit clinic proposals for the 2014 TMEA convention. May—Online TMEA membership renewal available. May 1—Texas Music Scholar application materials postmark deadline. June 30—All TMEA memberships expire. July 21–24—TBA/TCDA/TODA Conventions in San Antonio. February 12–15, 2014—TMEA Clinic/ Convention in San Antonio.

We must never take the wonderful music industry for granted for their Texas support. Southwestern Musician | April 2013

9

Convention and Visitors Bureau through 2025. Our annual event, however, would not be successful without the support of our members who scrimp and save to attend the convention each year. I continually remind our Board that they must plan a program that a divisional member views for the first time and immediately determines they have to be there. And year after year, the Board continues to come through in grand fashion. It does not matter how good the program is, however, if the exhibit hall and clinics are not filled with members. Once again, you did not disappoint. Exhibitors as a whole were more pleased with traffic and business than in recent years, and clinics were packed. Each year I cannot write a convention wrap-up column without sharing my

thanks to our sustaining members who once again bought out the exhibit hall several weeks before the convention. We can never underestimate their contributions not just to our financial strength but to providing the latest state-of-the-art materials, equipment, music technology, and support that help us better serve students in our classrooms. We are so fortunate to have such a partnership in place that is a win-win for all of us. We must never take the wonderful music industry for granted for their Texas support. Our thanks go not only to those companies that purchase exhibit space and program advertising but to those that also provide equipment for multiple divisions either at no cost or at a discounted rate. The final ingredient of any successful meeting is the volunteers who carry out the hundreds of duties in each division

and general operations, from organizing All-State groups, to judging auditions, to serving as room coordinators, to assisting with registration, to managing divisional offices—it definitely takes a village. Truly the volunteers are the unsung heroes who play a critical role in making it all come together. So to those who gave of their time, our thanks go to you. Certainly, we as a staff and Board must never lose sight of the fact that we must provide through programming and workshop selection a convention that meets the needs of the membership and attendees. You will soon receive a link to an online survey to share your input on several topics to assist us in future convention planning. Please take the time to complete the questionnaire. Your thoughts are important to us and we look forward to hearing from you.

Learn Boldly. Live to Inspire. SCHOLARSHIPS AVAILABLE: Jones Fine Arts Award for Music Majors Up to $4,000 per year Performance Awards for Non-Majors Up to $2,000 per year Scholarship Audition Dates: Sat., March 23, 2013 @ 10 a.m.– noon Sat., April 20, 2013 @ 2–4 p.m.

Texas Lutheran University Contact 1.800.771.8521 or e-mail dboyer@tlu.edu

10 Southwestern Musician | April 2013

SCHOOL OF MUSIC

For specific qualifications for each award, visit www.tlu.edu/music or scan the QR code above with your smartphone.

Bachelor of Music in All-Level Music Education Bachelor of Music in Performance Bachelor of Arts in Music

Begin your music education career at one of Texas’ outstanding two-year colleges.

success. The sound of

J. Hal & Allyne Machat Music Facility Blinn College - Brenham, Texas Our outstanding and diverse music faculty make teaching their top priority, enabling students to expand their musical horizons. Larry Campbell ......... Harry D. Blake ........... Dr. Sarah Burke ......... John Dujka .................... Dr. Craig Garrett ..... Jill Stewart ..................... Brian Klekar .................. Marie McElroy ............ John McCroskey ....... Todd Quinlan .............. Felipe Vera ..................... Steven Winter ............ Karen Blake ................. Robert McElroy ........ Jason Phillips ................

Fine Arts Chair and Euphonium/Tuba Director of Bands Assistant Director of Bands and Percussion Music Theory and Piano Jazz Ensemble, Trumpet, and General Music Aural Music and Clarinet Assistant Jazz Ensemble, Saxophone, and General Music Flute Trombone Percussion and General Music Horn Horn and Trumpet Color Guard and Woodwinds Accompanist Director of Choral Studies, Piano, Voice, and Music Literature

Elizabeth Shipsey

Assistant Director of Choral Studies, Music Theatre, and Voice Vicki Wehmeyer ....... Voice, General Music John Vavroch ................ Voice Cheryl Amelang ........ Accompanist ......

AUDITION DATES BY APPOINTMENT December , ‡ January & , February , ‡ March , For more information call - - or visit our website at:

www.blinn.edu Ànearts

Arts Education Days at the Capitol

12 Southwestern Musician | April 2013

Southwestern Musician | April 2013 13

by Robert Floyd

O

n Tuesday, March 26, the Texas House of Representatives passed HB 5 authored by Representative Jimmie Don Aycock (R-Killeen), chair of the House Public Education Committee, by a vote of 145–2. This omnibus education bill combines new graduation programs and requirements with a new accountability system to evaluate campuses and districts across the state. Specifically the bill eliminates the current Minimum, Recommended, and Distinguished Achievement graduation programs and creates one “Foundation High School Program” that will prepare students for postsecondary opportunities. This new program will provide students with flexibility and options to earn endorsements to pursue personal interests in the following areas: STEM, Business & Industry, Public Services, Arts & Humanities, and Multidisciplinary Studies. In this foundation high school program, every student will be required to complete specific courses totaling 17 credits plus 7 elective credits. The plan creates a distinguished achievement level available above the foundation program that can be attained in any of the endorsement areas. To earn this level students must complete 4 credits (rather than 3) in both math and science, which must include Algebra II. Students who wish to be considered for top ten percent automatic admission to a state university must successfully pursue this level. Finally, the bill reduces the overemphasis on high-stakes testing by lowering the number of required end-of-course exams from 15 to 5. Fine Arts in the Foundation High School Program Consistent with current law, one credit of fine arts is still required of all students to graduate (as one of the 17 credits mentioned above). In addition, more serious fine arts students will have the option to pursue the Arts and Humanities endorsement. The State Board of Education will be charged with defining the additional requirements in each of the endorsements, so if this bill is signed into the law, we will work with SBOE members to define what those requirements must be. This bill does permit a school district to create a policy allowing students to earn their fine arts credit by participating in an afterschool fine arts program. We were successful in amending the language to mandate that this program be community-based and deliver instruction covering the Texas Essential Knowledge and Skills for Fine Arts. Such a program must also provide a course not offered by the district in which the student is enrolled. If a district chooses to allow this, it will be critical that the local policy assures a comprehensive, rigorous fine arts experience. Campus and District Ratings to Include Fine Arts Further, this bill establishes that the Commissioner of 14 Southwestern Musician | April 2013

Education will adopt rules to evaluate districts and campuses and assign each a performance rating letter grade. This rating will include a grade for fine arts as included in the Community and Student Engagement assessment. The indicators for such an evaluation will be developed under the guidance of the Commissioner as well as by local districts. I am confident we can play a role in the development of such a plan, assuming it remains in the final version of the bill. Amendment Limits Pull-out for Remediation Finally, in collaboration with the Career & Technical Education (CTE) associations, TMEA was successful in amending HB 5 on the floor of the House with language from our original TAKS/ STAAR pull-out bill filed during the 2009 session. Local boards of education must create a policy that limits the pull-out of students from academic classes for test remediation and preparation to ten percent or less of the days the class meets (unless the parent gives their permission to exceed this). The bill also clarifies that a student may not receive a credit or final grade if the limit is exceeded, and it further clarifies that this policy applies to grades K–12, not just high school. This was a significant accomplishment for us, and thanks go to Representative John Davis, (R-Houston) for carrying the amendment and Chairman Aycock for accepting the amendment on the floor. The Next Steps HB 5 has moved to the Senate Education Committee where Chairman Dan Patrick (R-Houston) may hear the bill as passed in the House, substitute the Senate version of the bill (SB 3), or amend the House bill and send it back to the House. Ultimately the final version of the bill will be determined in conference committee, sent to both the Senate and House for final approval, and then to the Governor to be signed into law. At press time SB 3 had not been scheduled for debate and vote on the Senate floor. The Senate version of the bill also contains the one-credit fine arts credit requirement in the Foundation courses and also offers an Arts and Humanities endorsement. You may recall that during the convention I explained that in Senate Bill 3 the fine arts graduation requirement could be met by a CTE course. However, Senator Patrick changed the language to eliminate the CTE optout shortly after the convention. The two most common phrases heard at the capitol are “It’s not over until it’s over” and “The devil will be in the details.” Much can happen between now and May 27, the end of the session, as these bills move forward, but as of this writing we are positioned as well as we could have hoped to be in terms of protecting fine arts in the new program. Please make sure you are registered with GoArts.org so that you will receive our updates and possible calls for action.

WANDA L. BASS SCHOOL OF MUSIC

ns o i t i d au p i h s lar o h c s t. l s . a t e n n u o i e q t i e m r d u ru n t a o s r p n i u u o e e bl ey l a l u i d Privat a e v h a c s o t te i s b e w r u o t i Vis TO SCHEDULE AN AUDITION:

www.okcu.edu/music ocumauditions@okcu.edu

405.208.5980

Do you teach or tell? B Y

R O N N I E

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believe there may be two kinds of teachers or leaders in this world. Some stand in front of a room and simply talk at those in front of them until they believe their words have made a difference. Others ensure they get something out of the ones they are talking to, and will not take no for an answer. The talkers usually spend the day speaking in lecture style, offer facts and how-to details, but they rarely check for comprehension and retention or even notice whether students are even listening. This style seldom, if ever, makes a positive impact. What if our classes included some incredible students but all we did was inform them of their assignment—an etude or solo—and sent them away to learn it? Of course a few would do so. But how many others would fall through the cracks because we did not do enough actual teaching. I’m not saying we should spoon-feed students or do the work for them. What I am saying is that we must make our expectations clear and create a culture of caring, not ignoring. Checking for comprehension is essential in any classroom. What if one of your most talented students had a learning disability and no one knew about it until after the student was no longer in the program? It is through a caring and interested approach that we will be aware of these situations and with that understanding can foster what could be that student’s most positive school experience. If it’s not our job to show this concern, whose is it? Being an effective teacher is not just about possessing a wealth of knowledge and offering information every day. It is about determining what information is most important, communicating that to our students, and ensuring they understand and apply that knowledge to set them on the road to success. We must also remember that this is 2013. Students today are used to pushing a single button and getting an immediate result, and they certainly don’t need

We must make our expectations clear and create a culture of caring, not ignoring. Checking for comprehension is essential in any classroom.

BAND NOTES IMPORTANT DATES April–May—Attend your spring Region meeting (see page 2 for details). April 1–June 1—Submit clinic proposals online for the 2014 TMEA convention. May–June—Renew your TMEA membership. May 1—Texas Music Scholar application materials postmark deadline. May 31—Pat McNallen scholarship application deadline (application available at www.tmea.org/mcnallen). June 15—Deadline for Region Honor Band winners to be postmarked to Area Audition Chair. June 30—All TMEA memberships expire. June 30—Deadline for Area Honor Band winners to be postmarked to State Band Chair. July 21–24—TBA Convention in San Antonio Aug 1—Deadline for waivers to the audition process to be received at TMEA headquarters.

Southwestern Musician | April 2013 17

2013 Admissions & Scholarship Auditions February 23rd March 9th March 23rd (Additional dates upon request) Auditions are required of all entering and transferring music majors

Degrees Offered Bachelor’s Degree in Performance & Music Education Master of Music in Performance, Conducting & Music Education

Full time Graduate Students Graduate Assistantships are available. Assistantships include a $4000/semester stipend and may include full tuition.

Summer Cohort Program 8 hours of course work are offered each summer at the A&M-Commerce Mesquite Metroplex Center. The 30-hour Master of Music degree in Music Education with emphasis in secondary choral and elementary can be earned in 4 summers.

