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55 FEATURES
NOVEMBER 2014 VOLUME 83 — ISSUE 4 On the cover: Members of the Baylor University A Cappella Choir perform during the 2014 TMEA Clinic/Convention. Photo by Karen Cross.
9
State Candidates Support Fine Arts Education In line with previous election-year surveys, current candidates for the Texas Legislature and State Board of Education recently UHVSRQGHG LQ VXSSRUW RI ÀQH DUWV HGXFDWLRQ BY ROBERT FLOYD
12
A Whole New Legislature :LWK VLJQLĂ€FDQW WXUQRYHU LQ RXU VWDWH OHDGHUVKLS OHDUQ PRUH DERXW what you can expect in the upcoming legislative session. BY MATT MATTHEWS AND MICHELLE SMITH
25
Divide and Conquer Dividing your students into multiple ensembles could help individual musical development and the overall success of your program. BY KATHY JOHNSON
COLUMNS President’s Notes .............................................. 5 by Janwin Overstreet-Goode Executive Director’s Notes..................10 by Robert Floyd
37
Tutti
55
Taking the Lead
Members across the state answer questions about holiday repertoire, bilingual instruction, pitch matching, and more. Students begin developing a foundation for effective leadership skills when they participate in a high-quality elementary music education program. BY ROCHELLE MANN
Band Notes .............................................................15 by Andy Sealy Orchestra Notes ...............................................31 by Craig Needham
UPDATES
Vocal Notes ........................................................... 45 by Dinah Menger
Apply Online for a TMEA Scholarship ...........................................................2
Elementary Notes ...........................................59 by Colleen Riddle
Perform for Arts Education Days at the Capitol ..........................................3
College Notes ......................................................65 by Michele Henry
TMEA 2015 Clinic/Convention: Exhibits, Clinics, Concerts ..................... 44 Southwestern Musician | November 2014
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Editor-in-Chief: Robert Floyd UĂ R\G@tmea.org 512-452-0710, ext. 101 Fax: 512-451-9213
Managing Editor: Karen Cross
kcross@tmea.org 512-452-0710, ext. 107 Fax: 512-451-9213
TMEA Executive Board President: Janwin Overstreet-Goode MRYHUVWUHHW JRRGH#ÀVGN QHW 1406 Frontier Lane, Friendswood, 77546 281-482-3413 x 150/Fax: 281-996-2523 – Friendswood HS
President-Elect: Keith Dye keith.dye@ttu.edu 6607 Norwood Avenue, Lubbock, 79413 806-742-2270 x 231 – Texas Tech University
Past-President: Joe Weir joseph.weir@humble.k12.tx.us 19627 Firesign Drive, Humble, 77346 281-641-7606 – Atascocita HS
Band Vice-President: Andy Sealy sealya@lisd.net 4207 Plano Parkway, Carrollton, 75010 469-948-3011 – Hebron HS
Orchestra Vice-President: Craig Needham Craig.Needham@richardson.k12.tx.us 1600 E Spring Valley Road, Richardson, 75081 469-593-7028 – Berkner HS
Vocal Vice-President: Dinah Menger d.menger@sbcglobal.net 1305 Westcrest Drive, Arlington, 76013 817-891-1095 – Baylor Univ
Elementary Vice-President: Colleen Riddle criddle@aldineisd.org 319 E North Hill Drive, Spring, 77373 281-985-6107 – M.O. Campbell Ed Center
College Vice-President: Michele Henry michele_henry@baylor.edu 1 Bear Place Unit 97408, Waco, 76798 254-644-0150 – Baylor 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 Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: Laura Kocian | lkocian@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org Administrative Assistant: Rita Ellinger | rellinger@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.
TMEA Offers Undergraduate and Graduate Scholarships Apply online by November 15 to be eligible. Do you teach high school seniors who want to be music educators? TMEA offers undergraduate scholarships for applicants who enroll in a music degree program at a Texas college or university leading to teacher certification. Scholarships for graduating seniors range from $2,500 up to $15,000. Encourage your best and brightest seniors to apply and submit all supporting materials by November 15. Graduating Senior Scholarships • Bill Cormack Scholarship: $3,000/year for up to five years • Past-Presidents Memorial Scholarship: $2,500/year for up to five years • Past-Presidents Scholarship: $2,500/year for up to five years • One-year scholarships: $2,500 for one year only
Are you in an undergraduate music education program? Whether you just started a music education program or are preparing to begin student-teaching, TMEA offers you support. Scholarships for undergraduate music majors (available only to active TMEA college student members) range from $2,000 to $2,500. One-Year Undergraduate Scholarships • TMEA awards one-year, $2,500 scholarships to current undergraduate students enrolled in a music degree program at a Texas college or university leading to teacher certification. One-Semester Student-Teacher Scholarships • TMEA awards one-semester, $2,500 scholarships to college student members scheduled to student-teach within the two semesters following the application.
Are you a music teacher continuing your professional growth with graduate study? TMEA supports its members who are committed to expanding their knowledge and skills through graduate study in music by offering scholarships of $1,250 to $2,500. One-Year Graduate Study Scholarships • Awarded to graduate students for one year only and range from $1,250 to $2,500.
Go to www.tmea.org/scholarships
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&#x20AC;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 1941â&#x20AC;&#x201C;47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947â&#x20AC;&#x201C;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&#x20AC;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 HGLWRUVKLS RI ' 2 :LOH\ ZKR FRQWLQXHG WR VHUYH DV HGLWRU XQWLO KLV UHWLUHPHQW LQ $W WKDW WLPH RZQHUVKLS RI ERWK PDJD]LQHV ZDV DVVXPHG E\ 70($ ,Q $XJXVW WKH 70($ ([HFXWLYH %RDUG FKDQJHG WKH name of the publication to Southwestern Musician.
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Southwestern Musician | November 2014
Perform for Arts Education Days at the Capitol Who: What: When: Where: Why:
Texas fine arts students Arts Education Days at the Capitol March 4–5, 2015 Texas State Capitol To champion fine arts education Go to www.tcqae.org to apply.
Give your students an experience they’ll never forget and show our state’s decision makers why they must continue to support quality music education.
November 14 Deadline www.tcqae.org
Southwestern Musician | November 2014
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A U D I T I O N D AT E S F R I D AY
S A T U R D AY
F R I D AY
December 5, 2014
January 24, 2015
March 6, 2015
(VOICE AND K E Y B O A R D O N LY )
F R I D AY
( V O I C E O N LY )
S A T U R D AY
February 28, 2015
January 23, 2015
S A T U R D AY
March 7, 2015
( V O I C E O N LY )
Auditions are required of all entering and transferring music majors. FOR MORE INFORMATION: Baylor University School of Music One Bear Place #97408 • Waco, TX 76798-7408 www.baylor.edu/music and click on “For Prospective Students” 254.710.7681 • Music_Admit@baylor.edu
Giving back, paying forward B Y
J A N W I N
O V E R S T R E E T - G O O D E
A
colleague at Friendswood HS, Mike Tyer, recently suffered the tragic loss of his high school choir director. In his Facebook post following that event, he wrote, “My mentor and inspiration. The man guided me to my profession, and I hope that I have performed in a way that would make him proud.” We all have those mentors and supporters who inspired and guided us on our paths as musicians and music educators. And, for each of us, we have different reasons for which we are thankful for those exceptional role models. I am grateful I was able to express my thanks to George Murphy, my high school choir director, who shared great choral literature with his choirs and set the standard I use today. Robert Baar, my undergraduate choir director at Murray State University (KY), gave me my concept of choral tone, blend, and voice matching that I use with all my choirs. My graduate school choir director, Sara Holroyd, at the University of Kentucky, taught me how to be a conductor. I credit these outstanding musicians for setting me on my path and guiding me in a strong and positive fashion. At a recent TMEA Executive Board meeting, I asked my fellow educators to share information about their mentors with me. What I found most fascinating are the many different reasons and ways they were influenced by others—and not only by their music teachers. From President-Elect Keith Dye, “Randy Kohlenberg taught me the art of possibilities when you treat people like they are capable of doing amazing things.” James Sudduth taught Keith how to be humble and quiet while still being accomplished. Bob Brooks “taught me the way a career in music education can be a satisfying life.” Gary Garner taught Keith how you can be a lifelong learner and seeker of knowledge. Past-President Joe Weir expressed gratitude for Anne Goetsch, his junior high choir director—in addition to making music fun, she made the choir room a safe and comfortable place for awkward seventh, eighth, and ninth graders. Joe promotes that same philosophy of safety and security with his students today.
PRESIDENT’S NOTES IMPORTANT DATES November—Make your convention hotel reservation (www.tmea.org/housing). November 14—Deadline to apply to perform for Arts Education Days at the Capitol (go to www.tcqae.org). November 15—TMEA scholarship online application deadline (see page 2). December 31—TMEA convention mail/fax preregistration deadline. January 22, 2015—TMEA convention online preregistration deadline. February 11–14, 2015—TMEA Clinic/ Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.
We all have those mentors and supporters who inspired and guided us on our paths as musicians and music educators. Southwestern Musician | November 2014
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Band Vice-President Andy Sealy said that as a student Sam Robertson and Cliff Franklin, his Snyder HS band directors, and Jerry Warren, Snyder HS theater director, were his early mentors and guides. James Sudduth, college band director at Texas Tech, was another important influence for Andy. Rick Lambrecht, Tom Bennett, and Harold Floyd were his conducting teachers and inspirations. Craig Needham, Orchestra Vice-President, said, “Edward Tillery was my first cello teacher. He stuck with me for years, even when I couldn’t pay for lessons. He made a deal that I could mow his lawn in exchange for lessons. I’ll never forget how generous he was with me. I was later able to make this same deal with one of my own private students when he couldn’t pay for lessons. Edward Tillery changed my life.”
“My college choir director, Dr. Maurice Skones, from the University of Arkansas, saw something in a disillusioned, wandering young singer,” offered Vocal VicePresident Dinah Menger. “He turned my life around and made me realize that directing a group of artists was my passion— creating that bond and that standard of excellence that makes life so much richer.” Dinah also credits her college voice professor at U of A (who took Dinah’s entire vocal collection and threw it in the trash) with completely remaking her voice in a way that has lasted and served her well. Elementary Vice-President Colleen Riddle is thankful for Richard Crain for encouraging her to get her master’s degree so that she could become a music administrator. In doing that, she developed leadership skills that eventually led her to her position on the TMEA Executive Board.
Colleen loves encouraging new teachers and hopes to one day teach at the collegiate level to assist young music teachers as they begin their teaching careers. Michele Henry, College Vice-President, named Will May as the first person to tell her (during her master’s study at UNT) that she needed to pursue a doctorate and then teach and research at the university level. Will identified her potential and planted the seed. “I may never have thought in that direction unless he had told me that,” said Michele. Kay Vanlandingham, Administrative Director for TMEA, lists Gerald and Trevelyn Ray as major inf luences. “Gerald B. Ray was my childhood music minister at Sagamore Hill Baptist Church in Fort Worth. Gerald and Trevelyn, his wife, worked to develop a strong, graded children’s choir program. Together they
Strike a note with your students & experience the
Sound of Tarleton Dec. 29-30, 2014 Area Choir Workshop Contact: Dr. Troy Robertson (254) 968-9240 | robertson@tarleton.edu
Jan. 31, 2015 Tarleton Brass Day featuring the Gaudete Brass Quintet Contact: Dr. Brian Walker (254) 968-0744 | walker@tarleton.edu
Feb. 27, 2015 Guest Pianist Phoenix Park-Kim Contact: Dr. Leslie Spotz (254) 968-9241 | spotz@tarleton.edu
March 3-4, 2015 Invitational Band Festival with Mark Camphouse Contact: Dr. Anthony Pursell (254) 968-9242 | pursell@tarleton.edu
May 8, 2015 Tarleton Percussion Ensemble Festival featuring the Olsen Lyons Percussion Duo Contact: Dr. Gary Westbrook (254) 968-9439 | gwestbrook@tarleton.edu
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Southwestern Musician | November 2014
Discover more www www.tarleton.edu/music tarlletton ed du//musiic
D E PA RT M E N T O F M U S I C
UT ARLINGTON ADMISSION AND SCHOLARSHIP
AUDITIONS UNDERGRADUATE
For winds, percussion, strings, and keyboard: Q
Saturday, February 28, 2015
For voice:
Saturday, February 21, 2015 Q Saturday, March 21, 2015 Q Saturday, April 11, 2015
Q
GRADUATE
For all instruments and voice: Q
Saturday, February 21, 2015
Alternate dates by appointment
For applications and more information, visit
uta.edu/music
created a music curriculum that gave me a firm music foundation, even before any formal music lessons.” They recognized Kay’s love and aptitude for music when she was only five and encouraged her parents to give her private lessons. Kay said, “I will be forever grateful for their loving investment in my life. Their influence definitely shaped the life I live today.” Deputy-Director Frank Coachman listed Carol Allen, his junior high band director, who put him on his first Bach Strad trombone, as one of his mentors. David
Pennington, his high school band director, convinced him to major in music, hired him as a rookie band director at the junior high he attended, and convinced him to run for TMEA offices. Macon Sumerlin, Frank’s college theory professor, brought out the composer/arranger in him and gave him his best musical skills. Finally, Frank named Bill Woods, Richard Floyd, and Bob Floyd, who were, and continue to be, incredible mentors. Executive Director Robert Floyd credits his college band director, Irving Dreibrodt, as
FEB 11
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a strong influence on his decision to pursue a degree in music education after having graduated from SMU with a degree in mathematics. “He taught me so much about music throughout my college days, but in addition also taught me the importance of loyalty and friendship in one’s life, which he demonstrated to each one of his students on a daily basis.” While you still have the opportunity, I encourage you to take the time to express your gratitude to your mentors. Give Back How can we give back, or pay forward, the skills we gained from those mentors and guides? First, we share our love and passion for our profession with our students. We make our classroom environments safe, secure, and inviting for every student. We encourage every student to strive to be the best musician they can be. And for those students with talent and aptitude, we encourage them to consider a career in music and music education. We can share our knowledge and skills with those teachers new to the profession by serving as mentors. We often focus our work with new colleagues on our home campus as it is more of a challenge to help teachers in our feeder programs, at other schools in our district, or even in schools outside our district or region. However, teachers in those positions are frequently the ones who could use the help of more experienced teachers the most. And, sometimes, even if a new teacher has a mentor on their own campus or in their own district, they could use an impartial ear to listen to their concerns, complaints, or issues they are encountering that they might not want to share with a head director or fine arts supervisor. And finally, consider all that TMEA has done for you—from the growing Mentoring Network established for the very reasons highlighted in this column to the incredible convention in February. The amazing clinicians, conductors, and Invited and Honor groups that are presented at the convention are worth many times the cost of membership and registration combined. The All-State students and college students in attendance are the future educators we need to encourage and support. We can do that by donating to the TMEA scholarship fund and by volunteering in some capacity at the convention. Give back—pay forward.
State Candidates Support Fine Arts Education
T
he majority of candidates for Texas House, se, Senate, and State Board of Education who responded to a recent survey said they believee that fine arts education improves student performance rmance in other academic areas, lowers dropout rates, and prepares pares students for college and the workforce. Additionally, most ost oppose the removal of students from their fine arts classes to study tudy other subjects. This is the third time Texas Coalition for Quality ality Arts Education (TCQAE) has surveyed candidates for the Texas Legislature and State Board of Education, and responses nses have consistently revealed that they believe in the value off fine arts education. Similar to the surveys TCQAE distributed before thee previous two state elections, this survey, distributed in mid-September, eptember, was intended to raise candidatesâ&#x20AC;&#x2122; awareness of fine arts education and remind them of the broad constituency who supportt fine fi arts education for all schoolchildren. This questionnaire allowed us to communicate important information while ensuring the candidate or their staff members dedicated additional time to considering their opinions and responses. Candidates Respond To date, over 22% of the candidates have submitted responses to the survey. Receiving candidate responses is a positive indication of their concern about our issues. Regardless of the response rate, sending a survey provides us the opportunity to communicate to candidates (including many incumbents) about the importance of fine arts education and raises their awareness of a constituency that cares about fine arts education issues. Survey responses can also help you as you prepare to advocate with your elected officials for fine arts education during the 84th session. For more information about the upcoming session, read the legislative preview article on page 12 and continue to visit www.goarts.org. Detailed Results Find your candidatesâ&#x20AC;&#x2122; answers to this survey on the News page at goarts.org. You can use their responses (or possible lack of response) as an opportunity to communicate directly with them. Thank them for responding and offer to provide them your firsthand experiences as a fine arts educator. Encourage your colleagues and parent groups to review the data and contact their candidates or elected officials to discuss their responses. Robert Floyd is TMEA Executive Director and Chair of Texas Coalition for Quality Arts Education.
by Robert Floyd Fine arts instruction helps improve student performance in other academic courses. Yes
No
Undecided
More Info
98.4%
0%
0%
1.6%
Fine arts participation reduces dropout rates. Yes
No
Undecided
More Info
98.4%
0%
0%
1.6%
Fine arts study helps prepare students for college. Yes
No
Undecided
More Info
100%
0%
0%
0%
Creativity fostered through a fine arts education is valued by employers. Yes
No
Undecided
More Info
80.5%
4.5%
7.5%
7.5%
Fine arts courses belong in the core curriculum. Support
Oppose
Undecided
More Info
91.0%
3.0%
3.0%
3.0%
Students should be removed from fine arts classes for STAAR preparation and remediation. Support
Oppose
Undecided
More Info
4.5%
83.6%
2.9%
9.0%
Candidate is willing to participate in a legislative fine arts caucus. Yes
No
Undecided
More Info
83.6%
3.0%
3.0%
10.4%
Southwestern Musician | November 2014
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Building leaders B Y
EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES November—Make your convention hotel reservation (www.tmea.org/housing). November 14—Deadline to apply to perform for Arts Education Days at the Capitol (go to www.tcqae.org). November 15—TMEA scholarship online application deadline (see page 2). December 31—TMEA convention mail/fax preregistration deadline. January 22, 2015—TMEA convention online preregistration deadline. February 11–14, 2015—TMEA Clinic/ Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.
10 Southwestern Musician | November 2014
R O B E R T
F L O Y D
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recently visited a major Texas university that has appointed a campus-wide committee to define a vision for a leadership program to better equip their students to step into leadership roles upon graduation. What a challenging and worthy charge! As you would expect, most of the presenters before the fifteen-member committee thus far had been sharing their vision from their perspective as a president, CEO, or other corporate leader. However, I was asked to visit with the committee to share my thoughts as someone with a teaching background, currently involved in nonprofit association management, and one who also spends a significant amount of time striving to shape state policy relative to arts education. The first question that comes to mind for me is whether you can institutionalize leadership. Can it be taught effectively? Do you become an effective leader by reading a book or taking a course? There certainly are a wealth of materials, books, videos, and seminars available that portend to teach such skills, but a solely systemic approach may not be the answer. As a teacher for 24 years, I never really thought of myself as a leader. I never took a course in leadership, I never believed I was CEO of my band program, and I currently do not envision myself as leader of TMEA. That is the Executive Board’s role, and I serve as facilitator. Leadership, as teachers know, is about much more than a title. We are a supportive coach, a mentor, a motivator, a standard-setter, a relationship-builder, a listener, an enabler, and a member of the team. We take students with us on a journey, and in our case, through the wonderful discipline of music. Simply put, quality teachers, as much as effective corporate CEOs, lead through supporting and encouraging rather than mandating and dictating. The pathway to becoming a successful leader starts first with a passion for a cause in which you believe deeply. In our case it was, and is, teaching and making music. Volunteering and serving is certainly a critical component of leadership development. I will always remember that my first involvement with TMEA as a first-year teacher came when I was asked to load and haul two truckloads
Quality teachers, as much as effective corporate CEOs, lead through supporting and encouraging rather than mandating and dictating.
of percussion equipment to downtown Dallas to be used by the All-State ensembles during the TMEA convention. I honestly viewed that as both an honor and an opportunity to give to the cause and mission of TMEA. Through the years, I served on committees, held Region offices, and then held office at the state level because that was the logical next step in continuing to serve. I never thought of any of those opportunities as climbing some leadership ladder. I simply began with hauling equipment, and other leadership roles evolved from serving in different ways and at different levels. In working with state leaders and staffs at the capitol, as part of this third phase of my career, success is directly tied to relationship building, honesty, and credibility. There must be a level of trust, as in any leadership role, that you are telling the truth and not misrepresenting an issue. If you lose credibility, no matter one’s title, it may never be regained. That is also true in working with your students, your administration, your booster club, and your peers. Again, it is about genuineness and sincerity—not about self-promoting motives and ego.
As I gathered thoughts for my university visit, I re-read recent publications by Dr. Tim Lautzenheiser, especially his new Classic Leadership Manual. It is uncanny how so much of what Tim shares with our students relative to leadership equally applies to us in our adult leadership roles. In discussing the foundation blocks of contemporary leadership, Tim shares the following: people are more important than titles; we cannot lead others until we lead ourselves; leaders assume total responsibility; and leaders are measured not so much by what they accomplish as what they give. And finally, Tim states, “The ongoing evolution and growth of our ability to work with others is the foundation of our understanding, appreciation, and manifestation of our leadership discipline.” It is pure happenstance that the article “Recognizing and Cultivating Leadership Skills in the Elementary Music Classroom” by Rochelle Mann as well as Michele Henry’s College Division column on serving opportunities for music education majors also appear in this issue. I encourage you to read both of them. It will be interesting to see what this
university ultimately develops to foster leadership skills with their students, and I hope it will not be distilled down only to a one-credit, one-hour required course. There are so many experiences across a college campus that foster and support leadership development and should be considered as a part of the vision implementation. Regardless of the pathway, however, the cornerstone of such a leadership experience must begin with a passion for a cause and serving others as well as serving with others to support that cause. Music educators get that, and successful ones are the epitome of such an approach to teaching. In closing, an anonymous article reprinted in Tim’s manual ends with the following: I lead best when I help others to go where we’ve decided to go. I lead best when I help others to use themselves creatively. I lead best when I forget about myself as leader and focus on my group . . . Their needs and their goals. To lead is to serve . . . to give . . . to achieve together.
SMU MEADOWS SCHOOL OF THE ARTS OFFERS: •
Undergraduate degrees in Performance, Music Education, Music Therapy and Composition, and a B.A. with a dual-degree option
•
Minors in Arts Entrepreneurship, Arts Management, Songwriting and Musical Theatre
•
Graduate degrees in Performance, Music Education, Conducting, Composition, Pedagogy (Piano, Music Theory), Music History and Sacred Music
•
Performer’s Diploma/Artist Diploma (post-Master’s) in Performance
VISIT US MEADOWS.SMU.EDU CONTACT US MUSIC@SMU.EDU OR 214.768.3680
Southwestern Musician | November 2014 11
A Whole New Legislature What’s in it for education?
by Matt Matthews & Michelle Smith
I
magine starting the school year with a new principal, new assistant principal, and almost all new office staff, many of whom have their own ideas regarding how a campus should be run. Now, add in a teaching staff in which more than half of teachers have only two years of teaching experience. While this definitely doesn’t sound ideal, it’s the circumstance in which we find ourselves as we prepare for the 2015 Texas legislative session. When the 84th Texas Legislature convenes on January 13, we will have a new governor, lieutenant governor, comptroller, attorney general, chair of House Appropriations, and chair of Senate Education and a fairly new chair of Senate Finance. The new governor will also appoint a new chairperson from within the State Board of Education and has the option to appoint a new Commissioner of Education. We certainly encourage you to participate in the November 4 general election. The results of the Texas Coalition for Quality Arts Education (TCQAE) candidate survey relative to candidates’ positions on fine arts education can be found on page 9 of this issue. Significant change within the legislature presents new challenges; it also creates new opportunities. While it takes time to develop relationships with elected officials, you can take this opportunity to inform and influence them regarding the importance of public education and especially fine arts. Perhaps more than ever, it is critical for the fine arts education advocates to be heard. The leadership of TMEA strongly encourages you to develop and maintain relationships with your House mem12 Southwestern Musician | November 2014
ber, Senator, and State Board of Education member during this unique and critical time of transition. For more guidance on how to start establishing such a relationship, read “Do You Know Your Legislators?” in the August 2007 issue of SOUTHWESTERN MUSICIAN available from www.tmea.org/knowyourleaders. Texas Legislature 101 The Texas Legislature meets in regular session for 140 days in every odd-numbered year. During that session, 31 senators and 150 House members have the task of adopting a balanced budget for the next two years. In addition, approximately 9,000 bills will be filed by various legislators, ranging from education to healthcare to state infrastructure. Some of those bills will become law when signed by the governor, but a significant percentage never make it to the finish line. Spotlight on the Budget Many legislators might argue that it is easier to make decisions about the state budget when there is a deficit rather than a surplus. During the 2011 session, legislators simply informed their various constituent groups that no new money would be available. Moving into the 2015 session, however, the state is expected to have a surplus of $2.4 billion in unspent funds from the previous biennium as well as $8 billion in the Rainy Day Fund. Legislators will have the difficult task of deciding whether to invest in programs, specifically in our case public education, or whether to return that surplus to the taxpayers. Meanwhile, Travis County district judge John Dietz has
found the stateâ&#x20AC;&#x2122;s school finance system unconstitutional because of issues of equity, adequacy, and the presence of a de facto state property tax. After three years in district court, the case will now be appealed directly to the Texas Supreme Court, according to Attorney General Greg Abbott. Unfortunately, the state legislature is not expected to address the issue of school finance until a final court decision is madeâ&#x20AC;&#x201D;this could be in 2016 or later. Despite the fact that the state legislature put some money back into public education in 2013, funding is still about $1.3 billion under the 2011 level. Some financial experts have pointed out that the state is saving approximately $3.8 billion in general revenue because of the growth in local property values, which the state is not reinvesting in public education. This could be an important talking point for you with your state representative and senator. Public Education Issues in 84th Session The decrease in end-of-course tests from fifteen to five, resulting from the passage of House Bill 5, has been a welcomed change. Some groups will continue to push for further testing decreases during the 2015 legislative session, including in thirdâ&#x20AC;&#x201C; eighth grades. Since their implementation, we have received many positive stories about how the high school endorsements and community and student engagement pieces of House Bill 5 have strengthened the significance of fine arts in schools. The biggest challenge for educators is making sure their district protects the flexibility for students to participate in the Arts & Humanities and other endorsements in a meaningful way. We anticipate little change in
HB 5 during the upcoming session. Judging by the intense nature of a recent interim Senate Education Committee meeting regarding the effectiveness of STAAR for evaluating students, campus, and district achievement, we expect the accountability system as a whole will continue to receive scrutiny and intense discussion. Fine Arts Legislative Agenda TMEA is in the process of developing its agenda, but we will rely on our reputation and a calm, disciplined approach to preserve our recent successes, including protection for fine arts in the new foundation school program defined by HB 5. We will strive to stay out of the crosshairs of any educational debate that may develop between teacher groups and school boards and administrators. We will lobby in earnest to maximize the allocation for the Instructional Materials Allotment (IMA) that will be the funding source for fine arts instructional materials at the district level. TMEA will keep members informed and will alert you to any calls for action necessary to protect the arts in the curriculum. TMEA members are automatically enrolled in www.goarts.org, the TCQAE vehicle for sharing such information. Please continue to do your part to stay informed and equipped to be an effective advocate for fine arts education throughout this session and beyond. Matt Matthews and Michelle Smith serve as governmental relations consultants for TMEA.