The Texas A&M University-Commerce Chorale and Wind Ensemble in performance in New York City’s Carnegie Hall

WWW.TAMUC.EDU/MUSIC

A Member of The Texas A&M University System

Convention Review and More Congratulations go to all for an amazing convention. Performances by our Honor Bands, collegiate groups, and AllState groups were incredible. Kudos go to all who presented clinics at our convention and shared their knowledge in a meaningful way. Praise also goes to the many volunteers who offered their time throughout the course of the convention. You are truly the unsung heroes. Please consider presenting a clinic at the 2014 TMEA convention. Online proposals are accepted April 1–June 1 at www.tmea.org. Attend your Region meeting! These are very important to you and your students as dates, sites, fees, and more will be determined. You may also be able to nominate clinicians and judges for the 2013–2014 school year. Honor Band Best wishes to all Honor Band participants. Region Honor Band auditions will take place June 1–June 15, 2013. Area Listening Centers are as follows: Area A: June 26, Highland Park HS, Reagan Brumley, host Area B: June 27, Highland Park HS, Reagan Brumley, host Area C: June 28, Highland Park HS, Reagan Brumley, host Greg Hames, chair Area D: June 27, Spring HS, Gabe Musella, host Area F: June 28, Spring HS, Gabe Musella, host Joe Munoz, chair Area E: June 27, Canyon HS, Jason Adam, host Area G: June 28, Canyon HS, Jason Adam, host

40TH ANNUAL

BAND LEADERSHIP CAMP

our help in understanding the latest ways to communicate. But in the band hall, it’s up to us to teach them which buttons to push, and we must do so in a way that does not alienate them. We need to help so they in turn can figure it out on their own. Be the teacher who talks of the what, the how, and the why and who makes sure everyone understands. And remember that whatever happens, positive or negative, it starts with us.

June 17-21, 2013 Howard Payne University Brownwood, Texas Clinics to include: ,œ“iÂœĂŠ Ă•ĂƒÂˆVĂŠUĂŠ Ă€ÂˆÂ?Â?ĂŠ iĂƒÂˆ}Â˜ĂŠĂœÂˆĂŒÂ…ĂŠ Ă•ĂƒĂŒĂžĂŠ,Â…i>ĂŠUĂŠ ,iĂŒÂˆĂ€i“iÂ˜ĂŒĂŠ*Â?>˜˜ˆ˜}ĂŠvÂœĂ€ĂŠ ÂˆĂ€iVĂŒÂœĂ€Ăƒ i>`iĂ€ĂƒÂ…ÂˆÂŤĂŠÂˆĂƒĂŠĂŒÂ…iĂŠvÂœVĂ•ĂƒĂŠvÂœĂ€ĂŠ>Â?Â?ĂŠĂƒÂˆĂ?ĂŠĂŒĂ€>VÂŽĂƒ\

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Michael Corcoran, chair Southwestern Musician | April 2013 19

TMEA Convention Band Division Meeting Minutes Thursday, February 14, 2013 Convention Center Ballroom B The meeting was called to order at 11:05 A.M. by TMEA Vice-President and Band Division Chair Ronnie Rios. The invocation was given by Daniel Solis, band director at Taft HS. A motion was made to approve the minutes from the Band Division Meeting held during the 2012 TMEA Convention. This motion was seconded and then approved by the membership. Richard Floyd, UIL Music Director gave the UIL report. Support speeches were then given for TMEA PresidentElect. Steve Andre, Director of Fine Arts-Mesquite ISD, spoke on behalf of Michele Hobizal, TMEA Vice President and Elementary Division Chair. Dr. Jeff Laird, Director of Secondary Performing Arts-Aldine ISD, spoke on behalf of Janwin Overstreet-Goode, TMEA VicePresident and Vocal Division Chair. Rios recognized the Region and Area

Band Chairs along with the Middle School and High School Jazz Coordinators for their service to TMEA. He then recognized the 2012 TMEA Honor Band finalists. Rios encouraged everyone to attend the Honor Band concerts. Rios explained the new procedure for distributing folders to the All-State students following their chair auditions. He also recognized and thanked everyone who helped with the auditions. Old Business Rios encouraged everyone to use the online volunteer form early for the 2014 TMEA convention. He encouraged everyone to contact him at any time with concerns or to share ideas and suggestions. Honor Band update: Paul Flinchbaugh, John Benzer, and Andy Sealy made up the committee to select judges for Area Honor Band. Region level Honor Band judging format will remain the same. At the Area level, there will now be three listening centers. Areas A, B, and C will be at Highland Park HS in Dallas on

2013

Auditions

June 26, 27, and 28. Areas D and F will be at Spring HS in Houston on June 27 and 28. Areas E and G will be at Canyon HS in New Braunfels on June 27 and 28. This information, along with all policies, will be updated on the TMEA website. All Area Honor Band judges have been chosen and assigned. Rios asked for comments or concerns, and none were mentioned. Rios reminded everyone that online entry is open and that the deadline is March 1, 2013, for Class 2C, 3C, 2A, and 4A. In new business, Scott Taylor asked Rios to take to the Board the following two concerns: • Not to schedule any Band Division clinics during the Band Division Business Meeting. • Find a way to entice members to attend these business meetings. Meeting was adjourned at 11:32 A.M. Minutes submitted by Daniel Allen, Franklin HS.

Music

At Lamar University January 26, 2013 March 2, 2013 April 20, 2013

Contact Scott Deppe to schedule audition: scott.deppe@lamar.edu 20 Southwestern Musician | April 2013

www.lamar.edu/music For more information contact Lamar University Mary Morgan Moore Department of Music P.O. Box 10044 Beaumont, TX 77710 (409) 880-8144

UNT College of Music Summer Workshops 2013 9th Annual Pirastro Strings Elite Soloists Program Jeff Bradetich May 28-June 1

13th Annual Beginner and Intermediate Double Bass Camp Jeff Bradetich June 12-14

Flute! High School Masterclass Mary Karen Clardy June 5-9

Marimba Workshop Mark Ford June 17-21

ClarEssentials High School Clarinet Workshop Kimberly Cole Luevano, Daryl Coad, Deborah Fabian, John Scott June 13-15 Marching Percussion Camp Mark Ford June 10-13 26th Annual Bradetich Double Bass Masterclass Jeff Bradetich June 10-14 Flute! Fundamentals for Teachers Mary Karen Clardy June 10-14 Lynn Seaton Jazz Double Bass Workshop Lynn Seaton June 10-14 Conductors Collegium Eugene Migliaro Corporon, Dennis Fisher, H. Robert Reynolds June 10-21

String Orchestra Day Camp (Grades 5-12) Karrell Johnson June 16-21 Drum Major and Student Leadership Camp Nick Williams June 20-23 Vocal Pedagogy Workshop Stephen Austin June 20-22 Flute! Repertoire and Performance Masterclass Mary Karen Clardy June 21-23 Vocal Jazz Workshop Jennifer Barnes, Rosana Eckert, Gary Eckert, Greg Jasperce, Michael Palma June 23-28

Jazz Winds Workshop (Sx, Trpt and Trb) Brad Leali, Mike Steinel, Jay Saunders, Rodney Booth, Tony Baker & Steve Wiest July 8-13 Texas High School All-State Choir Camp Alan McClung July 10-13 Jazz Combo Workshop Mike Steinel, Brad Leali, Rodney Booth, Stefan Karlsson, Lynn Seaton, Fred Hamilton, Steve Wiest, Ed Soph and more. July 14-19 Middle School/Jr. High Honor Choir Camp Alan McClung July 17-20 Piano & Organ Wellness Sheila Paige July 25-Aug. 2 Mariachi Summer Camp Donna Emmanuel July 24-27

Alexander Technique Phyllis Richmond July 12-13

For additional information contact David Pierce: 940-565-4092, david.pierce@unt.edu

Discover the power of music at: www.music.unt.edu

A

bout a year ago I was giving a talk in an auditorium for for anyone to know. At the same time, as he put it, “I feel like a a few thousand people. I had just finished and people piece of me just dies if I don’t hear that music every few weeks, were streaming out of the auditorium in very predictand now I know why.” able patterns, rivers of people flowing out the exits, I had just given a talk about how music at times is a container and then I saw this guy going the wrong way. He was about for certain powerful life experiences. my age, 50-something, and he was This guy just loved his college coming straight toward me, fighting years; it was his favorite time of life, a his way through the crowd. He had time full of treasures for him. Music such a look of intention about him served as the container for that parthat it actually made me afraid for a ticular time of his life—it kept that moment. I starting packing up my time alive for him. So if he doesn’t papers a little faster, and from twenty get to have that music, he feels like rows back this guy pointed at me and he’s dying because that piece of him said, “Don’t leave! I need to talk to literally is dying. There’s something you.” When he finally reached me, about that music that captured the he began by saying, “I have to tell you feeling of that time of life. something I have never told anyone I received a letter from a woman else.” who wrote to tell me about her He proceeded to tell me that every 16-year-old son. Like many 16-yearSaturday afternoon, his wife leaves old boys, he had managed to purwith her friends and it’s his time to chase the music that would most have the house to himself—his own annoy and horrify his parents, and private time. And then he said, “The then he managed to find just the minute my wife leaves the house right volume to be completely excruB Y K A R L P A U L N A C K for her errands, I lock the door, I go ciating to them. She hated his music. downstairs in the basement and I do One day he was involved in a trafsomething that I am so embarrassed about I have never told anyone fic accident and died. This mother entered a period of indescribelse about it.” He explained that on those Saturdays in the baseable anguish from which she could find no relief. She kept his ment he listens, at very cranked-up volume, to the music of his room exactly as it was, thinking she might preserve his presence college years—bands like R.E.M., Duran Duran, and the Police. in the house. She looked at pictures. She looked at homework He kept it secret from other people because he thought it must assignments. She made awkward attempts to interact with his be some form of immaturity. He would have been embarrassed friends. Nothing helped.

M U SIC S A V E S L I V E S

IN SOME VERY REAL WAY, BECAUSE MUSIC FORMS TH E CONTAINERS THAT CARRY OU R EXPERIENCES, OU R LIVES DEPEND ON MUSIC. WITHOUT MUSIC, WE LOSE LIFE; WE LOSE TH E CAPACITY TO ENGAGE IN AND RETAIN OU R EXPERIENCE MEANINGFU LLY. 22 Sou uthw western Musician | Ap Aprril 20 013 1

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AS YOU LOOK UPON YOUR COLLEAGUES, YOUR TEACHERS, AND YOUR STUDENTS, LOOK UPON HEROES, PEOPLE WHO HAVE DEVOTED THEMSELVES TO ENHANCING—IN SOME CASES SAVING—THE LIVES OF OTHERS.

Karl Paulnack delivers the 2013 First General Session Keynote Address

And then, in desperation, she played his music. She did that for months; she’d come home and turn on his music, the music she hated, and she could feel him in the house. She felt the feeling she had felt when he was around. His music was the only thing that captured and carried him in the home. And she still hates the music, but the music carries him, and it brings him home again. The music she still hates carries the son she still loves. Music can capture and hold our experience of life the way a container holds a liquid. Music supports our capacity to engage in and retain our experiences, the feelings and the flavors and the timbres of our experiences. I’m not talking about memory, but experience. This distinction is critical. Memories are stored in specific parts of the brain. Language is also stored in a very specific part of the brain. If the brain is injured or deteriorates with age, we can lose memory or language stored in the damaged areas. The power of music—the ability to capture and hold the entire gestalt of an experience—this is something stored in several parts of the brain simultaneously. This is one of the reasons why people with various brain injuries who have lost memory, or language, or motor skills, can often still sing, can still make music, can still access music. And people whose brains work differently—people on the autism spectrum, people with degenerative diseases such as Alzheimer’s—who find spoken language impossible can often communicate powerfully and effectively using music. At Beth Israel Hospital, one of the teaching hospitals of Harvard University, 24 Southwestern Musician | April 2013

there is a Music, Neuroimaging, and Stroke Recovery department. Music is so powerful in supporting something called neuroplasticity, the ability of the brain to rewire itself and make new connections, that there’s an entire department at Harvard dedicated to using music as a way to help stroke survivors recover. We’ve known for a long time that music stimulates creativity and is essential for the way the brains of young children develop, but at Beth Israel they’re now using MRI and PET scanning to show the power of music helping the brain create and repair connections within itself, storing and restoring the experiences of our lives. We’re now able to show with a brain scan what intuition has told us for hundreds of years: healthy, creative, active brains benefit from music. Music helps us make connections, literally and figuratively. This process of making new brain connections, neuroplasticity, is fascinating stuff, and the subject of a great deal of current research. My colleagues at Harvard tell me that at this moment there are only four things we know of that stimulate neuroplasticity, four things that cause the brain to create new connections. The first is music. The second is physical exercise. The third is play—just play—little kids, outside, sandbox, fantasy, toys, make-believe, play. The fourth is something called numinous experience. Numinous is a word that is often used to refer to mystical experiences in a religious context, but it has a broader meaning. Singing in a chorus can be numinous experience under certain circumstances. Numinous experiences are those in which our sense of self is absorbed into

something bigger than we are. That could be a sense of God, or the earth, a connection to others, or service of a greater goal or higher purposes, anything that takes us beyond the state of ego. It could include being absorbed into a church choir, an orchestra, marching band, or a string quartet—anything where you merge with something bigger than yourself. Those of you who teach music to young children, think about this list: music, exercise, play, and being part of something bigger than yourself. That’s the recipe for creative brains. A good choir rehearsal or classroom music lesson automatically hits two out of the four, and if you include some physical activity and fun, as good teachers often do, you hit the mother lode of brain wiring, four out of four. A fun, physical musical activity that draws people into a group is the equivalent of chicken soup for the brain. While music has the capacity to carry our lives like a container, it also functions to increase our capacity to engage in experiences we are about to have. This shows up in all sorts of ways, ways that people don’t even notice unless they’re really paying attention. In the terrible earthquake in Haiti a few years ago, I woke up and was reading about it on the CNN website during my morning coffee. This was the first account of the first night of that earthquake, describing the extent of the damage and what people who were trapped and crushed in the rubble were doing as they were awaiting rescue. At the end of the third paragraph of that story, it said, “people prayed and sang through the night.” Why were they singing? Why would people in an earthquake sing? Why would people on the night of 9/11 stand on the street corner and sing? Why did the musicians who were about to drown on the Titanic think it would be a good time to sit down and play music? Why do people who are in the process of dying often need music? Why do people who are falling in love almost always have music? The answer to all of these questions is the same. This list of questions encompasses intense experiences, some of the most intense experiences we can imagine. When we are at the end of our lives and we are desperately hanging on to whatever