Southwestern Musician | November 2014 13
Our outstanding music faculty members are waiting for you! Blinn College Music Faculty Dr. Marcelo Bussiki .....Division Academic Dean Todd Quinlan................Performing Arts Department Head Jill Stewart .....................Instrumental Music Coordinator Brenham Campus Harry Blake...................Director of Bands Dr. Sarah Burke ............Assistant Band Director/ Percussion John Dujka ......................Piano/Music Theory Dr. Craig Garrett .........Jazz Studies/Trumpet Brian Klekar..................Jazz Studies/Saxophone Karen Blake ..................Color Guard/Woodwinds
Larry Campbell ............Tuba/Euphonium John McCroskey ..........Trombone Marie McElroy ..............Flute Dr. Eric Miller ..................Double Reed/Music Theory Felipe Vera .....................French Horn Steven Winter ..............French Horn/Trumpet Dr. Joel Plaag .................Director of Vocal Studies/ Aural Music Daniel Bircher ..............Assistant Director of Vocal Studies Lauren Shelton .............Voice Vicki Wehmeyer...........Voice and Piano Cheryl Amelang ...........Accompanist
Pat Daugherty ..............Accompanist Leah Jorgensen.............Accompanist Robert McElroy ...........Accompanist Linda Patterson............Accompanist Bryan Campus Chris Hoffman .............Director of Vocal Studies Nannette Pope.............Accompanist Dr. Sterling Allen ..........General Music Nicole Cherry..............Violin Diedra Lawrence .........Viola Prudence McDaniel.....Cello Dr. Alan Strong .............General Music
For more information call 979-830-4262 or 830-4288 or visit our website at:
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What do you model? B Y
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ike many of you, I spend a great deal of time talking with our student officers about being role models for their peers and how the day-to-day execution of their responsibilities influences the membership of our band program on a variety of levels. The same can be said of our actions as adult educators. For many of our students, the only adults they ever get to observe working are their teachers. Students have no other consistent opportunity to observe and study other adults on the job in real time. This becomes one of the unique ways we influence young people and prepare them for a future workplace. We cannot reliably predict all of the employment options our students will face or the ever-evolving challenges associated with workforce supply and demand. In our daily interaction with our students we can, however, model the behaviors, traits, and attitudes of professional, productive, and fulfilled people in any occupation. We can start by assuming our students are smart, musically engaged, and possess a vast capacity to learn. Setting very high musical and academic standards for all performers and providing them with timely and focused feedback will go a long way toward setting the example. Teachers should insist on musical accuracy and persistence and should continually stress that our craft, like lifelong learning itself, is a continual work in progress. Delayed gratification is usually the rule, not the exception. This is easily conveyed by reminding students how many hours are spent in the practice room as compared to the brief minutes spent in the concert hall.
That energy of performance is no happy accident. The performers were taught, encouraged, and inspired by someone, in a classroom somewhere, working as a teacher.
BAND NOTES IMPORTANT DATES November—Make your convention hotel reservation (www.tmea.org/housing). November 8–9—All-State Jazz judging. November 14—Deadline to apply to perform for Arts Education Days at the Capitol (go to www.tcqae.org). November 15—TMEA scholarship online application deadline (see page 2). December 31—TMEA convention mail/fax preregistration deadline. January 10, 2015—Area Band and Vocal auditions. January 22, 2015—TMEA convention online preregistration deadline. February 11–14, 2015—TMEA Clinic/ Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol. Southwestern Musician | November 2014 15
Have You? Preregistered? When you preregister, you save money and you save time obtaining your badge.
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Made a Hotel Reservation? TMEA offers the best rates on downtown hotels. Several are already sold out, so donâ&#x20AC;&#x2122;t wait any longer!
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Purchased Swingle Singers Tickets? Start your convention off right by attending the Presidentâ&#x20AC;&#x2122;s Concert featuring the Swingle Singers in a return performance for our convention!
www.tmea.org/presidentsconcert
WWW.TMEA.ORG/CONVENTION 16 Southwestern Musician | November 2014
A dynamic, collaborative community of artists, scholars and teachers Choirs â&#x20AC;˘ Orchestras â&#x20AC;˘ Bands Opera/Music Theatre â&#x20AC;˘ Chamber Music
Join over 500 music majors and learn to develop and fine tune your musical skills to be used anywhere in the world. Learn from a faculty of 55 internationallyrecognized artists, educators and researchers in an ideal atmosphere to ensure complete instrumentation for the larger ensembles as well as individual attention for students in private applied music study, in classes, and in the many small ensembles.
For more information, visit music.ttu.edu
2015 School of Music Audition Dates Saturday, February 7 | Saturday, February 21 | Sunday, February 22 | Saturday March 7
2014/15 School of Music Season The School of Music presents another exciting performance season, with more than 300 concerts and recitals, including world premieres and traditional favorites. For a complete list of events, visit music.ttu.edu.
There are very few occupations, amateur pursuits, or classroom environments that can offer the same thrill as the live, impassioned performance of great music. That energy of performance is no happy accident. The performers were taught, encouraged, and inspired by someone, in a classroom somewhere, working as a teacher. Our students need to understand that the workplace demands hard work from everyone. No exceptions. They should see us preparing, teaching, evaluating, providing feedback, re-teaching, rewarding progress, and pushing ahead every day. Obstacles must be overcome and goals set and assessed. It’s important for our students to hear us be unfailingly respectful in our conversations with them and to accept only respectful interactions from them in
return. For some students, the respect of their teacher is a precursor to their self-respect. Our students also need to hear us celebrate our mentors and share our struggles. I frequently relate current situations to my experiences or to my misadventures as a student and how, even as a student, I had the capacity to do more and overcome more than I could possibly imagine. In retrospect it is easy to see how much more I could have given and achieved. We can empower our students even more by guiding their search for solutions and rewarding their problem-solving skills. Our own experiences acknowledge that our students can spot a fraud from a mile away. They can gauge our mood and unerringly read our outlook on everything from lunch duty to standardized testing. Our students recognize when we are just phoning it in for the day just
HSPVA Jazz Ensemble
18 Southwestern Musician | November 2014
as easily as we recognize when they are just going through the motions of daily drill. Not only are our current students the professional teachers and musicians of the future, they are also future employers, employees, school board members, legislators, and leaders of all kinds. One of the most important functions of our role as educators is to prepare them to be productive, contributing citizens in a fine arts friendly society. 2015 Clinic/Convention Updates Please consider volunteering for the TMEA Clinic/Convention in February. Go to www.tmea.org/bandvolunteer to submit your information. When you preregister, be sure to purchase tickets for the Wednesday night President’s Concert featuring the Swingle Singers—you won’t be disappointed. If you happened to have missed it, find your October issue and read the fantastic feature article by our Band Division Featured Clinician H. Robert Reynolds. I’m sure it will get you excited to attend his clinics. This month, I’m pleased to share a preview of the exciting lineup of our Invited High School Jazz Ensemble and our TMEA Honor Bands. In our January edition, we’ll introduce our invited collegiate ensembles. Invited Jazz Ensemble Houston School of Performing and Visual Arts Jazz Ensemble Warren Sneed, Director The HSPVA Jazz Studies program consists of two large jazz ensembles, two official combos, and classes in jazz improvisation, jazz history, and rhythm section. In addition, students participate in the Thelonious Monk Institute Performing Arts High School Program, in which clinicians sponsored by the Monk organization help instruct jazz combos and other classes. The HSPVA Jazz Ensemble has performed at the North Texas Jazz Festival, the Crescent City Jazz Festival in New Orleans, the Kemah Jazz Festival in Kemah, Texas, the University of Houston–Moores School of Music Jazz Festival, and the Monterrey HS Jazz Festival. Various HSPVA ensembles have performed at Houston’s Discovery Green, including the opening performance for Jason Moran’s Fats Waller Dance Party in 2014. The HSPVA Jazz Combo I has performed at the past three
Jazz Education Network annual conferences, and in the summer of 2014 they performed in Stavangar, Norway, as part of the Houston-Galveston-Stavangar Sister City Program. Warren Sneed has been HSPVA’s Director of Jazz Studies for 14 years. He is an HSPVA alum and a graduate of the University of North Texas, and he earned his master’s degree from the University of Houston. He is a saxophonist and is active in the Houston music scene. Class 1C Honor Band Shallowater MS Symphonic Band Tammy Summersgill, Director Shallowater MS is located 11 miles northwest of Lubbock in Shallowater, Texas. Shallowater MS was named a Texas Schools to Watch campus by the Texas Middle School Association and also received a national designation for Schools to Watch by the National Forum in June of 2012. Shallowater ISD is committed to providing music instruction to all grade levels beginning in K–5. Students begin instrumental instruction in the sixth grade and are members of the concert band in seventh grade. The symphonic band is made up of eighth graders only. The Shallowater MS Band program has been a consistent UIL Sweepstakes award winner and named best-in-class at the Greater Southwest Music Festival in Amarillo. Shallowater MS was the thirdplace band in the 2009 TMEA Honor Band competition. Director of the Shallowater MS
Symphonic Band is Tammy Summersgill, a native of West Texas. She is also the music teacher for grades 2–4. Summersgill is a graduate of Dimmitt HS, where her directors were Fred Allen and the late Ralph Smith, the 1979 Texas Bandmaster of the Year. She received her bachelor’s degree from West Texas State University under the direction of Gary Garner. The Shallowater Band program uses a team teaching approach, including directors Don Summersgill, Leon Long, and Kyle Billett. Class 1A Honor Band Honey Grove HS Band Dennis Syring, Director Honey Grove is a small agricultural community on the Texas-Oklahoma border, between Bonham and Paris. On his travels across Texas, Davy Crockett was said to have named the town after having some of the sweetest honey he had ever tasted. Today the population of Honey Grove is about 1,640, with 152 students in the high school. The 59-member Warrior Band consists of eighth through twelfth graders. Band begins in the sixth grade in a single class and continues as such through seventh grade. The Warrior Band earned its fifth consecutive
Sweepstakes award this year with a total of 11 since 2000. High school and middle school bands have placed in the top three in state Honor Band competitions seven times since 2001 and have won OPS seven times. The middle school band was named the class 1C Honor Band in 2011. The Warrior Band has been to the State UIL Marching Contest twice and made the finals in 2011. Classes are 45 minutes daily with no rehearsals before or after school, and there is no private lesson program. All sectional work is completed during class time, and the two band directors are part-time. Band members are also in athletics, cheerleading, agriculture, one act play, and the Beta Club and are top leaders in all areas. Class 4A Honor Band Robinson HS Band Robert Vetter, Director Located just outside of Waco, Robinson HS enrollment is 735 in grades 9–12. The school system has a strong emphasis on scholarship, leadership, and citizenship and supports all activities with equal enthusiasm. The Robinson band program has a rich tradition of excellence. All bands, beginner through high school, consistently
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Shallowater MS Symphonic Band Southwestern Musician | November 2014 19
Honey Grove HS Band
Robinson HS Band
Marcus HS Wind Symphony Southwestern Musician | November 2014 21
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earn top ratings at UIL competitions and festivals. The high school marching band has won the UIL State Marching Contest four times. Individual musicianship is also emphasized and the Robinson Bands have placed numerous individuals in Region, Area and All-State Bands. Beginners start in sixth grade in homogeneous classes. Once in seventh and eighth grades, they are divided into ability-based bands that participate in UIL Concert and Sightreading Contest and festivals. The success of the high school program is a direct product of great teaching. Junior high directors are Steve and Robin Williamson. Krystal Michal is the percussion specialist for the district and Jose Sanchez is the assistant high school director and associate marching director. John Barker serves as the clarinet specialist and Taylor Davis is marching percussion tech. Laura Leal is the color guard instructor. Robert Vetter, director of bands, is in his 36th year of teaching and his seventh year at Robinson. All directors assist with all bands, beginner through high school. Class 6A Honor Band Marcus HS Wind Symphony Amanda Drinkwater, Director Located in Flower Mound a suburb of the Dallas/Fort Worth Metroplex, Marcus HS opened in 1981 and is one of five high schools in Lewisville ISD with approximately 3,100 students enrolled. The Marcus HS feeder system includes three middle schools and seven elementary schools. Instrumental music begins in the sixth grade in homogeneous classes. Seventh and eighth graders are in
full band classes, where individual skills are emphasized and ensemble skills are developed and refined. The Marcus Wind Symphony is the top performing concert ensemble for wind and percussion students and convenes daily as a course throughout the year. Members pursue musical development year-round through preparation for UIL and TMEA performance opportunities as well as curricular and extracurricular musical activities. The Wind Symphony performed at the Midwest
Band & Orchestra Clinic in 2007 and 2012 and has been recognized six times as a National Wind Band Honors finalist. The group was a 5A Honor Band finalist in 2006, 2008, 2010, 2012, and 2014. The Marcus Wind Symphony was awarded the John Philip Sousa Foundation Sudler Flag for excellence in concert band performance in 2014. The Marcus Wind Symphony is under the musical leadership of Amanda Drinkwater, who is serving in her 10th year as director of bands.
THE RIGHT KEYS. THE RIGHT PROGRAM. What’s the difference between a music program at a big school and us? You. At Texas Wesleyan, our professors will give you professional instruction that develops your gifts and gives you the individual guidance and support you need to be your best. Whether its performance or education — and anything else — you will thrive here.
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Southwestern Musician | November 2014 23
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W
hile the decision to have more than one performing ensemble in a program may seem obvious, for some, the decision isn’t quite that simple. Historically, larger schools have divided students into multiple performing ensembles, while smaller schools have been more reluctant to split them up. Even though there could be multiple reasons why a smaller school might not want to divide their students, there are some compelling reasons to consider that could ultimately result in a stronger overall program and greater individual musical growth.
WHAT’S YOUR PHILOSOPHY? Before making a decision to divide a program into multiple performing ensembles, it is important to make sure the structure supports the philosophy of your program. What are you trying to achieve? • Smaller, more manageable classes? • Greater individual development? • More challenges for students at their ability level? These are all good reasons for creating multiple ensembles, and only the director can truly assess whether this will strengthen the program, and more importantly determine whether it’s the best thing for the individual students. Student success stems from many elements, including satisfaction with their product, pride in their performing organization, a deep musical understanding, increased self-efficacy, and, most importantly, having fun and enjoying making music together. If you do decide to create multiple ensembles, or if you already have them, consider the following ideas that have helped us succeed in a small-school setting with multiple ensembles in our program. ALIGNMENT OF THE ENSEMBLES In addition to fitting in with the philosophy of the program, having a vertical plan in place prior to making the change will help facilitate the success of dividing the program into multiple groups. Consider the following:
BY K ATHY JOHNSON Student success stems from many elements, including satisfaction with their product, pride in their performing organization, a deep musical understanding, increased self-efficacy, and, most importantly, having fun and enjoying making music together.
• The overall goals of the program • Goals for each ensemble and objectives for each level Southwestern Musician | November 2014 25
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• An evaluation process • Rubrics for the evaluation • Specific requirements for each performing ensemble These are all things that educators already consider, but we must remember that our students may have a different perspective when faced with a change in the program from a single to multiple ensembles. They’ll want to know which is the top group. They’ll worry about their status within the musical organization and how their peers will perceive them. Some may have an attitude of entitlement, and this can create issues, especially for upperclassmen not placed in the varsity group. These are all legitimate student concerns, so they need to be ours as well. Referring to the groups as “first” or “top” and “second” could deter participation. Consider naming the groups “varsity,” “non-varsity,” or something that doesn’t suggest any hierarchy. To maintain the health of each ensemble, transitions like this need to be carefully and thoughtfully planned.
MAKING IT WORK Planning each group’s instrumentation and determining whether you have enough players to sustain multiple, healthy and independent ensembles is critical to the process. Staffing for multiple groups is also key. While one director can certainly teach multiple ensembles, it is beneficial when each has a dedicated director whose top priority is their performing group. Clearly this is not always possible, especially in a small school with only a single director. Still, many programs have been quite successful with a single director teaching multiple groups. With multiple ensembles, it is crucial that students believe they could become a member of another group. Set all students up for success and hold them all equally accountable for their progress. Student attitudes reflect that of their director, so if you don’t like what you see in them, remember that they are learning it from you. Offering smaller ability-based ensembles can create greater opportunity for individual student growth, as a musician and as a student leader. Emphasize individual student success through participation in Region auditions, chamber
music, and solo performance. Ensure that the non-varsity groups are not a dumping ground for unruly students. Discipline should not be a criteria for placement. It’s important to reiterate that accountability for successes in performance and behavior must be that of the students. DIFFERENT GROUPS, SAME APPROACH When developing the curriculum for each ensemble, think vertically, and begin with the end in mind. Decide what you want your students to achieve, and document the steps to get them there. Each ensemble should work on essentially the same concepts; they will simply work on them at different levels. If you are fortunate enough to have multiple directors on staff, ensure each group shares a common vocabulary. This facilitates easy transition between groups, and when groups perform together, all students will be speaking the same language. In addition to the fundamentals each group will learn, be sure to select literature that will challenge each group while also showcasing their strengths. Every student has pride in their ensemble and
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in part that comes from the music you put in front of them. Your choices will either challenge them and set them up for success or set them up for failure if you overprogram or don’t challenge them enough. Make time to schedule sectionals for each group. Use this time to develop individual skills, work on fundamentals, and refine music for auditions, concerts, or contests. ENSEMBLE ASSIGNMENT With multiple groups, you’ll obviously have to decide how to assign students. You
could set up ability-based or grade-level groups. As you consider each method, think about what will best benefit the students. Placing all of the top players in one group may not be the best option. Instead, you may want to establish two equal ensembles to allow all students the opportunity to lead. If you make them strictly ability-based, consider allowing students to move from part to part as they change pieces so that you are constantly challenging and developing all players. No matter what you decide for the selection process, each performing orga-
nization should have requirements for membership. You could require everyone to work on Region audition music or you might require or at least encourage participation in a chamber music contest or concert. All of these activities serve as mediums to develop the individual musician. WHAT’S STOPPING YOU? Directors often maintain a single performing group because their school schedule prohibits multiple rehearsal periods. Some believe there is safety in numbers, and others simply haven’t considered it because they’ve never done it that way. Whatever the reason, don’t hesitate to try something new—just approach it in an organized, thoughtful manner. Your administrators, students, and parents will respect and appreciate your commitment to developing the students’ strengths as long as you present the change in a positive and well-developed way. Work with administrators and counselors to find a way to make the schedule work. You will be more likely to get what your students need if you come to the table with ideas and suggestions rather than expecting administrators and counselors to do the work—after all, creative scheduling is one of the things we do best! Be equitable across the ensembles— hire clinicians for each group, enter each group into contests, make each group realize their success is the most important thing to you. Yearly traditions are part of what inspires student ownership in their program. Encourage students to create these traditions and guide them in a positive direction to leave with those legacies established. Many traditions evolve organically from an incident or experience that students share, and those often become the most meaningful. Allow for social time as this component of any organization is often what motivates students to join in the first place and is when many of these traditions are born. Remember to document progress and successes. Maintain an archive of photos and newspaper clippings. Pride and ownership of each group in a program goes a long way in the success of the ensembles, and that ownership should be experienced by the students. When it is, depth is created and students thrive. Kathy Johnson Director of Bands at Argyle HS.
28 Southwestern Musician | November 2014
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Conducting & Ensembles
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Lois Ferrari, Orchestra & Wind Ensemble David Guidi, Jazz Ensemble Kenny Sheppard, Chorale & Southwestern Singers
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Strings Keyboard Vincent Lam, piano David Polley, organ Pamela Rossman, piano Kiyoshi Tamagawa, piano David Utterback, piano Robert Warren, piano
David Asbury, guitar Delaine Leonard, harp Steve Kostelnik, guitar Eri Lee Lam, violin Jessica Gilliam-Valls, double bass Tim Washecka, viola Hai Zheng, violoncello
Music Education
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Lois Ferrari Kenny Sheppard
Jason Hoogerhyde Eileen Meyer Russell Kiyoshi Tamagawa
Woodwinds, Brass & Percussion Anna Carney, clarinet Daniel Chrisman, bassoon Patrick Creel, horn Susan Douglas, oboe David Guidi, saxophone Adrienne Inglis, flute Kyle Koronka, trumpet Erin Martysz, percussion Eileen Meyer Russell, low brass 1001 E. University Ave Georgetown, Texas 78626 (512) 863-1504 music@southwestern.edu www.southwestern.edu/sarofim/music
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recent routine trip to the copy room ended in a deep discussion with an AP teacher on the value of music in the curriculum and the time commitments placed on students in fine arts. On the evening of this particular day, we were having the annual meet-the-teacher night at my high school. My codirector overheard one of the most talented teachers on our campus in full rant about how students could not pass his AP class without attending frequent tutorials, and he was determined to make this point to parents that night. Not realizing a fine arts teacher was in the room, he proceeded to air his frustrations about “those band and orchestra kids.” He complained that we take up too much of the students’ time, always have them out of class, take trips just for fun in the spring—at the worst possible time—and don’t allow students to get tutoring because of all our extra rehearsals. My codirector tried to reason with him, but the rant simply continued. Clearly, there were some deep emotions stirring in this teacher for him to vent in such a public space. The content of this teacher’s speech, however, raises some interesting questions. Are we so focused on our own programs that we are blind to our students’ needs outside of our classrooms? Does this AP teacher have the same problem? How are we perceived by our colleagues on our campus, and does it matter? Concerned about what this teacher said and the venue in which he delivered his message, we invited him to discuss his concerns in private. What followed was a fascinating and productive discussion that revealed his perceptions were based on both fact and fiction. Without describing the discussion point by point, there were several moments of discovery for each of us. The most revealing conclusion was that this teacher has much more in common with the
ORCHESTRA NOTES IMPORTANT DATES November—Make your convention hotel reservation (www.tmea.org/housing). November 8–9—First and second rounds of All-State CD judging. November 14—Deadline to apply to perform for Arts Education Days at the Capitol (go to www.tcqae.org). November 15—TMEA scholarship online application deadline (see page 2). December 31—TMEA convention mail/fax preregistration deadline. January 22, 2015—TMEA convention online preregistration deadline. February 11–14, 2015—TMEA Clinic/ Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.
We must make sure, as we strive for excellence, not to have blinders on when it comes to the other academic needs of our students. Southwestern Musician | November 2014 31
fine arts teachers in our building than he ever would have imagined. Our passion for our subjects burn at a similar level, and we each demand the best out of our students, requiring them to come in for additional help. The competitive nature of fine arts in Texas is the motor that has driven the quality to staggering heights. We are all engaged in a quest to get teenagers to sound like professionals on adult-level literature. In doing this we demand much of our students’ time and energy outside of normal rehearsals. In my discussions with this AP teacher, it became apparent he is as competitive and driven by the success of his class as any music teacher. I asked this teacher to consider what he would do if he had to put his product on public display every Friday night, had to perform to a packed audience in the auditorium, or had to have his product publicly rated by professionals. I also reminded him we have to sustain our own jobs by recruiting students and making our classes attractive enough for them to return. This was an eye-opening perspective for him and he seemed to have a better understanding of what we do and why we do it.
Fine arts classes alter the lives of many of our students, even the ones who are not going to pursue music careers. The training provided to our students through fine arts from kindergarten through high school helps prepare them to be able to even attempt the more difficult AP classes. Last year at my school, nine of the top ten seniors were fine arts students. I know you have similar experiences where you teach. Even though we understand the great benefits of music to our students, we do have to ask if our time demands are hindering their overall welfare. Students feel tremendous pressure to excel in all their classes, many of which will help them determine a career path. We must make
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sure, as we strive for excellence, not to have blinders on when it comes to the other academic needs of our students. We can, and sometimes do, demand too much. It is too easy to stay on our side of the building and focus only on our programs. We have to make sure the perceptions of this AP teacher are not, in fact, reality. Take some time to evaluate how your class is affecting students both positively and negatively. Engage other academic teachers and administrators in these types of discussions in a positive way and find common ground to work together for the benefit of students. We share too many students with our most difficult academic classes to be focused only on our performances. As you take
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off your blinders, I think you will enjoy the view! 2015 Clinic/Convention Update I am pleased to offer information about three of our four Honor Orchestras that will perform during the 2015 TMEA Clinic/Convention. When you attend, be sure to attend their performances to show your support of these incredible musicians! As you think about our convention, which is now just a few months away, ensure you preregister and secure your hotel reservation using the TMEA housing system. Go to www.tmea.org/convention for all this and more. Remember that once again, the TI:ME Music Technology Preconference will be held Wednesday, offering a concentration of technology clinics for an additional $50 registration fee. Be sure to look for the December issue, which will include a full preview of the convention schedule and our January issue where we will feature the HS String Honor Orchestra and our invited university orchestra.