UT ARLINGTON

Summer

Music

2013

Camps Band Camps Concert Band Camp For Grades 7-12

June 16 – 20

Marching Band Camp Drum Major, Colorguard, and Leadership

June 23 – 27

String and Choir Camps All-State Choir Camp July 28 – 31

Summer Strings July 14 – 19

Texas Cello Academy July 28 – August 2

For more information, visit

www.uta.edu/music/camps or call 817-272-3471

We are SUMMER CAMPS Middle and High School Flute Camp June 17-21

In the photo: Senior music education major Johanna Reynolds assists a student during last year’s Middle School Band Camp. To find out more about our summer camping opportunities, visit http:music.utsa.edu/camps.

Tuition: $200; Housing $240 $40 discount for returning campers kristin.hayes@utsa.edu 931.260.3924

Middle School Band Camp June 24-28 Tuition: $299 cynthia.solis@utsa.edu 210.458.5685

All-State Choir Camp June 30 - July 3

Bachelors Degrees Composition Music Education Music Marketing Performance

Tuition: $295 by June 10 $70 discount for All-State members choircamp@utsa.edu 210.458.4354

Bachelor of Arts

Summer Music Institute for Piano & Strings July 8-13

Masters Degrees Conducting Music Education Performance Piano Pedagogy & Performance Vocal Pedagogy & Performance

We Are UTSA

ÂŽ

The University of Texas at San Antonio Department of Music

Tution: $360 (not incl. lunch) Housing $235 kasandra.keeling@utsa.edu stephanie.westney@utsa.edu 210.458.4354 facebook.com/UTSAMusic (210) 458-4354 http://music.utsa.edu

holding the lives of the people you carry with your practice. The reason you keep going, even if you don’t have enough equipment or enough money or enough staff or even enough appreciation, is the same reason that doctors went to Haiti during that earthquake. Even though in many cases there was no sterile water, no anesthesia, not enough supplies, no nurses, no equipment; and even though they couldn’t possibly help everyone, they still went. Why? Because they knew people would die if

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people through the mechanism we use to provide food stamps and baby formula. It’s part of what they consider welfare. It keeps people alive. They realize that music carries life. You might teach music in a program that is seriously underfunded in some way; you might be involved in some kind of musical activity where you donate your time; or you might experience some combination of being underfunded and unappreciated. If you are a musician, if you carry musical practice in any way, you are

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is left, we hang on with music. In some very real way, because music forms the containers that carry our experiences, our lives depend on music. Without music, we lose life; we lose the capacity to engage in and retain our experience meaningfully. I have a great friend who is the former marketing director at the conservatory where I teach. Karen was always begging me to lighten up a little. She’d hear me do a welcome speech to the parents of incoming freshmen and she’d come running after me, wringing her hands, saying, “Karl, look, I left you alone with the parents for 20 minutes, and you covered 9/11, earthquake, drowning, and stroke! Aren’t there any fun parts to being a musician? Isn’t there anything light you could talk about?� Of course there is fun and lightness in music. That’s the primary thing that attracted many of us to it in the first place. However, I feel some obligation to speak up about the life-and-death part of music. Most people already get that music can be fun and entertaining. But music can also be deep, lifesaving, and essential, and I feel a responsibility to that. If people think that music is just about fun and lightness, they start to think it’s something we can do without. But we can’t. We die without music. We must have it. It’s like saying, “I find oxygen so refreshing. Don’t you?� I suppose that’s true; it is refreshing to breathe oxygen. But it’s not the whole truth. Cutting off someone’s oxygen supply doesn’t result in a state of under-refreshment; that’s dishonest. And so it is with music. It’s so important that we’re clear about this in our minds and clear and direct with others about it, because if we’re not, people go around cutting public school music programs thinking, “Yes, well, I know, I’m sorry, I guess our kids will just be a little bit less refreshed.� Many of you are familiar with the Venezuelan music program El Sistema that uses musical training and placement in classical orchestras as a way to rescue young children. This one music program has made such an impact on Venezuela that the government has committed to the idea that by 2015, every single child in Venezuela should have access to it. El Sistema is primarily funded by the government not as arts funding, but as a social services program. They provide music to

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Southwestern Musician | April 2013 27

they didn’t—those same people who were singing to make it through the first night would die if they didn’t go in and try to help them. Doctors are very aware that their work carries life. Musicians are not always aware; sometimes we need to be reminded. The people who brought music to those kids in Venezuela ran into burning buildings to get those kids out. Those kids were in the grip of organized gangs, drug dealers, and hardened criminals. Some of those kids would have died if musicians had not gone in for them and brought them music to help carry them. Most of you knew all of this before I articulated it. It’s the reason you’re still here. I’m saying it to you today because we need to hang on to it. Understanding why we do what we do is critical. We need to remember this individually and we need to remind each other of it when we forget. Of course we have to be advocates for adequate funding, staff, and equipment to do the job, but the first thing we have to do is help people understand what we’re doing, how music works. When someone fundamentally misunderstands what you do with your life, please stop them and set them straight. If someone thinks you’re teaching kids music to raise their math scores, to entertain them, or to keep them out of trouble for an hour, find some way to gently help

that person wake up. Hard as your jobs are, you may find it much easier to teach little kids how we make music than to teach grownups why we make music. But the most important thing I have to say to you today is this: If you saw someone working where they were not appreciated, where no one really understood what they did or how hard they worked, how hard they trained to get the job, where they don’t have adequate equipment or budget or staff to really do the job, you might ask why they haven’t had the common sense to walk away for something better. And if you didn’t know any better, it might be easy to mistake such a person for a loser or a fool—on some level, someone who has made an unwise choice about what to do in life. But the doctors in Haiti who worked without adequate supplies or staff, or firefighters who rush into a building where they can’t get everyone out in time because they don’t have enough equipment—these are not losers or fools; these are heroes. These are people who go into an impossible task because they realize people will die if they don’t go in and do what they can do. They understand that, because of the nature of their practice, they carry lives in their hands. When young people ask me if they should choose music as a career, I ask them what else they would choose if they

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couldn’t do music. If they name something, I tell them to do that, whatever it is. The only people who should go into music are people who have no other good second choice. Why? Because like being a parent or a firefighter, to do it well, you have to be willing to give up your life to do music. I’m not being dramatic; many of you already understand this. In some real sense you gave up your life to serve something bigger than yourself. The good news is that when we choose to serve something beyond self, something that demands and consumes all we have to give, we experience a sense of meaning, fulfillment, satisfaction, and joy from our work that people in many other vocations cannot even begin to imagine. This is numinous experience. And as you look upon your colleagues, your teachers, and your students, look upon heroes, people who have devoted themselves to enhancing—in some cases saving—the lives of others. See each other. Recognize each other. And when you go back to the communities from which you came, you will go back to people who are in the process of living and dying, falling in love, marrying, graduating, growing up, growing old—people in every stage and age of life, all of whom will be more alive if they have music. Go find the people who need you to play, write, sing, and teach music so they can be well, and go save their lives. Don’t wait for them to appreciate you— they don’t even know they need you. They have no idea. I see you. I recognize you as heroes, people who on some level have given their lives for the lives of others, people who serve something bigger than any of us, bigger than all of us, and I thank you for carrying our children, for carrying humanity and for carrying music. This article is a condensed version of Karl Paulnack’s keynote address delivered at the 2013 TMEA Clinic/Convention. Video of the full address is available at www.tmea.org/2013keynote. Paulnack is the Director of the Boston Conservatory’s Music Division and has recently accepted the position as Dean of the School of Music at Ithaca College.

Thank you, teachers Listening The World is

music.utexas.edu

2013 TMEA Clinic/Convention

30 Southwestern Musician | April 2013

more images on page 44

Southwestern Musician | April 2013 31

ORCHESTRA NOTES IN MEMORIAM Geraldine Seastrunk Kidwell December 12, 1933–March 9, 2013

IMPORTANT DATES April/May—Attend your spring Region meeting (see page 2 for details). April–June 1—Submit clinic proposals online for the 2014 TMEA convention. May–June—Renew your TMEA membership. May 1—HS Full, JH/MS Full, and JH/MS String Honor Orchestra Part A online submission deadline. May 1—Texas Music Scholar application materials postmark deadline. June 1—Postmark deadline for requests for waivers to the audition process to the State Orchestra Chair. June 1—Postmark deadline for HS and JH/MS Full, and JH/MS String Honor Orchestra CDs and other entry materials. June 22—First round of Honor Orchestra judging (HS and MS/JH Full, MS/JH String). June 30—All TMEA memberships expire. July 21–24—TODA Convention in San Antonio. Aug 1—Deadline for waivers to the audition process to be received at TMEA headquarters. September 15—HS String Honor Orchestra online entries due.

32 Southwestern Musician | April 2013

Growth: a return on investment B Y

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hen is the last time you intentionally put yourself in a risky situation? I am not speaking of walking down a dark alley or jumping out of an airplane. When is the last time you stepped out of your comfort zone and accepted a challenge for which the outcome was uncertain? Personal and professional growth cannot happen unless you are willing to take a leap and risk a crash landing. Part of my journey as a young musician growing up on the High Plains was my exposure to teachers who were leaders in our industry. My first introductions to Royce Coatney and Kathy Fishburn came as a 16-year-old All-State cellist when they spoke to the attending students at the 1990 TMEA Clinic/ Convention. While I was merely one face in the big crowd, I remember them well. Their leadership, and that of many others like them, had an impact on me personally. Their investment of time and talent allowed me the opportunity to participate in something called All-State, and that experience changed my life. As I decided to enter this field, I wanted to do for others what had been done for me. The problem was I really didn’t have a clue how to do so. Following the example set for me, my first venture into risk taking was to run for President of the North Texas Student Music Educators in college at UNT. I was elected and served, and I had no idea what I was doing. I had to speak publicly and organize events, and I can’t say I was good at either. I excelled at being scared, but I never gave up. While I didn’t feel great about the job I did as President, I learned as much from that experience as anything else

Progress always involves risks. You can’t steal VHFRQG EDVH DQG NHHS \RXU IRRW RQ ÀUVW —Frederick Wilcox