High School Full Honor Orchestra Plano SH Symphony Orchestra Brian Coatney, Jeremy Kondrat, and Tara Cesario, Directors The string instrument program of Plano ISD began in 1974, with an initial enrollment of 50 students. Today, Plano ISD has over 3,000 students enrolled in its orchestra program, with approximately 1,400 in the Plano SH cluster alone. Plano SH is designed for the final two years of a student’s public school program, offering a wide variety of academic and career major studies. The music curriculum of this school includes orchestra, band, choir, jazz band, and music theory. Students in the orchestral program participate in Region 25 Orchestras and Texas All-State Orchestras and Bands. Over the past decade, the PSHS orchestra has consistently won UIL Sweepstakes awards, numerous best-in-festival awards at national music competitions, including 1994 and 2000 Grand Prize Winner for the American Classics National Festivals and 2003 Grand Champions for Musicfest Orlando. The Plano SH Chamber Orchestra was named TMEA Honor String Orchestra four times (1993, 1995, 1998, and 2000). The spring of 1995 brought a performance in Carnegie Hall. The Plano SH Symphony Orchestra performed for the Music Educators National Conference in Phoenix in April of 1998. The PSHS Orchestra program has been invited to perform three times at the prestigious Midwest Band & Orchestra Clinic. Plano SH Symphony Orchestra was named TMEA’s 2007, 2009, and 2012 HS Full Honor Orchestra. Middle School String Honor Orchestra McMeans JH String Orchestra Amy Williams, Director McMeans JH is part of Katy ISD and instrumental instruction there begins in the sixth grade and continues through the twelfth grade. Sixth graders have the opportunity to participate in orchestra, band, choir, theater, or art as their elective. The orchestra program consists of three homogeneous beginner classes and three auditioned ensembles and totals 150 students. Students in orchestra perform in various competitions throughout the year, including Region orchestra, solo and ensemble contest, UIL Concert and Sightreading Contest, as well as for festival performances. The ensembles typi-
34 Southwestern Musician | November 2014
cally perform four noncompetitive concerts throughout the year. Students in the most advanced orchestra attend weekly afterschool sectionals in addition to their daily class. Twice a year, the orchestra combines with the band to perform as a full orchestra. In December 2014, the full orchestra from McMeans will perform at the 68th annual Midwest Band & Orchestra Clinic. Furthermore, the full orchestra has placed in the TMEA Honor Orchestra finals each year since 2011. In addition to consistent UIL Sweepstakes awards, the string orchestra placed in the TMEA Honor Orchestra finals in 2011, 2012, and 2014. Students who are involved in orchestra are also active in athletics, theater arts, academic quiz bowl, and student council. Middle School Full Honor Orchestra Faubion MS Full Orchestra Kari Zamora & Brian Beck, Directors Located in the north of the Dallas/ Fort Worth Metroplex in McKinney is Faubion MS, a sixth- to eighth-grade campus. With 975 students enrolled, over 65% participate in band, choir, or orchestra. Students begin their musical journeys in the sixth grade with daily classes. Both the Faubion MS bands and orchestras have enrollments of approximately 200–230 students. The orchestra program includes three beginning classes, three upper-level ensembles, and an optional afterschool rock orchestra. The band program consists of eight beginning classes and two performing groups. Each ensemble consistently earns the highest ratings at their UIL Concert and Sightreading Contests. The orchestra program is in its tenth year of existence. The full orchestra meets during the same class period and is jointly conducted by head orchestra director Kari Zamora, assistant orchestra director Christine Glass, head band director Brian Beck, and assistant band director Kara Kazyaka. Combining efforts of the band and orchestra programs has created magical experiences for the students, and this group appreciates wonderful support by the administration, parents, community, and private teachers in this collaborative journey.
Plano SH Symphony Orchestra
McMeans JH String Orchestra
Faubion MS Full Orchestra Southwestern Musician | November 2014 35
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What is your approach to planning repertoire for the holidays while respecting students’ varied cultural and religious traditions? Kathy Kuddes, Administration Center, Plano ISD: Our district policy states: “The purpose of the inclusion of religious music in performances or instruction shall be academic, not devotional. Performances and instruction shall reflect religious diversity when appropriate.” Careful selection of a diverse repertoire accompanied by program notes that highlight the instructional purpose for the inclusion of each piece has been highly successful in minimizing concerns. Jo Ann Champion, Hutto MS Band, Hutto ISD: This year, we will perform winter selections without religious mention or significance to accommodate two students who could not otherwise participate. The selections are still fun and seasonally appropriate, but they are not Christmas songs. I don’t believe any student should ever be excluded from performance, so this is the best way for us to handle the situation. Neil Dusseault, Private Music Studios LLC, Boerne: As a private instructor, I hold an initial interview with students before we begin lessons. I ask about their goals, whether there are any special needs, and of course, what types of music they prefer. Oneon-one lessons allow me to inform students about what to expect in future lessons in terms of my selection of repertoire, especially as the holiday season approaches. This way, there are no surprises and we stay on target with the students’ goals.
David Rodriguez, Wells MS Band, Harlandale ISD: I teach at a public school, and while I have my own beliefs about the holidays, I select secular seasonal music that won’t conflict with other religions and beliefs. Music can be appropriate and worthwhile without alienating students or parents. Al Torres, Livingston HS Band, Livingston ISD: I keep things as generic as I can, but if I do select music that is indicative of a particular culture or religion, I use the opportunity to offer a history lesson and teach across the curriculum. In history or government class, students learn about ideas that may not coincide with their religious or personal beliefs all the time. They may not like them or agree with them, but they can learn about them and respect them. It’s a great way to teach tolerance of others. Ida Steadman, Coronado HS Orchestra, El Paso ISD: Thankfully, I have had no issues or complaints regarding my choice of holiday music. We always play Christmas and Hanukkah music. Some students are not allowed to play religious music, so I always program enough secular music to keep them included. We strive to teach mutual respect through our programming. Kimala Ross, Houston Community College System: This is a good time to teach lessons on cultural appreciation and diversity awareness. I include Christian literature, Hanukkah, and Kwanzaa repertoire on the same program. I always make sure there is a brief synopsis in the program explaining the cultural heritage of each holiday. Sometimes students research a holiday and report their findings. Students are encouraged to do class presentations, and the top projects representing each holiday can be spotlighted at the program. Winning students are selected to speak before each section is performed. This is a good way to build a program and educate the audience about who lives in their Southwestern Musician | November 2014 37
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community and why they celebrate the way they do. It also fosters respect for others and their beliefs. J.R. Smith, Oak Ridge HS, Conroe ISD: I select pieces so that each choir sings at least one song representative of a different language or culture. The students enjoy learning through song and are excited about hearing repertoire from the other choirs. It is always nice to hear comments about their favorite pieces after the concert—they all seem to enjoy those from other cultures and languages (Hebrew is always a choir favorite). I try to plan concerts with variety to give the audience a multicultural experience. Rachel Warmanen, Houston HS Choir, Arlington ISD: I do my best to diversify my program and include quality choral music that may or may not relate to the holiday season. Typically I find one or two pieces that pay respect to different religions. I always include one or two pieces that fit into a general winter theme. I find that if I include a variety of music, the audience is happy and my students enjoy preparing for the concert. Michele Hobizal, Wolman Elementary, Katy ISD: There is no perfect answer to this question. Talk with your principal to know what they expect for a holiday/winter program. Talk with your elementary specials team, your district’s fine arts administrators, and, if possible, the previous elementary music teacher. You are by no means restricted from using sacred music or any holiday music. Just be informed about your community. Remember that the elementary music teachers around you can help by giving you ideas on what they do. Holidays are always so much fun! Don’t stress out about what should be performed. Simply do your homework.
How do you modify instruction for ESL or bilingual students? Kathy Kuddes, Administration Center, Plano ISD: An important lesson I took away from ESL training was that as a music specialist I have always been a second language teacher. Many of the best practices overlap (using multiple modalities, repetition, and combining aural and visual cues). The main adjustment in working with a large English Language Learner population is to provide more opportunities for all students to use their words to discuss the lesson. Use small groups and pairs to encourage English language usage in a safe environment. Model complete sentences when asking and answering questions, and provide students with sentence starters when calling on individuals to respond. Elvin Porflit, Jefferson HS Choir, El Paso ISD: Many of our choir members cross the Mexican border daily to come to school. Some students speak such little English that communication is very difficult. We often pair English speakers with non-English speakers to help them with pronunciation and word recognition. We also provide time for students to practice conversing with their partners in a non-threatening environment. The partners also help explain directions as the students are learning to recognize key words that help them piece together what I am communicating. We also create word sheets of the text to make the music less confusing. As they become more comfortable, we transition to the sheet music. We are now exploring how providing a class that focuses on Texas music can help these students learn English
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as well as Texas history. There is no better way to learn a language than through music. Debbie Medina, Jackson-Keller ES, North East ISD: I choose repetitive selections like “Mi Cuerpo” that include Spanish and English words. This song is about body parts, so that is helpful with non-English speakers. Most of these students really want to sing the songs. I show a lot of visuals and action words on the SMART Board or on cards to help them. I pronounce the words very slowly at first and add them in short phrases so they can start grasping the English language. Domingo Porras, Ramirez ES, Pharr-San Juan-Alamo ISD: It is important to offer lots of repetition while still challenging those students who don’t need modification. One group might focus on the musical aspects while the other group benefits from the language aspect of the music. Everyone benefits from the nonverbal aspects of the musical experience. Paula Reeves, Clarke ES, Fort Worth ISD: The only students for whom I modify instruction are those in our Language Center classes. These are third–fifth graders who do not have enough English language knowledge to be in standard ESL or bilingual classes. For the LC classes, my goal is to teach them English using music. We use a lot of nursery rhymes, silly poems, and short songs that use beat-motions. This puts the words in their mouths and helps make inflection and word and sentence stress natural as they continue learning English words and phrases in their LC classes. Once they have mastered a rhyme, poem, or song, I show the words on the Promethean board. They already know how to pronounce the words, so when they see words with silent letters, such as in “night” and “fright,” they’ll be more likely to
pronounce them correctly (e.g., use the poem “Mrs. White Had a Fright”). Using music to teach these students English gives me great satisfaction. You might think upper-level elementary students won’t want to recite nursery rhymes, but they are still kids! Many of these students are from migrant families or their lives have been completely uprooted by bad conditions in their home countries. I always allow my students to be kids in my classroom. It helps them be genuine with me and each other. Ida Steadman, Coronado HS Orchestra, El Paso ISD: Because El Paso has a majority of Spanish speakers, our new superintendent wants everyone to be bilingual. In our orchestra classes, I often end an instruction with a phrase in Spanish to be sure that all do understand and to brush up on my Spanish. We will do a bit of vocabulary in both languages.
How do you help girls who struggle with pitch matching? Marianne Morrison, Bay Area Christian School, League City: I have found that grouping 4–5 girls into clusters in different parts of the room works well. I put three stronger voices with one or two weaker voices. As we work the music, I have each cluster sing a portion of the music. I have found that the girls who have difficulty matching pitch are more easily heard when singing in a smaller group. I also utilize a portable CD player with an audio splitter to allow multiple students to share the listening device. This seems to help because the part is louder in their ear, and they are more likely to match the pitch if they can hear it clearly.
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Kathy Hollier, Groves MS Choir, Port Neches-Groves ISD: If you are looking for a fun way to help students who are having pitch problems, try PlayStation SingStar games. Students sing into a microphone and see on screen if they are above or below the correct pitch. It also shows rhythmic accuracy. The more accurate you are, the higher your score. SingStar games are available in many genres. I purchased the PlayStation and games at a resale store. It is cost efficient, beneficial, and fun! Carol Perry, Brenham HS Choir, Brenham ISD: When I call roll, each student answers using the interval of the day—which they sing together a few times first. If they hesitate to answer when I call their name, I sing it with them. In just a few weeks, this has greatly increased their pitch matching, confidence, and intonation. Amanda Ransom, Henry MS Choir, Leander ISD: First I check to see if the girl is aware of the problem (sometimes that’s half the battle). Then I sit her near someone whose ear and voice is very strong. I bring both girls together and we discuss why they are sitting next to each other. I also point out how one should help the other and what one should learn from the other. Allison Tilotta, Spring Woods MS Choir, Spring Branch ISD: I have found success using “choir phones.” I make these out of three sections of PVC pipe (two elbow sections and one straight to form the shape of a phone handset). Students sing into them just as they would speak into a phone. It helps them better hear exactly what they sound like. I’ve found similar items for sale, but they usually cost $8–$13. My version costs about $4 and is very durable!
How do you help support students in your program who are active in multiple school programs? James Russell Balusek, Sealy HS Band, Sealy ISD: We have built solid relationships with the coaches and other group sponsors and are proactive when conflicts arise. We let students know they don’t need to be in the middle. If they notice a conflict that we haven’t addressed, they let us know, and we handle it with the other teacher. Our campus has become very proactive by scheduling in May for the fall semester, and we work out rehearsal/ practice schedules to maximize our students’ efforts. Nicholas Durham, Carthage HS Band, Carthage ISD: We condensed our full band afterschool practices to one day per week. Instead of trying to get everyone for an hour or two several times a week, we run sectionals followed by full band on Monday evenings. Once we condensed the afterschool rehearsals, we experienced significantly higher attendance. Jason Howard, Goliad HS Band, Goliad ISD: We work very closely with our athletic department since we share many students. I allow the athletes to arrive 20 minutes late to evening rehearsals (our practices overlap by 15 minutes), and in exchange, they excuse them from Saturday practices on contest days. Other organizations on campus usually schedule their activities around athletics and band. Katie Lewis, Maus MS Band, Frisco ISD: As directors, we work very closely with the coaching staff, theater teacher, and other sponsors at our school to ensure all students can participate
in multiple activities. This helps our middle schoolers to discover what their niche might be for the future. We schedule concerts around games so students won’t have to choose. Scheduling is done at a June calendar meeting for the following year, and again in January for a midyear check. This includes administrators, coaches, and theater, art, choir, orchestra, and band staff so that we can work together and make it possible for students to be involved in any activity they like. It is critical that we demonstrate to students how important every aspect of their growth is and that we support them in their choices. We also attend our students’ other events to show our continued support. Josh Nowlin, Kaufman HS Band, Kaufman ISD: We have about nine students in our marching band who also have tennis matches on Friday nights. Last year, we worked with parents to create a carpool system to get students from their tennis match to the football game by halftime. We also work with the tennis coaches to schedule those matches first. We’ve had a few close calls, but these students are assets to both the band and the tennis programs. It takes a lot of communication, but it has worked very well for a several years. Al Torres, Livingston HS Band, Livingston ISD: I think the best solution is communication between the student and the sponsors. Many of my band students are actively involved in other organizations and we have a standing rule that it is their responsibility to communicate their absence or conflict in advance. We publish a yearly calendar with all of our dates. Students, along with their parents, identify the conflicts, and we find the solutions. Be understanding and grateful that your students are actively involved—that just means you have the best! Naomi C. Arredondo, United South MS Choir, United ISD: The most creative way to work with students in multiple school activities is technology. I use multiple apps with the students. With SmartMusic, they can practice any time and send me their practice record via email. The Remind app helps me keep them informed on scheduling, money due, and other information they may have missed. The school’s class webpage also helps them keep informed and organized. Cory Gibson, Willowridge HS Choir, Fort Bend ISD: I require them to attend a certain number of rehearsals monthly. At the beginning of the year they are required to identify all of their other organizations, and they must coordinate the calendars and plan ahead as much as possible.
What Do You Want to Know? Email us questions you want answered in future Tutti installments.
kcross@tmea.org Southwestern Musician | November 2014 43
TMEA Clinic/Convention F E B R U A R Y 11 –14 S A N A N T O N I O
concerts In addition to TMEA All-State concerts, choose from over 50 performances by elementary through college bands, orchestras, and choirs. Get inspired by top musicians led by premier conductors. You’ll also want to attend All-State rehearsals!
preregister to save time & money!
—Lisa Trewin, Elementary Music Teacher
r 26,000 A Ove tte n
clinics
es! de
It is the best four days of my school year every year because it revitalizes me and gives me new energy and new ideas to put in my classroom!
We offer over 300 clinics for band, orchestra, vocal, elementary, and college division members! You won’t find another convention with this many opportunities to increase your knowledge and skills.
PRESIDENT’S CONCERT: FEB 11• 8 PM • $10
exhibits Shop two exhibit halls filled with over 1,200 booths offering products and services at the best possible prices. This hands-on comparison will help you determine what best fits your program’s needs. Get ready to shop till you drop! 44 Southwestern Musician | November 2014
The Swingle Singers’ vocal agility and blend, combined with captivating showmanship, thrill audiences around the globe. These seven young and versatile voices deliver folk ballads, funk jams, and fugues with equal precision and passion. Purchase your $10 tickets when you preregister.
wingle Singers The S
W W W.T M E A . O R G/C O N V E N T I O N
Our state’s greatest natural resource B Y
D I N A H
M E N G E R
W
e have a natural resource at our fingertips waiting to be discovered or remembered and put to great use—retired choir directors! All across Texas are retired master teachers who have a wealth of experience, advice, and mentorship that we should be constantly utilizing! For every pre-UIL and UIL Concert and Sightreading Contest (for which scheduling judges is difficult because of overlapping dates), there are retired experts with less rigid public school schedules who are ready and willing to serve on judging panels. Their years of knowledge in repertoire, choral sound, and teaching make for excellent ears. Don’t let these wonderful opportunities escape you. Retired members should communicate with Region Chairs and Executive Secretaries so they know you are ready and willing to be recalled for service! Ours is a tradition of artistry that can be better served by the elders of our choir tribe. Honoring our retired teachers by having them pass on experiences learned in the school of hard knocks is invaluable and might even save those of us still teaching from making some avoidable mistakes. These directors can also help us preserve the wonderful repertoire being forgotten instead of being passed from one generation to the next. When great music goes out of print it’s like a species becoming extinct. Can you imagine not singing Bach? Had Mendelssohn not rediscovered his music, it might simply have continued to lay dormant and, ultimately, vanished. The same can be said of so much great choral repertoire not being passed on to today’s generation of young, new directors. Our retired director population can unveil and introduce this generation to an almost forgotten resource of rich music. Stan McGill, one of our great retired directors, is currently working on an “endangered species” list of soonto-be-forgotten repertoire—traditional spirituals, the works of Texas’s own Dede Duson, and later major works (e.g., Psalm 150, Op. 5 by Alberto Ginestera, which I sang in my 1977 Texas All-State Choir). These are just a few of the
Be a valuable resource to a new member of our profession by joining the mentoring network at www.tmea.org/mentor. Many new choir directors who have requested a mentor, and we don’t have enough Vocal Division mentors to assign.
VOCAL NOTES IMPORTANT DATES November—Make your convention hotel reservation (www.tmea.org/housing). November 14—Deadline to apply to perform for Arts Education Days at the Capitol (go to www.tcqae.org). November 15—TMEA scholarship online application deadline (see page 2). December 31—TMEA convention mail/fax preregistration deadline. January 10, 2015—Area auditions. January 22, 2015—TMEA convention online preregistration deadline. February 11–14, 2015—TMEA Clinic/ Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.
Southwestern Musician | November 2014 45
DEPARTMENT OF MUSIC
Admissions & Scholarship
AUDITIONS 2015 AUDITION DATES*
February 21 March 14 March 28
DEGREES Offered:
To APPLY:
Bachelor’s and master’s degrees in Music with emphases in Performance and Music Education
Visit tamuc.edu/Music. For more information, call 903-886-5303.
*Additional dates upon request. Auditions are required of all entering and transferring music majors.
Performance.
Pride.
Passion.
examples of rich works that deserve to be sung by a new generation of voices. Many who sang with or were students of Robert Shaw are part of our retired population. How tragic it would be for this incredible choral pedagogy to simply fade away because those devoted to its perfection are no longer teaching and passing on its magic! Do younger directors even know about the history and importance of now-deceased choral trailblazers like Robert Shaw? Bev Henson? Hugh Sanders? Robert Young? Bill Cormack? Jim and Glenda Casey? For every name here there are many more who left a profound impact. If you know someone who is no longer teaching and would be an excellent resource, utilize their expertise! 2015 Clinic/Convention Update I would like to take this opportunity to plead with you to volunteer for the 2015 Convention. Derrick Brookins, our wonderfully experienced Convention Coordinator, is facing a great deficit in this area. Your help is truly needed, so go to www.tmea.org/vocalvolunteer and enter your information. Thank you in advance! Also, be sure to make your con-
vention hotel reservation if you haven’t already. Go to www.tmea.org/housing today as several hotels are already sold out. This is one of my favorite issues of our magazine because I get to introduce six of the twelve Invited Performing Choirs for our convention. Their biographies are a dramatic reminder of the high-quality programs we are blessed with in our state. For each choir represented, there are a plethora of others just as incredible! Enjoy reading about these choirs and their dedicated directors, and look to the January issue for the remainder. Barbara Bush MS Varsity Men’s Chorus Dianna L. Jarvis, Director The Barbara Bush MS Varsity Men’s Chorus (in North East ISD) is a nonauditioned group of seventh- and eighthgrade young men who perform annually at school concerts, elementary schools, community events, choir festivals, and various competitions. They have a long history of success that includes 16 consecutive UIL Sweepstakes awards, eight best-in-class designations, and two bestin-show awards at various music festi-
vals throughout Texas. In addition to their participation in the Bush Choir, this year’s 43 members are involved in a wide variety of activities such as athletics, National Junior Honor Society, theater arts, band, orchestra, student council, Boy Scouts, church youth groups, and other civic organizations. Dianna L. Jarvis is in her 29th year teaching, with the past 16 at Barbara Bush MS. She is a graduate of UT-San Antonio, where she received her bachelor’s and master’s degrees. Under Jarvis’s guidance, the four Bush MS competition choirs have earned 54 consecutive UIL Sweepstakes awards during the school’s 16-year history. The 2015 TMEA convention marks the second time Jarvis and the Bush Choir have been honored to appear as invited performers. Cinco Ranch HS Chorale Dorothy Wilson, Director The Chorale is the varsity mixed organization of the 225-voice Cinco Ranch HS choral program in Katy ISD. The Chorale performs in a variety of concerts at school, community events, and various festivals. The Chorale has consistently earned UIL Sweepstakes awards as well
Texas Lutheran University School of Music
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PHOTO CREDIT: JOHN BELLARS
2015 Festival Conductor Saturday, January 24, 2015 9:00 a.m.– 5:00 p.m. | Jackson Auditorium For more information contact: Laurie Jenschke, festival director at ljenschke@tlu.edu or 830.456.3016. SCHOOL OF MUSIC
To register online, go to www.tlu.edu/cma and click on the Youth Choir Festival link.
Southwestern Musician | November 2014 47
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as best-in-class and most outstanding performance designations at festivals in the southwest. The ensemble has performed at invitational concerts at Sam Houston State University, the Moores School of Music at the University of Houston, the University of Texas, as well as in the Houston Chamber Choir’s “Hear the Future” Concert. Chorale members are successful in Region and All-State Choir auditions. They are involved in a wide variety of school activities including athletics, theater, dance, National Honor Society, Mu Alpha Theta, and National Spanish Honor Society. Dorothy Wilson has directed the Chorale for 12 years. She is a graduate of Sam Houston State University, where she received her bachelor’s and master’s degrees. Wilson is the Fine Arts Department Chair at Cinco Ranch HS. In 2010, she was selected as the Cinco Ranch HS Teacher of the Year and has served as the TMEA Region 23 Vocal Chair for three terms. Flower Mound HS Men’s Chamber Choir Mark Rohwer, Director The Men’s Chamber Choir is the var-
sity men’s organization of the 200-member Flower Mound HS choral program in Lewisville ISD. The group’s primary repertoire includes a cappella literature, exploring various styles from various time periods. A consistent UIL Sweepstakes award-winning ensemble, the Men’s Chamber Choir also performs at many concerts and events around Flower Mound and the Dallas/Fort Worth Metroplex. In 2010, the choir received a Gold Diploma and was named Winner of the Category at the American International Choral Festival in St. Louis. In 2014, the choir was named Grand Champion of the Festival di Voce in Dallas. Students from the Men’s Chamber Choir are active in local and state solo and ensemble contests, as well as in Region and All-State choirs. Many graduates of the Flower Mound choral program have gone on to successfully pursue music study at major institutions in Texas and nationwide. Mark Rohwer is the Director of Choral Activities at Flower Mound HS. He has been at FMHS since its opening in the fall of 1999. Prior to his appointment at Flower Mound HS, he served on high school faculties in Mesquite and McHenry, Illinois.
Rohwer holds degrees in music education from Northwestern University, the Eastman School of Music, and the Ohio State University. He is a former TCDA High School Division Vice-President. Highland Park HS Lassies Natalie Walker, Director Highland Park HS is located immediately north of downtown Dallas in the sixsquare-mile suburban area of Highland Park and University Park. Since Highland Park schools were founded in 1914, there has been a consistent effort to build a tradition of excellence in academic and extracurricular activities. The Lads and Lassies (the varsity mixed choir) have been an important part of the school and community since shortly after the school opened 100 years ago. The Lassies (varsity women’s choir) perform with the mixed ensemble and also compete separately at UIL. This 45-member auditioned women’s ensemble performs five home concerts annually, consistently earns UIL Sweepstakes awards, sings the national anthem at sporting events, performs for community events, and tours yearly. Almost all of the students participate in
Music scholarships available to non-music majors ■ Faculty who focus on UNDERGRADUATES ■ National and international ENSEMBLE TOURING ■ DEGREES in music education, performance,
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trinity.edu/music
think. perform. explore.
June 2014, the Trinity University Music Department was recognized as an ALL-STEINWAY SCHOOL by Steinway and Sons, for its commitment to excellence and purchase of 32 Steinway pianos.
Southwestern Musician | November 2014 49
other school activities including track, lacrosse, field hockey, band, orchestra, theater, student council, and cheerleading. The Lassies Choir is under the direction of head director Natalie Walker and associate director Paul Doucet. Walker has been with the HPHS choral program for 10 years, serving as director of K–12 choral music for the past seven. In 2008 she was honored as a TCDA Distinguished Young Director. She holds bachelor’s and master’s degrees in music education from Texas Tech and Southern Methodist University. McCullough JH Chamber Choir Connie Horton, Director The McCullough Chamber Choir is the premier girls’ choral ensemble at McCullough JH in Conroe ISD. With 39 eighth-grade young ladies, the Chamber Choir is a unified team dedicated to choral excellence. Membership is earned through an audition and consideration of work ethic, attitude, and ability to work as a team member. Chamber Choir members are also expected to maintain good grades and demonstrate exemplary behav-
ior. These young ladies are accomplished performers who sing in seven concerts throughout the school year. Many members are also members of the McCullough Mixed Choir. They are also involved in band, orchestra, theater, drill team, tennis, volleyball, basketball, and football. The Chamber choir is taught by Connie Horton and associate choir director, Kelly McDonald, who assists in rehearsals. Horton is in her 20th year of teaching in Conroe ISD. After teaching at the fifthand sixth-grade levels for 14 years, Horton became the assistant at McCullough JH in the fall of 2009 and then head director in 2012. Under her direction, the choirs have excelled and the program has grown to 270 members. Horton has served as a guest clinician, conductor, and adjudicator in several areas of Texas and has served in leadership roles in both TMEA and TCDA. Trinity University Chamber Singers Gary Seighman, Director The Trinity University Chamber Singers comprise 37 undergraduate musicians. With over 25 academic majors represented, this ensemble epitomizes the
Application Deadline: December 1
www.colorado.edu/music 50 Southwestern Musician | November 2014
liberal arts experience combined with a commitment to high-quality choral artistry. Recent projects include a Spanish Baroque program with the Walden Chamber Players of Boston, a production of Henry Purcell’s Dido and Aeneas, Tomás Luis de Victoria’s 12-voice Missa “Laetatus Sum” in Washington, D.C., and multiple programs with the San Antonio Symphony. They have also served as ensemble-in-residence for the Composer’s Alliance of San Antonio to champion new choral works. This season they will be debuting a composition by Norway-based composer Andrew Smith, alongside the Grammy-nominated New York Polyphony. The Chamber Singers will embark on a west coast tour this March. Gary Seighman is Director of Choral Activities at Trinity, where he oversees a comprehensive choral program and teaches courses in conducting and music education. He has presented at state, regional, and national conferences. He is on the board of the National Collegiate Choral Organization and holds degrees from Westminster Choir College, the University of Oklahoma, and the University of Maryland.