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I did in college. I had some successes and many breakthroughs. The most important lesson learned was that I could do it, even when terror gripped my mind. I eventually honed the skills needed to feel successful in these sorts of endeavors and my volunteer experiences since those early days have been the most rewarding of my career. I have been leaping off the high dive with my eyes closed ever since even though I still sometimes crash land! The point is that we need to take chances and get uncomfortable from time to time. Stretch yourself beyond what you think you are capable. Whether it’s incorporating a new piece of technology in the classroom, stretching yourself musically, volunteering to host a contest, or running for a leadership position, find ways to challenge yourself in new and fresh ways. You may stumble and fall, but you most likely will succeed in stunning fashion. Speaking of volunteering, we also have a responsibility in our field to get involved with the organizations that provide such outstanding leadership and opportunities for our students. Every student we teach is affected by the work of TMEA, TODA, UIL, and TMAA. It’s easy to be apathetic and take for granted the embarrassment of riches we have in Texas with the work of such outstanding state organizations. Go to your Region meeting, attend the winter and summer conventions, go to a division meeting, attend a general session, host a contest or region weekend, run for

a region office, or run for a state board. Getting involved requires sacrifice and may take us out of our comfort zones, but just as those before us have served our division, our students need each of us to invest in our great cause beyond the classroom. If you are looking for a fresh challenge, this is an excellent place to start! The only way that we can live, is if we grow. The only way that we can grow is if we change. The only way that we can change is if we learn. The only way we can learn is if we are exposed. And the only way that we can become exposed is if we throw ourselves out into the open. Do it. Throw yourself. —C. JoyBell C. Convention Wrap A Texas-sized congratulations goes to Lisa McCutchan for wrapping up a superb tenure as our Orchestra Division VicePresident! The quality of this past convention is further evidence of the strength of her leadership. Thanks also go to the many members who volunteered to help make this convention a success. Once again, our Honor Orchestras and AllState Orchestras demonstrated the high level of teaching and talent in this great state. Looking to Next Year Another great opportunity to challenge yourself is by applying to present a clinic at the 2014 TMEA Clinic/Convention. The wealth of knowledge and experience

throughout our state is incredible, and even if you’ve never considered it before, think about taking advantage of the opportunity to share what you know. Look at this year’s convention topics and more and think about what you do well that could help others in our profession. Apply April 1–June 1 at www.tmea.org. Help ensure we have a wealth of informative clinic proposals from which to select the best for our members. Let’s keep making every convention better than the last! Honor Orchestra May 1 is the online entry deadline for HS Full, JH/MS Full, and JH/MS String Honor Orchestras. The rules for Honor Orchestra competition are under the Orchestra Division menu of the TMEA website, www.tmea.org. Visit the website to ensure you are following all rules. Orchestra Division Meeting Minutes Thursday, February 14, 2013 Convention Center Room 206 San Antonio, Texas Lisa McCutchan, TMEA Orchestra Vice-President, Presiding The meeting was called to order at 12:30 P.M. Lisa McCutchan welcomed the membership and thanked them for attending the meeting. The minutes from February 2012 were unanimously approved. In old business, McCutchan reviewed the rules regarding the listening rounds for All-State. • All students were heard. • The Review Committee determined that the membership found the current system acceptable and that we will keep the recorded auditions. In new business, support speeches were given for TMEA President-Elect: • Desiree Overree spoke for Michele Hobizal. • Bryan Buffaloe spoke for Janwin Overstreet-Goode Craig Needham was elected the new TMEA Orchestra Division VicePresident by acclamation. Members who have been of service to TMEA were recognized and thanked. There being no further business the meeting was adjourned at 1 P.M. Respectfully submitted by Jane McCormick.

34 Southwestern Musician | April 2013

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his year the TMEA Executive Board awarded almost $150,000 in scholarship funds to high school and college students who will pursue degrees in music education at Texas institutions. The top four scholarship winners were presented their awards before the TMEA membership during the First General Session Thursday, February 14, in San Antonio. With numerous highly qualified applicants, these four high school students represent the product of excellence in music education in our state. Each of them describes well how they have been greatly influenced by the knowledge, devotion, and passion of their music educators. As we enter the final stages of another school year, take a moment to read the words of these young music students who are only at the beginning of what we can hope will be a lifelong love and participation in music. You might recognize your beginnings in their words, and hopefully you will be reinvigorated to offer the kind of inspiration and guidance they describe to your students as they continue their musical journey. Congratulations go to these and all scholarship award winners (see page 43 for a listing), and thanks go to the TMEA members and licensed vendors who give generously every year to make our scholarships possible. When you renew your membership for next year, consider increasing your contribution—even by just a few dollars— to help make it possible for more Texas music education students to pursue their passion for music.

The trust I have in my director, his passion and love for making music, and my realization that regardless of our differences, we can all come together and make beautiful music led me to decide I wanted to be a music teacher. Sharing the Passion of Music by James Willbanks Since I was a fifth grader, I’ve known teaching was something I was cut out to do. Even though I knew I wanted to teach, I didn’t know what I wanted to teach. I thought about being a fifth grade classroom teacher, but then I would be dealing with the same set of students throughout the day. Fifth grade year ended with me not knowing what I wanted to teach. After fifth grade, I was in a new grade, a new school, and a new class—band. As I sat in my chair listening to the band director speak about the various instruments and how to make sounds on each, my excitement for the year grew. I wanted to play trumpet, so the director observed me as I tried out the mouthpiece. With his expertise, he told me that I might not excel as a trumpet player. He suggested I try low brass, and I did do better. He knew the characteristics that best suited each instrument and how to match each student to a specific instrument to give that student the best chance to succeed. After this initial instrument testing, my desire to play continued to grow. The band director knew what he was doing and knew how to explain the concepts so my young mind could comprehend them. His passion for what he did was inspiring.

If he didn’t have that passion, I honestly do not think I would be at my present level of playing. He is the reason why I want to become a music educator. I want to help students find the drive, motivation, passion, and encouragement to grow while playing the instrument best suited for them. I want to help students learn the art of making music and how to have fun doing it. While there are many good band programs in Texas, others are failing or getting cut entirely from the school budget. My current band director lost his job from a previous school because they could not afford to keep the band program. He was disappointed because the students worked so hard to improve, and now there was no outlet for them to continue improving and playing music. Making music offers an outlet for the student to express emotions that they may otherwise be unable to express. I am committed to helping students reach the highest level of playing they can achieve as well as helping them play music—real music—not just notes on a page. After graduating from college, I hope to become the head director of either a 2A or 3A high school. I want to create a strong program that will serve as a model for others. I want directors to come to Southwestern Musician | April 2013 37

me and ask me how I have such a strong program. I want students to have memories that last a lifetime from being in the band program I directed. I want students to truly enjoy the many years they are in band. The Final Note by Daniel W. Smith For the longest time in junior high, I wondered why our director chose his profession. He would get so aggravated with some students for talking during class or not singing correctly. Those students got on my nerves as well, but I looked past it because I enjoyed singing too much to let them really affect me. Then the night of our fall concert finally came around. We sang through our first song with the stage lights blacking out everything except our director. As he released the final note and the audience applauded, I got the answer to my question. The look of pure joy on his face showed that our performance by far outweighed the challenges and work it took to get there. Each one of us saw this radiating from him as he acknowledged the choir, then the pianist. That night

I realized what I wanted to grow up to be—a choir director. The music we sang that night ceased to simply be ink on wrinkled paper; it became something that connected us all and created a feeling to which nothing can be compared. From that night on, our choir was somehow different. We had more respect for our director, and although some students still acted up at times, we knew when to be serious. Music alone can certainly be powerful, but when a person uses their voice to create music, they are pouring out their soul for the listener. This is what made our director so happy, and it’s what made me decide what I want to do with my life. Being a choral director has been my dream for many years now. First, because I enjoy every aspect of music: learning new music, new techniques, new styles, improving myself, rehearsing—all of it. It never grows tiring. I have also had two directors who have made a large impact on me throughout my years in choir— Chris Truitt and Barry Talley. They are able to teach and direct in a way that engages us, challenges us to better our-

selves, shows us that they genuinely care about us, and helps us have fun in the process. These men have taught me what music is really about and molded me into the musician I am today. I can only hope that I may someday be in their position, molding and inspiring a love for music in students. My director was able to look past those rowdy students for the same reason I did—his love of music. It is this passion that inspires minds and lights a fire in people not only to view music as something to listen to, but as a means for expressing emotion and connecting with others in a way that spoken words cannot. I believe the fire lit in me is one that should be shared because I want future students to have this same love and understanding of music. If there is some way I can help develop that love I will, and I know I’ll enjoy doing it in the process. Even seven years after the night of that eye-opening fall concert, every time the curtain goes up for my choir, I anticipate that beaming look of pride I know will be on my director’s face as he releases the final note.

Southwestern Musician | April 2013 39

discover the Reserve story at

Music Brings Us Together by Jordan Jenkins My high school director, Joe Weir, always told me that one day I would be a choir director. Until the end of my sophomore year, I never understood why or how he could say that. I have always known I love choir, but I couldn’t see myself as a director, putting up with kids yelling, kids who had no desire to be in class, or kids who had no passion for music at all. But then one day, it all fell into place. We were working on our UIL contest music, and we finished rehearsal singing “The Seal Lullaby” by Eric Whitacre. We sang through the piece, and at the end there was complete silence in the room for a few seconds. It was the best run through we had done yet. The realization that 50 kids, all from different backgrounds, with different goals, and different lifestyles, had all brought their voices together to make beautiful music completely astonished me. From that moment, I knew that no matter where life took me, music would always be a part of it. I joined choir in the sixth grade. I didn’t realize it until years later, but joining choir that year was the best decision I have made in my life; it created who I am today. The summer going into my freshman year of high school, I performed in the TCDA Honor Choir. While I was there I met Kenneth Tice, who would be my freshman choir director. He immediately made me feel comfortable with the high school choir program, and I knew I would enjoy learning under his direction. Mr. Tice was the first source of inspiration for my love for choir. He pushed me to learn the All-State music my freshman year, even though I had no idea what was going on. Because of him, I advanced to the PreArea round, where I became an alternate, which only motivated me to work harder the next year. My sophomore year, I was a member of the A Cappella Choir and the Madrigal Singers, the two top choirs at my high school. Under the direction of Mr. Weir, I learned that to be a good teacher, you must first be a mentor to your students and someone around whom they feel comfortable. It was the combination of the trust I have in my director, his passion and love for making music, and my realization that regardless of our differences we can all come together and make beautiful music that led me to decide I wanted to be a music teacher. I want to

inspire students the way Mr. Tice and Mr. Weir have inspired me. Music brings out a part of the soul that nothing else can; it’s an expression of who we are. In the fall of 2013, I plan on attending a Texas university where I will major in music education. My goal is to become an elementary school music teacher and work to inspire students at a young age to value the importance of music. Hopefully, I can become a Mr. Tice or a Mr. Weir to them so that the importance for music and music education does not die in our school systems, but continues to inspire others. My Life’s Ambition by Ryan Rogers “Think of others first” are words my parents taught me to live by long ago. As I’ve grown, there have been many opportunities for me to help others—opportunities that have given me tremendous satisfaction. To continue helping others as a music teacher seems like a natural progression for me. My interest in music started when I began taking piano lessons at the age of

three. Now, I cannot imagine my life without music! As a middle school band percussionist, I was awarded Band Boy of the Year and the Director’s Award. I now volunteer at that middle school as a percussion sectional teacher for the Honors Band. I believe it’s important to give back to my community, and I am honored to do so. I have taught guitar and piano lessons to younger children, and I understand how much work goes into planning meaningful lessons. I have been a pianist for nearly fifteen years and have played competitively for seven. As a sophomore I was encouraged to join the high school choir. I was selected to participate in the All-State Men’s Choir in my junior year, and I have since become a member of two professional choirs. My passion for music is reflected in both piano and voice. Currently, I am the student director for my high school choir, and I also tutor students in music theory as a student aide for my choir director. Our choir’s annual pop show has enabled me to grow as well. I have performed as a singer, accompanist, and studio musician in creating instrumentals for

Southwestern Musician | April 2013 41

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numerous acts. Working with the organizing and scheduling of acts as well as the technical crew has given me opportunities to gain field experience. I am excited at the prospect of sharing my knowledge with students in whom I can spark creativity and observe as they take the ball and run with it. My choir director, Ms. Sherrill, has been a remarkable role model for me and I feel fortunate that she has inspired me to become a music educator. My short-term goal is to earn a bachelor of music degree in music education with a piano concentration. I intend to pursue a position at the high school level as a choir director. It is not only important to me that I study hard to be the best teacher I can be. I also want to make a difference in each student I have the privilege of teaching. Music is a gift to be shared with others. I have a global view of music and respect all genres. Music is a universal language and I intend to speak it to all who will listen. I am currently involved in numerous performing ensembles outside of school as well, and these opportunities have also helped shape my view of what it means to be a music educator. Almost all of the choir members are teachers from various San Antonio area school districts, and many of the symphony members teach private lessons. I believe it is important to be involved within the community of musicians to grow as a professional. I truly enjoy the camaraderie in these groups and learn much about their experiences in the teaching field. In addition, my private instructors and music directors have each provided unique opportunities that have enabled me to synthesize ideas from a broad spectrum of musical experiences. My long-term aspiration is to teach piano at the university level. I intend to earn a master’s and a doctoral degree to pursue this career. In the future, I plan to make this dream a reality as I have with all of my endeavors. Each day my commitment to excellence in all that I do will be reflected in the meaningful relationships I build with colleagues and students whose lives I have yet to touch.

Top scholarship winners Ryan Rogers, James Willbanks, Daniel Smith, and Jordan Jenkins

Congratulations TMEA Scholarship Winners TMEA has awarded almost $150,000 in scholarship funds for students who will be working toward careers in music education or furthering their current career with additional studies.

Five-Year Undergraduate Bill Cormack—up to $15,000 Ryan Rogers, Judson HS

Past-Presidents—up to $12,500 Daniel Smith, Deer Park HS

Past-Presidents Memorial—up to $12,500 Jordan Jenkins, Atascocita HS

Executive Board—up to $12,500 James Willbanks, Schulenburg ISD

One-Year Undergraduate —$2,500

Adriana Arango, Edinburg North HS Jacob Cortez, Sandra Day O’Connor HS Dakota Crespo, Langham Creek HS Althea Garcia, Valley View HS Adonnis Hernandez, Gladys Porter HS Ellen Kidwell, Sandra Day O’Connor HS Alexandra Kilcoyne, Tomball HS Andrew Moser, Homer Hanna HS James Nechamkin, Wylie HS Alyssa Reeves, Whitewright HS Emily Rubio, John Paul Stevens HS Allison Speziale, Captain John L. Chapin HS

College Division One-Year Undergraduate—$2,500 Hunter Avant, Texas Christian Univ Ann Avary, Texas Tech Univ Chelsea Berner, Baylor Univ Levi Duncan, Lamar Univ Gilbert Garza, Texas State Univ

Cynthia Juarez, UT/Permian Basin Andrew Reinhart, Texas Tech Univ Shelby Sharp, Southern Methodist Univ Brian Taylor, UT/Austin Jacquelyn Vaught, Texas A&M/Corpus Christi Samantha Wilde, Texas Tech Univ Jonathon Williamson, Baylor Univ

One-Semester Student Teaching—$2,000 Lindsay Abbot, Texas Tech Univ Melissa Berger, Texas Tech Univ Brett Blackstone, Texas Tech Univ Hannah Colvin, Sam Houston State Univ Hannah Daniel, Sam Houston State Univ Cailin Flaherty, Texas Tech Univ Stacie Glowka, Southwestern Univ Nate Hutcherson, Baylor Univ Aaron Jones, Dallas Baptist Univ Shane Kealy, Texas Tech Univ Heather Lemieux, Sam Houston State Univ Kara Ortiz, Univ of North Texas Christine Phares, Lamar Univ Laura Potter, Texas Tech Univ Angie Rosenblatt, Univ of North Texas Laura Wiedenfeld, Southern Methodist Univ

One-Year Graduate Study—$2,500 Alicia Arruda, Thurgood Marshall ES Catherine Benford, Sam Houston State Univ Louie Blancarte, Briesemeister MS Matthew Coffey, Univ of Houston Brian Murray, Creekview HS Lauren Padilla, Highland Park MS Allison Tucker, Kings College London Southwestern Musician | April 2013 43

2013 TMEA Clinic/Convention

44 Southwestern Musician | April 2013

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Southwestern Musician | April 2013 45

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Superheroes B Y

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efore offering anything else in this first column of mine, I must convey overdue thanks to the superheroes of the TMEA Clinic/Convention! We all benefit greatly from those who work throughout their entire year to ensure this is our convention. Thanks go to the Executive Board, our Vocal Vice-President, and the countless others who so freely and willingly gave of their time to ensure the success of another great convention. Our kudos and congratulations go to each of you for an incredible job! On the Sunday morning of the convention, I sat in my first Executive Board meeting excited and terrified; I looked around the table at the superheroes who made it all happen. They were exhausted, depleted of energy, brain-fried from overseeing the convention for over 24,000 in attendance. Yet, there they were already excited and sharing ideas for the next convention. Robert Floyd updated us about TMEA’s continuing fight during this legislative session for the future of music education. We can easily take for granted the leadership who never has an end to the convention or to the other work they do for us. They are working year-round for us. I am humbled by their passion, their commitment, their constant searching for ways to make sure every voice is heard, every instrument is played, every teacher is taken care of, every aspect of the power of music is nurtured and strengthened. Later that same Sunday at 10:30 P.M., I texted Janwin Overstreet-Goode (outgoing Vocal Vice-President and TMEA President-Elect) with a topic that could have waited until the next day. To my surprise, she texted me right back—she was up doing laundry after coming home from overseeing every aspect of the

A hero is someone who has given his or her life to something bigger than oneself. —Joseph Campbell

VOCAL NOTES IN MEMORIAM Imogene White Holmes July 26, 1927–March 3, 2013

IMPORTANT DATES April–May—Attend your spring Region meeting (see page 2 for details). April 1–June 1—Submit clinic proposals online for the 2014 TMEA convention. May–June—Renew your TMEA membership online. May 1—Texas Music Scholar nomination materials postmark deadline. May 1—Postmark deadline for 2014 TMEA Convention Performing Choir application and CD. June 30—All TMEA memberships expire. July 21–24—TCDA Convention in San Antonio. Aug 1—Deadline for waivers to the audition process to be received at TMEA headquarters. February 12–15, 2014—TMEA Clinic/ Convention.

Southwestern Musician | April 2013 47

Vocal Division convention program, participating in the Executive Board meeting, driving home to a musical dress rehearsal, and then making sure she had some clean clothes for the following school week— what a Wonder Woman! This story is your story. You are a superhero. You all have this same schedule. You work tirelessly because you know it’s for your students. Whether you are a choir director, band director, orchestra director, elementary music specialist, college professor, or private lesson instructor, we all tell the same tale. Our stories are the same stories. Our goals are the same goals. Can you imagine what we could all do if we truly became each other’s allies? What an incredible force we could be if we unified our voices—putting aside personal differences and battles—and merged our superhero powers to become one voice, one ideal, one necessity. The possibilities, the awareness, the re-education, the potential funding could truly be a force to be reckoned with. Stay involved with your local and state government. Continue to promote your music programs and projects. If we, as music professionals, don’t stay current with the state’s mandates on the future of music education in our schools, how can we explain to our administrators, our parents, and our students the importance of its power and the absolute necessity of its inclusion in the basic education of every child? Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul. —Plato, The Republic, Book III April is upon us. This means that some of us are finished with UIL Concert &

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Sightreading Contest while others are still in the throes of perfecting that final chord or polishing sightreading skills, others are preparing for spring concerts and auditions, musicals, pop shows, graduation, and more. As the end of the year starts to flirt with you, make sure you are planning for some time of rest and mental recharge during the summer hiatus. What will you do for you in the coming months? How will you be a better teacher when next year’s students are lucky enough to enter your choir room? What are some things that you would like to do better? Who have you thanked? Who have you mentored? Who have you asked for help? What super powers will you hone? Region Meetings Remember to attend your spring Region meeting. It is important to take the time to stay informed and be a part of this important segment of your professional life. See page 2 for the schedule. It’s Not Too Early As you look through this issue and ref lect on how incredible this year’s convention was, take a moment to consider how you could help us host another successful convention in 2014. From April 1 through June 1, you can apply at www.tmea.org to present a clinic at the 2014 Clinic/Convention. We had so many successful clinics offered this year by members like you. It’s so encouraging to learn from a colleague who is another TMEA member. So take a moment and think about how you could offer your experience and expertise to benefit other members in our division. Each member in our division is in a different place in their career, so while you might be very familiar with a particular concept or method, sharing that information at our convention can still be of great benefit to colleagues across the state.

Vocal Division Business Meeting Thursday, February 14, 2013 11:00 A.M. Ballroom A Janwin Overstreet-Goode, presiding The TMEA Vocal Division Business meeting was called to order at 11 A.M. by Vocal Division Vice-President Janwin Overstreet-Goode. The minutes were approved as presented in SOUTHWESTERN MUSICIAN. She reported that the TMEA Executive Board recognized the needs of the small school choirs based on the study of data and a committee has been charged to make a report to the Board by June 2013. Hasty decisions will not be made, and there are many details to consider. The membership will be advised, through the Region Chairs, when a proposal has been approved. The membership heard support speeches for the position of TMEA President-Elect. Shawn Bell spoke on behalf of Michele Hobizal and Jo Scurlock-Dillard spoke on behalf of Janwin Overstreet-Goode. There was a call for nominations from the floor for Vocal Division VicePresident. There were none and Dinah Menger was elected by acclamation. Area Chairs received thanks and recognition for their service over the last two years. Vocal Division convention personnel were recognized for their work during the convention. The following people were remembered in a moment of silence: Mike Brock, Joan Davis, Ken Steele. Jeff Rice, TCDA President, held a brief meeting. Barry Talley led the division in singing “The Lord Bless You and Keep You.” The membership was encouraged to be present at the Friday General Meeting to vote, and the meeting was adjourned. Respectfully submitted by Dorothy Wilson, TMEA Region 23 Vocal Chair.

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Editor’s Note: During the 2013 TMEA Clinic/Convention, numerous clinicians presented a myriad of ways that technology can help us improve instructional delivery. Yet for many, using technology remains a daunting proposition. If you haven’t had the time, opportunity, patience, or motivation to find ways to make technology work for you, this article will be a reminder of how you can successfully press the restart button on your plans to do more with technology for the benefit of all students. B

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our computer is loaded with a variety of applications that you have good intentions of using, even though it’s been three years since you loaded them. You’ve read and saved articles about the simple things that music technologists say you can do with your music software, complete with step-by-step instructions you are certain you will be able to follow someday. But, when you finally set aside an hour to complete that five-minute tutorial you’ve been hoping will change your life forever, it turns into two hours on the computer trying to figure out how to plug what in where and you struggle just to get the application to launch. When it finally does launch, you’re confronted with a quick start page displaying options you’ve never even heard of or seen before. The article you saved has failed to cover any of this, so you wad it up and throw it in the trash and click _ to quit the application (this being the step with which you’re most familiar).

You Are Not Alone Before you conclude that music technology is just not for you, consider the fact that music technologists often struggle with technology, too. “Even after more than 30 years of using computers, I still struggle when I am learning new applications,” claims Tom Rudolph, one of today’s established leaders in music technology. Floyd Richmond, also a music education and technology specialist, admits that “some things come naturally, and some 52 Southwestern Musician | April 2013

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things are a struggle.” And Stefani Langol, Associate Professor of Music Education at Berklee College of Music explains, “Some technology came naturally and some had a bit of a learning curve.” So, relax and give yourself a break—even veteran music technologists have challenges that are not much different from yours. As an emerging music technologist myself, I am willing to confess that if there were such a thing as a “technology gene,” I did not have the fortune of inheriting it. If you met me now, you probably wouldn’t suspect that the situation I described before is a chapter straight from my life story. Even after completing two degrees and a certificate program in music, my struggle to come to grips with technology spanned an additional decade. So, how did I overcome my challenges and end up with a career in music technology? And what can you do to establish a positive relationship with technology after so much trial and error? Step One Having a genuine interest in using technology is the first, and probably the most important, step. If you’ve made it this far (and if you’ve taken the initiative to restart your computer since your last encounter), then you’ve at least passed the qualifying round. “One of the biggest things is your attitude toward technology,” explains Tom Rudolph. “If you’re required to use something that you don’t believe in, that’s the worst thing that can happen to a music teacher.” Stefani Langol agrees: “I find that the things I

struggle with are the things I’m not as interested in.” So, the next time you willingly devote yourself to an hour of technological torture for the sake of learning how to fill one empty bar with quarter notes because you want to, remember that

54 Southwestern Musician | April 2013

the music technology community believes in you, and carry on. Step Two The second step is learning the technology. If you’re anything like me, you

may have attempted to complete this step with the popular guess-and-click method, or perhaps you’ve put yourself on the extended self-education plan. Unfortunately, if either is the case, it is likely that your path toward technological greatness will end here. After trying and failing myself, what I’ve learned is that mastering technology is a lot like learning how to play a musical instrument. You need a qualified person to teach you. Watching YouTube videos, skimming through reference manuals, and reading how-to articles is not always sufficient. The good news is that a wide variety of quality resources are now available. Manufacturers such as Avid Technology have created specialized certification programs, designed to quickly develop proficiency with their products. (This also includes Sibelius training and certification, which Avid recently announced.) Private music technology training facilities like the Synthesis MIDI Workshop (www.midiworkshop.com) are also on the rise, offering a wide variety of classes to fit within your schedule and your budget. Professional organizations such as TI:ME (Technology Institute for Music