Music is your passion TCU is your school SCHOLARSHIP OPPORTUNITES AVAILABLE FOR YOU At TCU, you can receive both music and academic scholarships that make attendance more affordable. NORDAN SCHOLARSHIP The NORDAN Scholarship is an exclusive award, open to entering freshmen vocalists, instrumentalists, and composers of superior talent, who have chosen to major in music. NORDAN winners receive a four-year, FULL TUITION AWARD. NORDAN Live Auditions are held on January 17, 2015 by special invitation. More information is available at www.music.tcu.edu/nordan-request.asp TCU EARLY APPLICATION/DECISION PROGRAM If you are interested in an earlier admission response we strongly encourage you to complete all application procedures before the TCU Early Action deadline of November 1, 2014. TCU Early Action provides application review and nonbinding University notiďŹ cation by January 1, 2015, while allowing you to decide by May 1, 2015 (National Candidate Reply Date) to attend TCU. AUDITION DATES FOR SPRING 2015 January 31, 2015, February 21, 2015, and February 28, 2015 GRADUATE PROGRAMS AVAILABLE FOR YOU TCU offers Master of Music and Doctor of Musical Arts degrees in different disciplines. Graduate Assistantships are available. For more information on undergraduate and graduate admission requirements and application deadlines, please visit our website or call the School of Music at 817-257-7341.
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Barbara Bush MS Varsity Menâ&#x20AC;&#x2122;s Chorus
Cinco Ranch HS Chorale
Flower Mound HS Menâ&#x20AC;&#x2122;s Chamber Choir 52 Southwestern Musician | November 2014
Highland Park HS Lassies
McCullough JH Chamber Choir
Trinity University Chamber Singers Southwestern Musician | November 2014 53
Leading professionals help advance your career as a Texas music educator
School of Music Amanda Soto
Amy Simmons
Elementary general specialist
Music learning research specialist
» Ph.D. University of Washington » Taught general music in K–6 » Certifications in Orff, Kodály and world music pedagogy from the Smithsonian Institution » Published in the Journal of Research in Music Education, Music Educators Journal, College Music Symposium, Multicultural Perspectives in Music Education and Music in American Life
» Ph.D. The University of Texas at Austin » Editorial Board, Journal of Research in Music Education » Director of Graduate Studies in Music
Lynn Brinckmeyer
Mary Ellen Cavitt
Choral specialist » Ph.D. University of Kansas » Former President, National Association for Music Education » Contributing author The Music Director’s Cookbook and The Choral Director’s Cookbook
» Published in Journal of Research » Co-founder, Hill Country in Music Education, Annals Youth Chorus of the New York Academy of » Choral conductor for honor Sciences, Bulletin of the Council choirs in 47 states and 12 for Research in Music Education countries and Update: Applications of Research in Music Education
Instrumental specialist » M.M. The Juilliard School, New York; Ph.D. The University of Texas at Austin » Editor, Texas Music Education Research Journal » Author, On Teaching Band: Notes from Eddie Green » Associate Director, School of Music » Presentations at national and international music teaching and research conferences
scholarships and master’s assistantships available music.txstate.edu
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Taking the Lead
by Rochelle Mann
Recognizing and Cultivating Leadership Skills in the Elementary Music Classroom
F
or the past several years, I have been helping my husband, a retired college president, edit his monthly column on leadership for the Four Corners Business Journal. Throughout this process I have come to realize that the principles of leadership for higher education and the business world are no different from the qualities we strive to promote and develop in our everyday music classrooms. As we monitor and guide our students in their musical development, we are also fostering the skills that effective leaders—in kindergarten, graduate school, or beyond—consistently demonstrate. Frequently, these leaders tend to be: • Good listeners • Collaborators • Creative thinkers able to improvise and explore change • Teachers and learners • Readers and storytellers • Ethical thinkers who serve others So how do we identify and promote these traits in our students? First, we need to keep in mind that leaders are not always who you think they are. They are not just section leaders in a performing ensemble, nor are they always the most outgoing. In her response to the concept that assertive and domineering people typically carry the day, Susan Cain states in her insightful book Quiet: The Power of Introverts in a World That Can’t Stop Talking: If we assume that quiet and loud people have roughly the same number of good (and bad) ideas, then we should worry if the louder
and more forceful people always carry the day. This would mean that an awful lot of bad ideas prevail while good ones get squashed. Yet studies in group dynamics suggest that this is exactly what happens. We perceive talkers as smarter than quiet types—even though gradepoint averages and SAT and intelligence test scores reveal this perception to be inaccurate . . . We also see talkers as leaders. (Cain 2012) The music classroom, however, can be a wonderful equalizer—one does not need to be loud, bossy, or athletic to be a successful leader. In an age when too few people are truly quiet, and thoughtful listening is becoming a lost art, what better place to develop listening skills than in the music classroom? From the first lessons during which children are encouraged to respond to a steady beat or recognize their own singing voices, we are instilling in our students the importance of listening carefully. As they refine their listening skills, children also come to know the importance of silence. Our goal as teachers is to see that throughout their time with us, our students become increasingly adept at thoughtful listening that will lead to informed musical decisions. Musical decision-making can be developed both on an individual basis and in a group setting. Perhaps the ideal example of this can be found in classic singing games. Many of these games employ a follow-the-leader format, requiring one student to improvise an action for the rest of the class to imitate. Each child is given an equal opportunity to contribute to the process, and each one is then rewarded by the affirmation of his or her colleagues. More advanced singing games often involve melodic or rhythmic improvisation or intricate movements requiring Southwestern Musician | November 2014 55
partners and elaborate formations. In other words, music students learn from an early age how to create and to collaborate. A new maxim could easily be: Everything I need to know I learned in a singing game. One of the objectives of effective music teachers is to ensure that students not only learn from their experiences but that they also learn from each other. When you incorporate group composition or improvisation activities, thoughtful assessment procedures, and collaborative projects, cooperative work soon emerges as a valuable and essential learning outcome. It is important to remember that all of these activities should have their foundation in the highest quality music possible. Our students’ musical decisions need to be rooted in the knowledge that comes from literacy—not just the ability to read and write music, but also the cultural sensitivity and understanding that results from working with outstanding teachers who serve as musical models themselves. As music students become music readers, they are able to share this unique language by becoming storytellers. A true musician is in effect a storyteller—a com-
municator of a thought, a sound, a place, a concept, a feeling . . . the list could go on. One of my mentors often asked, “If words were enough, why bother with the noise?” Sharing the noise is really what it’s all about. Music is meant to be shared, and whether our students eventually become performers or listeners, they will continue to utilize those skills developed in the elementary classroom. While sharing may not be at the root of all informed decisions or leadership styles, it does provide an initial basis for ethical thought. Our future does indeed lie with informed, creative thinkers who place service as one of their highest priorities. Eric Greitens, a celebrated author, humanitarian, and former Navy SEAL, states in his book Strength and Compassion: We are often implored to “look inside,” to “recognize our own potential,” to find “inner strength.” . . . Strength is not found. Strength is developed in action. We develop our strength most fully when we act to serve others. In serving others, we find that we have a power to create hope and shape lives. (Greitens 2008) As we approach our lesson planning,
we must keep in mind that we have the potential to do much more than train future musicians and concert-goers; we actually have the opportunity to nurture future citizens and potential leaders. The iconic pedagogue Zoltán Kodály frequently referred to teaching the “whole musician,” and in an address delivered at the Academy of Music’s year-end ceremony in 1953, he quoted Robert Schumann: The characteristics of a good musician can be summarized as follows: (1) a well-trained ear, (2) a well-trained intelligence, (3) a well-trained heart, and (4) a well-trained hand. All four must develop together, in constant equilibrium. As soon as one lags behind or rushes ahead, there is something wrong. (Kodály, 1974) Schumann’s principles hold true today, particularly as our music education settings and standards continue to evolve. By encouraging our students to become good listeners, collaborators, teachers, learners, readers, and creative, ethical thinkers, we are helping provide a solid foundation for everyone’s future. As music educators, we need to recognize and advocate for this not-so-common core: the core of leadership qualities nurtured in our own classrooms. Works Cited
www.printmusicsource.com
Cain, Susan. Quiet: The Power of Introverts in a World That Can’t Stop Talking. New York: Broadway Books, 2012. Greitens, Eric. Strength and Compassion: Photographs and Essays by Eric Greitens. Washington, DC: Leading Authorities Press, 2008. Kodály, Zoltán. The Selected Writings of Zoltán Kodály. Edited by Ferenc Bonis and Anemikiado Vallat. Translated by Lili Halapy and Fred Macnicol. Budapest: Boosey and Hawkes, 1974. Rochelle Mann is Professor Emerita at Fort Lewis College in Durango, Colorado, where she has served as a music department chair, dean, and K–6 elementary music teacher. She is also a 2015 TMEA Elementary Division Featured Clinician.
56 Southwestern Musician | November 2014
SPRING 2015
music scholarship and entrance AUDITIONS Saturday, January 24, 2015 Saturday, February 28, 2015 TEXAS WOMANâ&#x20AC;&#x2122;S UNIVERSITY DEPARTMENT OF MUSIC AND DRAMA Undergraduate Degrees in Music Music Education, Music Therapy, Performance, Liberal Arts
Graduate Degrees in Music Music Education, Music Therapy, Pedagogy, Performance
For more information contact the TWU Department of Music and Drama at 940-898-2500 or music@twu.edu. Department of Music and Drama P.O. Box 425768, Denton, TX 76204 www.twu.edu/music
University of North Texas College of Music
University of North Texas Audition Dates Saturday, January 31, 2015 (Denton)
Regional Auditions
Friday, February 6, 2015 (Denton)
(live jazz and percussion auditions offered on campus only)
(Graduate Percussion, Piano, Voice, and String Auditions ONLY)
Friday, January 23, 2015 (Chicago)
Saturday, February 7, 2015 (Denton)
Friday, January 23, 2015 (Los Angeles)
Saturday, February 28, 2015 (Denton)
music.unt.edu
The icing on the cake! B Y
C O L L E E N
R I D D L E
H
ow exciting this month’s edition of SOUTHWESTERN MUSICIAN is! I am thrilled to present four of our eight invited Elementary Performing Groups for our 2015 convention. These performances are always the highlight of the convention for me. When I am in the midst of an elementary concert at our convention, I am reminded that this is why I teach elementary music. These elementary performances represent many hours of rehearsal and preparation. They epitomize dedication from parents, the entire school faculty, administrators, and, as we very well know, their amazing directors. Our TMEA conventions continue to bring us the very best in elementary choral and instrumental workshops, the latest in technology tools, the newest classroom management strategies, unique ways to meet the challenges of our students with special needs, and the finest music vendors in the country, all while providing scores of networking opportunities. Yet the most exciting, rewarding and enjoyable part of our elementary TMEA convention is attending the elementary invited performing group concerts. These ensembles are extraordinary! In my opinion, they are the icing on the cake! I hope you will make it a point to attend the TMEA elementary concerts and strive to bring a performing group of your own in the years to come. Be sure to read about our four additional elementary invited ensembles in the January issue of SOUTHWESTERN MUSICIAN. Of course, you’ll want to watch for delivery of the December issue as it will contain a full preview of the convention schedule!
The most exciting, rewarding, and enjoyable part of our elementary TMEA convention is attending the elementary invited performing group concerts. They are the icing on the cake!
ELEMENTARY NOTES IMPORTANT DATES November—Make your convention hotel reservation (www.tmea.org/housing). November 14—Deadline to apply to perform for Arts Education Days at the Capitol (go to www.tcqae.org). November 15—TMEA scholarship online application deadline (see page 2). December 31—TMEA convention mail/fax preregistration deadline. January 22, 2015—TMEA convention online preregistration deadline. February 11–14, 2015—TMEA Clinic/ Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.