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Educators) are rebuilding and seeing a steady increase in membership and participation (www.ti-me.org). And online video training for music technology is at an all-time high, with companies like lynda.com at the forefront. With so many training options available, you will need to determine which is best for you. Group Training With experience as a technology student and instructor, I believe that group training yields the most remarkable and long-lasting results. First, it requires you to commit yourself to the task by signing up and paying in advance. Group training often requires traveling as well, which allows you to focus on your technology skills, distraction-free. When you work with an in-person instructor, you will receive immediate feedback—your questions will be answered, and your mistakes will be corrected. Training with other students gives you the opportunity to expand your professional network and provides you with an extended support system when you return home. Your employer is also more likely to release professional development funds if you

participate in formal classroom training, and many training facilities offer college credit for completing their coursework. Keep in mind, however, that if this type of training isn’t an option for you, any form of technology training outweighs the do-it-yourself-and-never-get-it-done method. What is important and what truly works is committing yourself to any form of quality instruction that is accessible to you. Step Three The final step in your technology endeavor is to practice and use what you’ve learned. This, of course, is easier said than done. Music technology author and teacher Barbara Freedman knows all too well that “it’s hard to change how you learned to do something and [how you] have been doing it for a while.” But, it is a necessary step, or your efforts will have been for nothing. So, throw out that 1980s cassette player, start using your audio sequencer to record your ensembles, and remember that the more you use technology, the easier it becomes. It is sort of like learning to play clarinet after mastering the saxophone. “I struggle less

with new technologies today,” says Floyd Richmond, “because I am more familiar with the kinds of problems I will encounter, and with strategies for solving them.” If you have a desire to master music technology but you believe your genetic makeup might be causing your computer screens to freeze, remember that you are not alone. You can establish a solid foundation for yourself, just like many of us have, with quality technology training. Watching online videos, reading technology-related articles, and attending clinics at conferences will then help you maintain and build on what you’ve learned. With discipline and practice, you will not only improve one skill but increase your knowledge of many others. And in time you’ll discover that a simple, enjoyable five-minute tutorial might actually change your life forever. TI:ME member Jennifer Amaya is a Professor of Music Industry Studies at Cal Poly Pomona, an Avid Master Instructor, and owner of The Commercial Music Lab (www.commercialmusiclab.com). Amaya offered technology clinics during the 2013 TMEA Clinic/Convention.

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tmea distinguished a dm inistr ator spotlight The TMEA Distinguished Administrator Award program is intended to recognize school administrators whose support has been critical to the many music program successes in schools across our state. In this Administrator Spotlight, we are featuring some of our latest recipients of this distinction as a reminder that TMEA continues to offer this recognition opportunity. To nominate your administrator, go to www.tmea.org/adminaward.

David Kendler, Principal James E. Taylor HS, Katy ISD Nominated by Christopher Bailey I cannot think of a more deserving individual to receive this award. David Kendler has proven time and time again that he believes in educating the whole student, with the understanding that an education in fine arts is a major component to that end. David has been an active contributor to the development of young musicians, both as our principal and as a patron. I am very proud to work in a district where the leadership believes in the mission I have in teaching kids through music. Every time I have gone to David in need of something, he finds a way to make it happen. More important than the things he does for fine arts at Taylor HS is what he expects. David has high expectations in all programs at THS. He understands that students work harder when they are successful. He maintains a very high level of expectation that our programs are successful in preparing students for future endeavors. I know this level of expectation makes me be a better band director and makes me want to work harder every day. James Dawson, Superintendent North Lamar ISD Nominated by North Lamar Fine Arts Department James Dawson has served Texas public schools for 47 years, with 26 years at North Lamar ISD in Paris, Texas. His support has established the tradition of excellence achieved by our fine arts programs. The middle and high school bands and choirs earn consistent UIL Sweepstakes awards, and the drama department has a long history of success at region, area, and state one-act play competition. The high school band has earned state honors in 3A state marching, TMEA Honor Band, as well as National Wind Band Honors. Even during difficult economic times, Mr. Dawson has worked to ensure proper funding for programs that benefit the students. Our middle school choir tripled in size and he approached our director personally to ask what she needed to accommodate those students. His litmus test for a request is always, “Does it benefit the students?” Through wise fiscal management, he protected the jobs of all staff members and adequate funding for fine arts when many districts were cutting programs and personnel. As an active member of many local organizations, he frequently recognizes our accomplishments, as well as in the local media, and throughout the community. He attends a majority of concerts, athletic events, and other school activities where students are involved, both locally and out of town. He sets a standard of

Nominate Your School Administr ator To date, TMEA has recognized over 100 administrators with the TMEA Distinguished Administrator Award. TMEA developed this program to offer members the opportunity to publicly recognize administrators who are especially supportive of music education. Several recipients of this award have commented on how valuable they view this achievement. With end-of-year programs and concerts approaching, take this opportunity to recognize an administrator who has been instrumental to the success of your program. Go to www.tmea.org/adminaward to nominate your administrator for this distinction. dedication that motivates the district staff to strive for the highest level of achievement in all areas. Pat O’Neill, Assistant Superintendent Socorro ISD Nominated by Nellie Ponikvar During his 38 years in education, Mr. Pat O’Neill has served the students, parents, and staff members in many capacities. He recently served as the district’s Interim Superintendent. Although he has no fine arts background, he understands the benefits of student involvement in these programs. Perhaps one of his greatest contributions was helping guide a task force that was charged with creating a plan to improve the accessibility and success of fine arts across all disciplines and at all grade levels. With his guidance the task force has created a viable, clear vision, which focuses on a long-lasting improvement path for all of the arts. Consequently, the program has seen an over 35% increase in student enrollment and success on the secondary level. He is instrumental in ensuring a viable elementary music program on all campuses and advocates for its expansion. During a time when budget cuts are forcing many districts to cut fine arts programs and positions, Mr. O’Neill protects teaching positions and funding for all of the various facets of fine arts. This loyalty to fine arts has allowed the district to continue to excel and remain one of the top fine arts programs in West Texas. Southwestern Musician | April 2013 61

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ELEMENTARY NOTES IN MEMORIAM DEANNA TILLER January 2, 1963–February 16, 2013

IMPORTANT DATES April–May—Attend your spring Region meeting (see page 2 for details). April 1–June 1—Submit clinic proposals online for the 2014 TMEA convention. May–June—Renew your TMEA membership online. June 15—Postmark deadline for 2014 TMEA Convention Performing Group application and CD or DVD. June 30—All TMEA memberships expire. July 21–24—TCDA Convention in San Antonio. February 12–15, 2014—TMEA Clinic/ Convention.

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or elementary music teachers, April is one of our busiest months. We are hurriedly preparing for Cinco de Mayo celebrations, citywide festivals, grade-level programs, school choir concerts, honor choir performances, Orffestra and recorder concerts, kindergarten and fifth-grade graduations, and other spontaneous performances when our principal brings us a special request. All year we have prepared for these end-of-year events, and we want everything to be as perfect as possible. Our choir students will be singing in their beautiful head-tone voices, our recorder students will be able to play every note in tune, and our instrumental ensembles will have mallet technique that would make Carl Orff proud! We’ve even managed to have the grade-level teachers volunteer to decorate the stage. Our concerts this year will be the best ever! There’s just one more attention to detail we need to address. Students are going to be performing in front of their parents! Now I would be willing to bet that some audience members have never been to an opera, symphony, or Broadway performance. Therefore they will need to be reminded that proper audience etiquette in a school music program is not the same as attending a sports game at an arena or a high school graduation in a pavilion. If you do not specifically plan to educate and prepare your audience to support an enjoyable time for everyone attending your concerts, then the unpredictable is much more likely to happen. You have likely experienced a concert (or a number of them) where audience behavior seemed to resemble that of a daycare center or the finals of a basketball tournament. To help you improve the overall concert experience, consider these proven methods for encouraging proper audience etiquette taken from experienced music teachers: 1. As you teach your students from the audience etiquette TEKS, ask them to remind their parents that small children under the age of 4 years should stay at home with a caretaker or be removed immediately from the audience if they start to get restless, talk out loud, or cry. 2. In a letter home describing the details of the concert, include an eyecatching statement to parents about audience etiquette regarding babies and

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small children. Suggest that family members take turns attending school concerts so that they don’t risk having to spend their entire time in the lobby or hallway as they quiet a noisy child. Remember that everything we write or say to parents needs to be very positive and respectful. 3. In the concert program, include an insert that lists ways to be a respectful audience member. Scott Edenfield from Jones Elementary includes in his programs a cute graphic and a list of simple ways to “Be an Angel.” 4. Before the performance begins, project onto a screen an audience etiquette slide show, in English and Spanish. Include points such as removing hats, turning off electronics, showing respect for other audience members, and more. (I learned this from Daryle Freeman, a high school choir director in our district.) 5. Just before the concert begins, announce a two-minute photo op— specify that this is the time during which parents may come to the front of the stage to take pictures.

6. Ask two performing students you have previously coached to introduce the concert. This will definitely get the audience’s attention. One student can introduce the concert in English and the other in Spanish. These students must be well prepared and extremely expressive when giving these introductions. After the students speak, they can introduce you as the music director. Then you can proceed, describing the theme of the concert, and more. 7. Ask classroom teachers (or in the case of district honor choirs ask assistant directors) to sit in strategic locations throughout the audience and politely direct parents of noisy children to the lobby during the concert. These teacher helpers can also gently remind parents not to take pictures and to turn off cell phones during the performance. 8. Don’t be too shy to wait between songs for parents with disruptive children to exit the auditorium. Just smile, stand to the side of your group and wait for a moment. If appropriate, thank the audience for their patience

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Woodwind Faculty Gary Whitman, clarinet Joseph Eckert, saxophone Charles Hall, bassoon Victoria Luperi, clarinet Kristen Queen Stewart Williams, oboe

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64 Southwestern Musician | April 2013

and cooperation. 9. If the performance of a piece is completely disrupted, perform the piece again in respect to the other audience members and to the students. This is especially true when one goal is to get an excellent recording of your group. 10. Finally, if your concert is performed in a state-of-the-art facility, investigate the possibility of providing a room where parents of young children can view the program via closed circuit television. Parents whose children might become disruptive can still attend the concert. If the closed circuit room becomes noisy, parents may decide that getting a babysitter next time is a good idea after all. Concerts can be magical and can also be the deciding point for an elementary student to make that all-important decision about whether or not to continue in music education in middle school, high school, and perhaps college. Zoltan Kodály said, “Often a single experience will open the young soul to music for a whole lifetime.” It is our responsibility to provide the best possible experience in our performances for both our students and their parents. Being mindful in planning and communications can help ensure appropriate audience behavior and will ultimately provide many rewarding moments for everyone involved. Apply to Perform at the 2014 TMEA Clinic/Convention The TMEA Clinic/Convention proved once again to inspire all of the teachers and administrators who attended. From the activity packed workshops to the unforgettable performing groups, this year’s convention was the boost of motivation we all so desperately needed. Michele Hobizal, TMEA staff members, Region Chairs, and many volunteers did a superb job of bringing us the very best that the convention has to offer. Bravo to all who made this year’s convention a success! Please consider volunteering in some capacity next year. Speaking of performing groups, for the 2014 convention we will continue to have categories for auditioned and non-auditioned school choirs, district or city honor choirs, and instrumental and Orff ensembles. The selection committee will be listening for choirs that perform with lovely

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head voices, proper diction, and excellent pitch matching. Instrumental ensembles should have outstanding technique, appropriate tempos, and accurate rhythms. The deadline to apply is June 15. Go to www.tmea.org/elementaryapplication to download an application. Submit your best CD/DVD from a concert or performance. You’ve worked diligently to develop your performing groups. Enter your choir or ensemble this year! Region Workshops For details about the following workshops, go to www.tmea.org/workshops: April 6—Regions 9, 10, 13, 17, 19, 23, and 27 present Cecile Johnson in Singing Games: Developing a Cooperative Spirit in Musical Play from 9 A.M. to 3:30 P.M. at Marcella Intermediate School in Houston. April 13—Regions 2, 3, and 24 present John Feierabend in A Day of Conversational Solfège in Lewisville. May 3—Region 4 presents Bradley Bonner in Playing Instruments and Developing Critical Thinking Skills in the Cross-Curricular Music Classroom at Sulphur Springs Elementary School in Sulphur Springs.

Spring Region Meetings Attend your spring Region meeting (see page 2 for details). To locate your Region go the Divisions/Regions menu on the TMEA website and choose Regions Æ Region Alignment. Many of our Elementary Region Chairs will present information about summer workshop and training dates and will offer end-ofyear teaching ideas, share sessions, and other exciting activities. Stay in the loop with the latest elementary music updates by attending your Region meeting! Elementary Business Meeting Minutes February 14, 6 P.M., Ballroom C1 Michele Hobizal, presiding Michele Hobizal, Elementary VicePresident called the meeting to order. Hobizal introduced guest speaker, John Jacobson who gave an inspiring presentation. The minutes from last year’s Elementary Division Business meeting were approved. Hobizal extended gratitude to Region Chairs, the reception committee, room assistants, invited choirs and ensembles, and past TMEA Elementary

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Vice-Presidents for their assistance in making this a successful 2013 TMEA Clinic/Convention. Hobizal thanked the 2013 exhibitors and the industry sponsors. Reception Committee members Brian Halverson, Karen Bryan, and Carol Sullivan were recognized for their tireless efforts in securing, collecting, and distributing door prizes for the Elementary Division meeting. With no nominations from the floor, a motion was made and seconded, and Colleen Riddle was named the 2013–2015 TMEA Elementary Vice-President and Division Chair. TCDA Elementary Vice-President Laura Rachita discussed the highlights of the upcoming TCDA convention July 27–30. Michele Hobizal asked members to consider nominating a fine arts administrator, superintendent, or principal for the TMEA Distinguished Administrator Award. Hobizal asked members to join the TMEA Elementary Music Teachers group in Edmodo. She thanked members for the opportunity to serve TMEA these past two years.

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s you receive this issue of SOUTHWESTERN MUSICIAN and read this column, the end of your academic year is probably on the horizon and the bulk of your 2012–13 instruction, activities, and performances are behind you. I hope your TMEA Clinic/Convention attendance and participation was once again a highlight. I’d like to take this opportunity to look back and recap convention activities and use that hindsight to “set the table,� if you will, for the TMEA College Division year to come.

Convention Acknowledgments It can never be stated enough how fortunate our membership is to have the small but highly qualified and efficient TMEA staff working year-round to ensure the success of our annual gathering; simply bravo to the entire staff! I do hope many of you had opportunity to attend one or more of the presentations of our two featured clinicians, Hal Abeles and Randy Kohlenberg. They were both delighted at the interest individuals showed in their topics. Remember that you can access their handouts and audio files of their presentations on the TMEA website. Go to the 2013 Convention Personal Schedule to download these files. If you didn’t purchase access to audio files, you can still do that at www.tmea.org/audiofiles. College Night, held in conjunction with the Texas Association of Music Schools, was shoulder-to-shoulder students, parents, directors, and siblings virtually the entire two hours. Thanks go to all of the college and university representatives who purchased exhibit space and closely followed all of the event’s specific guidelines. We took the chance this year of moving the College Research Poster Sessions to a more public and aesthetically pleasing venue. Responses I received were

COLLEGE NOTES IMPORTANT DATES April/May—Attend your spring Region meeting (see page 2 for details). April–June 1—Submit clinic proposals for the 2014 TMEA convention. May—Online TMEA membership renewal available. June 30—All TMEA memberships expire. October 11—College Division Fall Conference in Austin. February 12–15, 2014—TMEA Clinic/ Convention.

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overwhelmingly positive, with many veteran presenters indicating they spoke to a much larger and more varied audience than in the past regarding their work. Anything we can do to connect the work in research to our practitioners is always a step forward. Finally, four meetings were held to conduct the business of the College Division: the CTME Business Meeting, the CTME Sponsor and Officer Meeting, the Division Region Chairs Meeting, and the Division Business Meeting (minutes below). Each group met and provided beneficial insight into our opportunities to step forward as a division to better serve our membership. What’s Ahead for the College Division? As this is the April issue there is an interim period between the time of my composition and the printing of this publication. During that interim the Executive Board meets to discuss a wide variety of topics. Most of what follows will have been on the agenda of the Executive Board’s March meeting. With this still being the earliest opportunity to communicate these ideas in print, I hope you will find this information relevant. Keep in mind that there is still adequate opportunity for you to provide feedback to me for further discussion and dissemination of your thoughts and opinions at the Executive Board meeting in June. Business Meetings The Fall Conference will be held on Friday, October 11, at the TMEA offices in Austin. As logistics allow, it does appear to be advantageous to move our Division Business meeting held during the convention to Friday. Both of these gatherings take on added significance as we elect a new College Division Chair for the next term.

members to have multiple discussions with representatives in a less populated environment and concentrate more attention to the high school students’ needs at College Night. I will investigate the possible formation of a Two-Year College Committee within the College Division to more clearly represent that segment’s needs. Kathy Mayer, Region 12 Chair, from Northeast Lakeview College, has volunteered to take the lead on this endeavor. I am asking the TMEA Executive Board to explore the creation of a dedicated “Technology Track” of presentations at the annual convention (regardless of the involvement of the TI:ME organization). TI:ME technology sessions were well attended, and the location of those sessions to a specific sector of the convention hall would allow us to concentrate needed hardware to continually stay in step with the needs of our attendees. I will be charging each Region College Division Chair with the responsibility of identifying a reliable contact on the campus of each teacher certification granting institution of higher education within their TMEA Region. Then they will work with that contact to provide communication regarding recent graduates, their job placements, and the TMEA Mentoring Network. In addition, each Division Region Chair should work for adequate representation of their TMEA Region at the Fall Conference. Finally, we must all work to continue to raise awareness of the importance and benefit of TMEA to all college faculty members and students. More than ever TMEA can serve the college membership in representing the needs of music education in higher education to lawmakers in Austin. TMEA is without doubt the most economical, effective, and efficient professional organization to which all of us working to educate college students

in music should belong. The expectation should be that 100% of our college music school educators obtain membership every year in TMEA, our most valued organization. TMEA College Division Business Meeting Minutes Feb. 14, 2013 / 3:30 P.M. / CC 213 San Antonio, Texas Keith Dye, presiding The meeting was called to order at 3:30 P.M. with Keith Dye presiding. Attendees and special guests were welcomed. In old business there was an acknowledgment of activity stemming from the College Division Fall Conference held October 12, 2012, at the TMEA offices in Austin. The Chair again thanked all TMEA staff for their efforts in hosting the event. In committee reports, Nate Hutcherson, CTME Past-President, introduced the new and outgoing board members. The CTME office of PresidentElect for 2013–14 is vacant. Research Chair Robert Duke reported, on behalf of Poster Session Organizer Amy Simmons, that there were 44 posters accepted for the session. Members were also reminded of the growing Texas Music Education Research publication, accessible through the TMEA website. There was no report from the Keyboard Committee. It was stated that there were numerous keyboard-focused clinics scheduled during the 2013 convention. There were no concerns from the Region College Chairs. Dye noted they would be meeting as a unit on the following day. The Chair presented an overview of issues discussed at the recent Texas Association of Music Schools Conference. Dye, with Dr. Robert Henry, had the opportunity to present to this group in January. At that time they detailed

Items for the Future The following are important items and issues brought to my attention during the past convention for future consideration and discussion. I will research the possibility of the creation of a Graduate School Fair in addition to the current College Night event, which in turn would then become exclusively undergraduate focused. This could provide a great opportunity to all of our 6RXWKZHVWHUQ 0XVLFLDQ | $SULO 71

legislative issues potentially affecting higher education and relayed specific concerns from the TMEA Executive board. These concerns included: (1) seeking greater involvement from college programs in public school music education activities, (2) awareness of the need for vocal/choral activities that served the needs of Texas small schools, and (3) disbelief at how few college faculty members take advantage of TMEA membership when virtually all these faculty members work in preparation of music educators in some capacity and rely heavily on graduates of Texas music education programs for their students. Additionally, Dye reminded attendees of the work being done by TMEA and TMAC, under the guidance of Deputy Director Frank Coachman, in continuing development of a Cloud-based assessment tool for our individual students and the importance of making our current and future students aware of this process. Dye reported that 96 booths had been sold for College Night and reminded attendees to be adherent to the TAMS/

TMEA regulations regarding the event. Attendees were also specifically reminded of the upcoming sessions of featured presenters and the sessions associated with the annual TI:ME national conference being held concurrently with the TMEA convention. The chair invited those members providing support speeches for the candidates for the office of President-Elect. Caia McCullar spoke on behalf of Janwin Overstreet-Goode and Robin Stein spoke for Michele Hobizal. In new business, the Chair announced the tentative date for the 2013 Fall Conference will be Friday, October 11, 2013, in Austin, at the TMEA office. Suggestions for topics, presentations, and speakers were encouraged. The final announcement was an encapsulation of the CTME chapter sponsor meeting where it was suggested that the top priority be to improve communication between the campuses represented at the meeting and the state board. The meeting was adjourned at 4:20 P.M.

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6RXWKZHVWHUQ 0XVLFLDQ | $SULO 73

TMEA Membership and Convention Report Membership Active Retired Institutional College Students Sustaining Total

Convention Attendees Active Retired Institutional

2006

2007

2008

2009

2010

2011

2012

2013

9,508

9,917

10,376

10,799

10,972

11,099

10,615

11, 007

433

480

509

564

552

545

599

622

59

56

64

75

71

78

76

75

2,574

2,654

2,820

3,066

3,217

3,457

3,495

3,397

542

532

530

591

511

525

568

539

13,116

13,639

14,299

15,095

15,323

15,704

15,353

15,640

2006

2007

2008

2009

2010

2011

2012

2013

8,452

8,659

8,719

9,263

9,102

9,120

8,417

8,780

362

396

403

359

412

414

594

468

50

47

54

34

54

57

54

62

College Students

2,442

2,328

2,471

2,703

3,016

3,128

3,170

3,074

Exhibitors/Sustaining

2,260

2,101

2,205

2,170

2,217

2,159

2,287

2,358

289

418

531

590

314

Texas Future Music Educators* All-State Students

1,570

1,567

1,566

1,590

1,586

1,596

1,593

1,587

Participants

2,731

2,978

2,438

2,979

2,703

2,642

2,452

2,611

220

264

187

223

226

271

5,479

5,943

6,632

6,174

6,281

6,470

5,882

5,119

Out-of-State Attendees* Visitors/Family/Chaperons All-State Alumni** Total

n/a

n/a

n/a

n/a

69

n/a

n/a

n/a

23,346

24,019

24,708

25,825

26,045

26,340

25,265

24,644

* This number was not tracked in previous years. ** This number includes alumni members who are not music professionals and are not members of TMEA.