Southwestern Musician | November 2014 59
TMEA Convention Housing Reservations
Don’t Wait! tmea.org/housing
As you anticipate these incredible performances, be sure you have taken the opportunity to reserve your hotel room for the convention. TMEA offers you the best rates on downtown hotels, several of which have multiple special offers for TMEA member guests, such as free breakfast, discounted parking, and free Internet. Be sure to look for that information when you make your reservation—it’s also easily found on our hotel locations and rates page at www.tmea.org/ hotelrates. Eddins Elementary Honor Choir Melissa Ringel, Director The Eddins Honor Choir is proud to represent McKinney ISD at the 2015 TMEA Clinic/Convention. Membership in the choir is open by audition to students in third–fifth grades at C.T. Eddins Elementary School. All rehearsals are held outside the school day. This year’s Honor Choir consists of 69 students. The Eddins Honor Choir was honored to perform at the 2011 TMEA Clinic/Convention. Melissa Ringel is the music specialist at Eddins Elementary, where she teaches general music and serves as the director of the Eddins Honor Choir and Eddins Wildcat Choir. She is in her 18th year of teaching and holds a bachelor of music degree in flute performance from the University of Kentucky, a master of music degree in flute performance from Florida State University, as well as an artist certificate for flute from Southern Methodist University. Prior to teaching at Eddins, Ringel taught at Boals Elementary in Frisco, where her honor choir was invited to perform at the 2006 and 2009 TMEA conventions. Kujawa Elementary Eagle Choir Samantha Tate, Director Kujawa Elementary is a K–4 International Baccalaureate Primary Years Program located in the northwest corner of the greater Houston area within Aldine ISD. The school serves a diverse student population of approximately 950 students, who are encouraged to be internationally minded lifelong learners who open doors to the world. The Kujawa Elementary Eagle Choir is under the direction of Samantha Tate and was established in the
60 Southwestern Musician | November 2014
fall of 2008 when Tate began her teaching career in Aldine ISD. Tate is a graduate of Sam Houston State University and also currently codirects the Aldine Children’s Honor Choir. The Kujawa Elementary Eagle Choir is now in its seventh year and continues to flourish. The Eagle Choir is composed of approximately 75 third- and fourth-grade students selected through audition in early September. The ensemble presents a variety of performances throughout the year including Veterans Day performances, holiday and spring programs, a nursing home tour, as well as appearances at the International Festival, graduation ceremonies, Minute Maid Park, and at the Children’s Music Festival of Houston, where, among over 40 choirs attending, the 2013–2014 Eagle Choir was awarded Outstanding Third and Fourth Grade Choral Piece for the third consecutive year. Students in the choir continue to enhance their fine arts foundation in the area of musical expression through support from the entire school community. Richardson All District Elementary Choir Lindy Perez, Director The Richardson All District Elementary Choir (ADEC) is a select group of sixth graders representing the 41 elementary schools in the Richardson ISD. The students audition in the spring of their fifth-grade year and rehearse one hour weekly after school. The group was formed in 1983 and expanded from 60 to 100 singers under the leadership of Glenda Casey, who directed the choir from 1985 to 2000. Lindy Perez is in her 15th year as the director of ADEC, and her 30th year
of teaching in the RISD. Under her direction, the ADEC performed for the TMEA Clinic/Convention in 2003. Under the previous direction of Linda Price, they performed for the convention in 1984 and as well in 1987 under the direction of Glenda Casey. A graduate of Southern Methodist University, Perez is also the choir director at Richardson HS, where her choirs consistently earn UIL Sweepstakes awards each spring. Perez has been selected four times as the Most Influential Teacher by Top Ten RHS graduates. Prior to teaching at Richardson HS, she was the choir director at Westwood JH in RISD, where under her leadership the Westwood Chorale performed for the TMEA Clinic/ Convention in 1991. The accompanist for the All District Choir is Becky Edwards, music special-
ist at Richardson’s Northwood Hills Elementary School. The group is managed by Missy Lofton, music specialist at Northrich Elementary School, also in the RISD. The Richardson All District Elementary Choir is honored to be invited to perform at the 2015 TMEA Convention. Houston Boychoir–Preparatory Choir Holly Holt-Cabrera, Director Houston Boychoir is the oldest organization of its kind in the city for music education, setting the level of excellence in educational outcomes and for artistic achievement in children’s performing ensembles. Through the mastery and public performance of their music, Houston Boychoir builds men of character as choristers develop discipline, confidence, and a loving understanding
Eddins Elementary Honor Choir
Kujawa Elementary Eagle Choir Southwestern Musician | November 2014 61
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of art. HBC regularly presents concerts throughout the city and is often featured with Houston’s major performing arts organizations. Serving as ambassadors for the city, state, and country, boys have given concert tours regionally and abroad, including in Germany, Taiwan, England, and throughout the United States. HBC’s most recent adventure took boys to perform with children’s choirs throughout South Africa, including the famous Drakensberg Boys Choir. The Houston Boychoir Preparatory Choir is the foundation of the HBC program. Boys learn
to sing with passion, journeying through many musical styles, time periods, and cultures. Holly Holt-Cabrera, Director Preparatory Program, has been a member of the Houston Boychoir staff since 2000. In addition to her work with Houston Boychoir, Holt-Cabrera has been the music specialist at the Rice School/La Escuela Rice since 1996. She is a frequent presenter and guest clinician, directing her school choir at TMEA conventions in 2007 and 2013, and at a reading session in 2006, and she has served as direc-
tor of the Spring ISD Elementary Honor Choir. Holt holds a bachelor’s degree in music education from Southwest Baptist University; her master’s degree in vocal performance is from Baylor University. Rebecca Seekatz is the director of the Houston Boychoir Preparatory Choir located in Memorial City Mall. She is a graduate of Rice University with a bachelor’s of music in vocal performance. Seekatz directs the Young Musicians choir of West University Baptist Church, and she is also a private piano and voice teacher.
Richardson All District Elementary Choir
Houston Boychoir–Preparatory Choir Southwestern Musician | November 2014 63
Making a difference in our community today B Y
M I C H E L E
H E N R Y
A
s college faculty who are preparing future music educators, we are forward thinkers. We look ahead to the time when our students will have the complete package of knowledge and skills that will enable them to assume leadership of music programs across our nation. We anticipate trends in the educational landscape and try to stay ahead of advances in the field, both pedagogically and technologically. Our students are forward thinking as well. Graduation dates are circled in red on their calendars; they are planning where they’d like to student-teach and where to apply for jobs. We are all excited for what will be. But it’s not all about the future. We have the opportunity to affect lives through music without the wait—and we are! Our colleges and universities are located in communities with musical interests and needs that we can meet today. There are some amazing things happening right now in our music teacher preparation programs that simultaneously benefit our students and the community. Over the next several months, we will be featuring some of these offerings in this column. Hopefully, by sharing some of the great things already happening across our state, more of these community-impacting, collaborative efforts will spring up in the future. OsoMusical: A Musical Community for Children with Special Needs OsoMusical is a program designed to provide an additional pathway to musical
COLLEGE NOTES IMPORTANT DATES November—Make your convention hotel reservation (www.tmea.org/housing). November 15—TMEA scholarship online application deadline (see page 2). December 1—Essay contest entry deadline. December 1—Composition contest entry deadline. December 31—TMEA convention mail/fax preregistration deadline. January 22, 2015—TMEA convention online preregistration deadline. February 11–14, 2015—TMEA Clinic/ Convention in San Antonio.
There are some amazing things happening right now in our music teacher preparation programs WKDW VLPXOWDQHRXVO\ EHQHÀW RXU VWXGHQWV DQG WKH community. Southwestern Musician | November 2014 65
UNIVERSITY OF SOUTH ALABAMA
DEPARTMENT OF MUSIC Audition Dates: Saturday, November 8, 2014 Saturday, February 14, 2015 Saturday, March 14, 2015 Saturday, April 4, 2015 Additional Dates Available by Request
DEGREES: BM with Concentration in Music Education MM with Concentration in Music (Instrumental and Vocal) Education (Instrumental and Vocal) BM with Concentration in Performance (Instrumental and Vocal) MM with Concentration in Music Performance (Piano and Vocal) BM with Concentration in Elective Studies (Business or Specific Outside Fields) MM with Concentration in Collaborative Keyboard
The University of South Alabama Department of Music, through its innovative curriculum, empowers professional musicians, music educators, and those who wish to enrich their lives through the arts. The Department serves the needs of the University to promote general education and to provide a vital cultural link to the great state of Alabama and to the Gulf Coast region. Its excellent facilities and faculty, promotion of technology, and dedication to life-long learning provide a wide spectrum of experiences for both the student and the community. ENSEMBLES INSTRUMENTAL ENSEMBLES Wind Ensemble Symphony Band Symphony Orchestra String Ensemble Jaguar Marching Band Jaguar Pep Band Jazz Ensemble
VOCAL ENSEMBLES University Chorale USA Opera Theatre USA Concert Choir
CHAMBER ENSEMBLES Flute Choir Trumpet Ensemble Trombone Ensemble Tuba Euphonium Ensemble Chamber Brass Ensembles Chamber Woodwind Ensembles
Percussion Ensemble USA Steel Band USA World Music Ensemble Piano Ensemble Guitar Ensemble
Contact Information University of South Alabama, Department of Music Laidlaw Performing Arts Center, Room 1072, 5751 USA Drive South, Mobile, AL 36688
251 60 6136 Ä&#x2021; E mail: usamusic"southalabama edu Ä&#x2021; www southalabama edu music (acebooM: facebooM com southalabamamusic Ä&#x2021; 6witter: twitter com usouthalmusic
The Music Starts Here
experiences for students with special needs in the greater Waco area. The program meets one night weekly on campus in the music facilities at Baylor University. It is led by a team of certified music educators (faculty, graduate students, and area music teachers) and assisted by undergraduate students pursuing music education degrees. A typical class may have six to ten students, who participate in a variety of musical experiences, including singing, playing instruments, moving, and listening. The activities are tailored to the abilities and interests of each student. Russell Gavin, Baylor faculty member and founding director of the program, identifies the value of the program in this way, â&#x20AC;&#x153;OsoMusical is extraordinarily valuable because we are meeting the needs of an underserved portion of our community, while providing our undergraduate students with real-world teaching experience that also increases their awareness of the importance and value of each student we encounter.â&#x20AC;? Hannah Powers, a senior vocal music education major has worked with the program over the past two years. She identifies several benefits of her experience with OsoMusical. â&#x20AC;&#x153;Inclusion in public schools makes it so important to have opportunities to work with students who have special needs before starting my career. OsoMusical has given me that exposure and also taught me about general classroom management, elementary lesson
planning, working with several students at the same time who are at different levels, and most importantly, to remember that the student comes first before any disability he or she may have.â&#x20AC;? The program is not only affecting future music educators, but also the lives of individuals with special needs in the community. Daniel, an eighth grader with autism spectrum disorder, attends OsoMusical classes. His family has seen significant changes since beginning these musical experiences. His mother Laura
observed, â&#x20AC;&#x153;Through OsoMusical, Daniel has been able to explore music on his own, though perhaps not in the way we hear it or in the way we experience or perceive music. Danielâ&#x20AC;&#x2122;s singing has improved his diction, inf lection, and speaking rhythms. Heâ&#x20AC;&#x2122;s less robotic in his speech, which increases the ability to understand him when he reads aloud or speaks. He is also better able to clap out a rhythm and even dance on beat.â&#x20AC;? Danielâ&#x20AC;&#x2122;s newfound enthusiasm for music has opened other opportunities for him in the community.
SACRED MUSIC AT OLLU
OUR LADY OF THE LAKE UNIVERSITY OFFERS: Bachelor of Music in Sacred Music Bachelor of Music in Sacred Music with a concentration in Mariachi Minor in Music THE PROGRAM EMPHASIZES: Choral conducting Ethnomusicology Mexican-American music Music ministry Music theory Music history Music technology Performance study
APPLICATION AND SCHOLARSHIP AUDITION DAYS The OLLU Music Department holds application and scholarship audition days in the spring. To apply for an audition: 1. Apply to Our Lady of the Lake University at www.ollusa.edu/Apply 2. Request a Music Program Application packet from Dr. Elizabeth Dyer, Music Department Head 3. Prepare your audition according to the provided guideline 4. Contact Dr. Dyer (email preferred) to request an audition time
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The OsoMusical program offers students with special needs the opportunity to participate in meaning ful music experiences. In its third year, this program has served individuals with a wide range of physical and cognitive disabilities.
Laura continued, “He has been granted special permission to be a helper with the Midway High School Band this fall. He helps by pushing pit equipment onto the field during halftime performances, distributes water to the band members, and is learning other ways to help!” Now in its third year, this program has served individuals with a wide range of physical and cognitive disabilities, including cerebral palsy, autism, and Down syndrome. For more information about
OsoMusical or to get ideas about starting your own program for students with special needs, contact Russell_Gavin@ baylor.edu. College Division Fall Conference While the Fall Conference is behind us, it was held at the time when this magazine went to print, so look to the January issue for a report on that important event (the December issue will be a full preview of the 2015 Clinic/Convention schedule).
2015 Clinic/Convention Update As we consider the opportunities that a program like OsoMusical offers, keep in mind that during our convention in February, multiple clinics will be offered to help educators better understand how to provide quality music education experiences to students with special needs. Stay informed on convention updates and opportunities from our convention webpage, www.tmea.org /convention. If you haven’t already, go to www.tmea. org/housing to make your hotel reservation. When you make that reservation, keep in mind the wonderful educational and inspirational events you’ll want to attend on Wednesday. The TI:ME Music Technology Preconference features a concentration of clinics on the latest technology solutions to help you improve your instruction. Then on Wednesday evening, enjoy the President’s Concert featuring the Swingle Singers. At only $10/ticket, this is an incredible bargain and will be a great way to kick off your convention experience! Don’t Miss These Opportunities • Scholarships. Scholarship applications for undergraduate and graduate students are due in the TMEA office by 4:30 P.M. on November 15. Please encourage your students to apply. • Essay Contest. The annual TMEA Essay Contest for college students (both undergraduate and graduate) has new prompts and new prize money. It also has a new and earlier deadline of December 1. The new prompts and submission details can be found at www.tmea.org/ essaycontest. Encourage your students to submit their writing.
DEPARTMENT OF MUSIC
Outstanding Artists, Outstanding Teachers VOCAL STUDIES FACULTY (Left to Right) Dr. Martin Vasquez-applied voice and diction Ms. Katie Ross-applied voice Dr. Jennifer Glidden-applied voice and opera Mr. Brock Johnson-applied voice Mrs. Kay George Austin-applied voice Ms. Monica Lenoe-applied voice and vocal pedagogy
68 Southwestern Musician | November 2014
tamuc.edu/Music
• Composition Contest. The new Composition Contest for college students also has a December 1 deadline. Both undergraduate and graduate students are eligible to submit compositions. Communicate with the composition faculty at your school and encourage students to send in their PML Level 1–3 large ensemble composition for consideration. Go to www.tmea.org/compositioncontest for more details about the criteria and to learn how to apply.