2013 Convention Meeting Minutes TMEA STATE BOARD MEETING Wednesday, February 13, 2013, 5:30 P.M. Marriott Riverwalk Hotel, San Antonio A buffet dinner was served, after which Tommy Corley delivered the invocation prayer. President John Gillian called the meeting to order at 6:09 P.M. The following members were present: Executive Board and Staff: Ross Boothman, Past-President Joe Weir, President-Elect Janwin Overstreet-Goode, Vocal Division Vice-President Michele Hobizal, Elementary Division Vice-President Keith Dye, College Division Vice-President Robert Floyd, Executive Director Kay Vanlandingham, Administrative Director State Board: Region 1 – Michael Sheffield, Jan Lancaster Region 2 – Mark Baker, Ronald Chapman, Priscilla Gibson Region 3 – Todd Toney, Margaret Wis, Karen Lewis Region 4 – Luke Dean, Janie Logee Region 5 – Michael Dean, Katherine Zrust Region 6 – Jeffrey Whitaker, Misty Hoelscher Region 7 – Joe McGee, Mark Eastin 74 6RXWKZHVWHUQ 0XVLFLDQ | $SULO

Region 8 – Darrell Umhoefer, Jeffery Dudley, Travis Angel Region 9 – Paul Worosello, Peter Kempter Region 10 – Gregory Rose, Renee Kloes, Russell Tipton Region 11 – John Dominguez, James Hare Region 12 – Beth Bronk, Eduardo Gonzales Region 13 – Julieanne Amos, Rhonda Klutts, Reece Nagai Region 14 – Carlos Luna, Dennis Richardson Region 15 – Jason Rogers, Jennifer Miller, Michael Murray Region 16 – Tom SoRelle, Walter Wright Region 17 – Beth Casey, Bryan Buffaloe, Greg Dick Region 18 – David Beussman, Mark Gurgel, Cathy Bennett Region 19 – Gary Hebert Region 20 – Phillip Cadenhead Region 21 – Denny Whitley, Louis Robinett, Tommy Corley Region 22 – Timothy Andrade, Arturo Uribe, Nancy Morey Region 23 – Daman Archer Region 24 – William Centera, Preston Hazzard, Robin Brockway-Nichols Region 25 – Evelio Villarreal Region 26 – Jack Green, Beth Gove Region 27 – Bingiee Shiu, Andrew Nixon, Sharon Paul Region 28 – Eugene Holkup, Denise Pitcock, Linda Holkup, proxy UIL State Director of Music, Richard Floyd, reported TSSEC will be held May 25–27, 2013. 4A–5A performances will be hosted at the University of

Texas at Austin, except for 4A–5A percussion events which will be hosted at Connally HS, Pflugerville ISD. 1A–3A performances will be hosted at Hendrickson HS, also in Pflugerville. Robert Floyd, TMEA Executive Director, reported that as of February 10, 8,161 members had preregistered for the convention. All booths in the exhibit halls have been sold. The President’s Concert will host the Dallas Wind Symphony, featuring Hakan Rosengren, clarinet soloist. The convention will open with the First General Session at 9 A.M. on Thursday, in the Lila Cockrell Theater. Karl Paulnack will deliver the keynote address. The Second General Session on Friday morning will spotlight the combined All-State Choir, Band, and Orchestra, and David Pogue will be the featured speaker. There will be free parking at the Alamodome Lot B on Thursday, Friday, and Saturday. The city of San Antonio will pay for the parking lot. College Night will be Friday night, February 10, 6–8 P.M. in Exhibit Hall A. Approximately 100 colleges and universities have preregistered to participate in the event. Executive Director Floyd presented the TMEA financial report. TMEA is in good financial shape due to diversification of funds and investments. TMEA will award $149,000 in scholarships this year to current and future music educators. Floyd reminded the Region Presidents that every Division within their Region must file a financial report twice a year. This past year ten Region bank accounts were randomly selected for audit. New this year: online contracts must be created for any persons receiving more than $250 for services rendered. In June the Executive Board voted to institute the policy stipulating that any person who is currently working in the field of music education must be a current member of TMEA to receive TMEA funds for services rendered. This policy includes musicians/teachers hired as adjudicators, conductors, clinicians, accompanists, etc. Revised curriculum standards for all fine arts instruction for kindergarten through the 12th grade received first reading approval from the State Board of Education on February 1. Executive Director Floyd presented a brief report on State Board of Education, TEA, and legislative updates. Two appeals and four grievances have been filed this year. Following the convention, automatic grievances will be issued to member sponsors/ directors who created campus entries fewer than fourteen days prior to the contest. Administrative Director Kay Vanlandingham reported that the number of Texas Future Music Educators student membership has grown to 680 with 502 students preregistered for convention. Vanlandingham added that 1,567 high school students were honored as Texas Music Scholars last year. The entry deadline for TMS is May 1. Last summer TMEA redesigned the Mentoring Network by adding new Area Coordinators for the Band, Orchestra, Vocal, and Elementary Divisions. Currently there are 100 paired protégée and advisors in the program. During the 2011–2012 school year TMEA sent out over 100 certificates of recognition to non-music administrators for their support of music education. We will promote the Distinguished Administrator Award program again following the convention. Representatives from the Band, Orchestra, and Vocal Divisions met last summer to review the TMEA Audition Process and All-State Ensembles. As a result of the feedback received from that committee and from data presented by Frank Coachman, the Executive Board voted to add a second All-State Jazz Ensemble beginning with the 2013–2014 school year. The possible addition of an All-State Choir to better serve small school students

and programs is under study. Region 18 President David Buessman suggested that Region Business Meetings be scheduled prior to the second State Board Meeting next year. Executive Director Floyd said the recommendation would be placed before the Executive Board for consideration. Motion to adjourn was entertained by President Gillian. Motion passed and the meeting was adjourned at 6:59 P.M. TMEA STATE BOARD MEETING Friday, February 15, 2013, 2:00 P.M. CC Room 102 President John Gillian called the meeting to order 2:06 P.M. The following members were present: Executive Board and Staff: Joe Weir, President-Elect Ross Boothman, Past-President Robert Floyd, Executive Director Frank Coachman, Deputy Director Kay Vanlandingham, Administrative Director State Board: Region 1 – Michael Sheffield, Jan Lancaster Region 2 – Mark Baker, Ronald Chapman, Priscilla Gibson Region 3 – Todd Toney, Margaret Wis Region 4 – none Region 5 – Michael Dean, Katherine Zrust Region 6 – Jeffrey Whitaker Region 7 – Joe McGee, Robyn Hollimon Region 8 – Darrell Umhoefer, Jeffery Dudley, Travis Angel Region 9 – Paul Worosello Region 10 – Gregory Rose, Russell Tipton Region 11 – John Dominguez, James Hare, Ruth Aguirre Region 12 – Beth Bronk, Eduardo Gonzales Region 13 – Julieanne Amos, Rhonda Klutts, Reece Nagai Region 14 – Carlos Luna, Dennis Beaver Region 15 – Jason Rogers, Jennifer Miller, Michael Murray Region 16 – Tom SoRelle Region 17 – Gregory Dick, Beth Casey Region 18 – David Beussman, Mark Gurgel Region 19 – Gary Hebert Region 20 – Phillip Cadenhead Region 21 – Denny Whitley, Louis Robinett

LOSE SOMETHING? If you lost a personal item while you were at the convention center for the TMEA Clinic/Convention, C contact the TMEA office to ask if it i was returned to Lost & Found. Several items are still unclaimed.

Contact Rita Ellinger 512-452-0710 ext. 106, or rellinger@tmea.org 6RXWKZHVWHUQ 0XVLFLDQ | $SULO 75

Region 22 – Timothy Andrade, Arturo Uribe, Nancy Morey Region 23 – Daman Archer, R. Michael Hardy Region 24 – William Centera, Preston Hazzard Region 25 – Evelio Villarreal, Andrew Goins Region 26 – Jack Green, Beth Gove Region 27 – Bingiee Shiu, Andrew Nixon, Sharon Paul Region 28 – Paul Flinchbaugh, Denise Pitcock, Deputy Director Frank Coachman gave a brief update on the TMEA/ TMAC Assessment Project. He has been working with SmartMusic and they hope to have the project ready to go by next year. Executive Director Robert Floyd informed the Board that if some features in Senator Patrick’s bill are not revised within the next week there may be a call to action through GoArts.org. TMEA lobbyist Matt Matthews gave a brief update on current legislative issues and encouraged the State Board members to establish relationships with their legislators. Region Reports: Region 5 – President Michael Dean requested that TMEA explore options for members who cannot attend convention to vote online. Region 9 – President Paul Worosello asked TMEA to consider a registration process similar to the one used for the 2012 Midwest Clinic. Region 22 – President Timothy Andrade asked TMEA to consider revising the current Area Alignment. He said it is a financial hardship for school districts within the boundaries of Area B to fund travel expenses for the Area Band and Vocal Contests. Region 26 – President Jack Green asked if there was a way to make membership records more accurate. He explained that many of the emails he sends to Region 26 members bounce back to him. Executive Director Floyd assured the gathering that each Region Report would be submitted to the Executive Board for consideration. Meeting adjourned at 2:42 P.M. TMEA FIRST GENERAL SESSION Thursday, February 14, 2013, 9:00 A.M. Lila Cockrell Theater, San Antonio, Texas President John Gillian called the First General Session of the TMEA 2013 Clinic/Convention to order at 9:12 A.M. and introduced the Executive Board members and staff members. He also introduced newly elected State Board of Education member, Marissa Perez. The candidates for the office of President-Elect were recognized: Michele Hobizal and Janwin Overstreet-Goode. There being no additional nominations from the floor, nominations were closed. The election will be held on Friday, February 15, at 9:00 A.M. in the Lila Cockrell Theater. Peter Warshaw, chair of the Agenda Committee, thanked his committee members and reported there was one item in the Agenda Box. The item for consideration read: TMEA take the lead in forming a coalition of music education and fine arts associations to connect with the major networks, NFL, and NCAA in order to establish and maintain an acceptable standard of performance for the national anthem. Such standards should present the anthem in a dignified, patriotic, and honorable manner in a traditional performance, in correct meter, without alteration or personal variation by instrumentalists or vocalists. This agenda item will be referred to the Executive Board for consideration. Curtis Cormack, son of Bill Cormack, presented the Bill Cormack Scholarship, valued at up to $15,000 to Ryan Rogers, a student from Judson HS. The Past-Presidents Scholarship to Daniel Smith, from Deer Park HS, was presented by Past-President Ross Boothman. President-Elect Joe Weir presented the Past-Presidents Memorial Scholarship to Jordan 76 6RXWKZHVWHUQ 0XVLFLDQ | $SULO

Jenkins from Atascocita HS. The Executive Board Scholarship to James Willbanks from Schulenburg ISD was presented by Kay Vanlandingham. The other TMEA scholarship winners who were in the audience, past and present, were recognized. The scholarship program continues to grow. TMEA will award $149,000 this year in scholarships to current and future music educators. Vicki Baker, chair of the Public Relations Committee announced the All-State SAT averages. The 2012 SAT Texas Average is 1,434. The TMEA All-State Overall Average is 1,847. Richard Floyd was awarded the first-ever TMEA Honorary Lifetime Achievement Award in recognition for his unselfish years of service as Director Music Activities for the University Interscholastic League. Karl Paulnack, Director of the Boston Conservatory’s Music Division, delivered the key note address. Paulnack’s keynote address offered an insightful and inspiring perspective about how critical and essential music is in each person’s life—specifically how music helps each of us carry our experiences with us and helps us appreciate the present in a more meaningful and profound way. There being no further business, President Gillian declared the meeting adjourned at 10:36 A.M. Respectfully submitted, Kay Vanlandingham, Administrative Director TMEA SECOND GENERAL SESSION Friday, February 15, 2013, 9:00 A.M. Lila Cockrell Theater, San Antonio, Texas Past-President Ross Boothman introduced President John Gillian, who then conducted the 2013 combined All-State Symphonic Band, Symphony Orchestra, and Mixed Choir in performing the National Anthem and The Battle Hymn of the Republic. President Gillian called the meeting to order at 9:32 A.M. Administrative Director Kay Vanlandingham read the minutes of the First General Session held February 14, 2013. The minutes were approved as read. President Gillian recognized TMEA Past-Presidents and Advisory Committee members in the audience. JD Janda and Robert Stovall gave nomination speeches for PresidentElect candidates Michele Hobizal and Janwin Overstreet-Goode respectively. John Taylor, President of the Southwestern Division of the National Association for Music Education, brought greetings. New York Times columnist and technology expert David Pogue delivered the keynote address. President Gillian presented the outgoing Executive Board members plaques in appreciation of their years of service to TMEA: Lisa McCutchan, Orchestra Vice-President; Janwin Overstreet-Goode, Vocal Vice-President; and Michele Hobizal, Elementary Vice-President. He expressed gratitude to Ross Boothman, outgoing Past-President and introduced President-Elect Joe Weir who presented Gillian with the Past-President’s plaque and pin. He reported the following divisional election results for Vice-President: Craig Needham, Orchestra; Dinah Menger, Vocal; and Colleen Riddle, Elementary. President Weir announced the new TMEA President-Elect to be Janwin Overstreet-Goode. There being no further business, the meeting was adjourned at 10:53 A.M. Respectfully submitted, Kay Vanlandingham Administrative Director

20013 2013 Summer Organ Institute June 9-15

Baylor Flute Seminar June 9-15

High School Band and Orchestra Camp Band Grades 9-12/Orchestra Grades 10-12 June 16-22

Middle School Band and Orchestra Camp Grades 7-9 June 23-29

Summer Piano Institute June 23-29

All-State Choral Music Camp July 9-13

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