January 2020 Southwestern Musician by Texas Music Educators Association

JJANUARY ANUARY 2020

UNIVERSITY OF NORTH TEXAS CONDUCTORS COLLEGIUM | JUNE 8-19, 2020

Daniel Cook

Lecturer in Wind Studies Wind Ensemble Conductor Director of Athletic Bands

Eugene Migliaro Corporon Director of Wind Studies Regents Professor of Music Wind Symphony Conductor

Andrew Trachsel

Associate Professor of Wind Studies Wind Orchestra Conductor

Join Eugene Migliaro Corporon and new UNT faculty Andrew Trachsel and Daniel Cook for the return of the summer Conductors Collegium in partnership with GIA Publications.

The UNT College of Music â&#x20AC;&#x201D; serving our diverse musical culture with excellence, integrity and imagination.

Contents VOLUME 88 ɵ ISSUE 6 ɵ JANUARY 2020

Features Executive Board Candidates . . . . . . . . . . . . . . . . . . . . 18 Before you vote, learn about the candidates for TMEA President-Elect and Band Vice-President. (The number of Region nominations required to list candidates for College Vice-President was not met.)

TMEA Region and Area Alignment Underway . . . . . . 25 Learn more about the process and how to share your feedback on the proposed TMEA Region/Area alignment and All-State apportionment.

Principles of Strong Ensemble Cultures . . . . . . . . . . 35 In a positive culture, students feel challenged and supported and become willing to take the risks required for their musical development. [DAV I D W. M O N TG O M ERY]

Then—Now—And—? . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Contemplate our origins and envision our future as you read this 1974 article about TMEA’s first 50 years and see images from the convention where TMEA celebrated its 50th. [N E L S O N G . PAT R I C K]

Columns President’s Notes . . . . . . . . . 5

Reimagining Our Concert Programs . . . . . . . . . . . . . . 55

[J O E

Through creative programming, you can more meaningfully engage audiences and singers alike. [E M I LY E L L S W O R T H]

Executive Director’s Notes . .10

Updates

Band Notes . . . . . . . . . . . . . 29

Creating Your Convention CPE Record. . . . . . . . . . . . . . . . . . . . . . . . . . 2 Friday in Stars at Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 2020 Clinic/Convention: Important Deadlines Near . . . . . . . . . . . . . . . . 8 It Starts With Music Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Prepare to Vote Electronically for President-Elect. . . . . . . . . . . . . . . . . 22 TMEA President’s Concert: Dallas Winds . . . . . . . . . . . . . . . . . . . . . . . 27 Congratulations, HS String Honor Orchestra and Finalists. . . . . . . . . . 47

M U Ñ OZ]

[R O B ER T

[J O H N

F LOY D]

CA R R O L L]

Orchestra Notes . . . . . . . . . 43 [M IC H A EL

S T R I N G ER]

Vocal Notes . . . . . . . . . . . . . 62 [J E D

R AG S DA L E]

Elementary Notes. . . . . . . . 73 [A B I G A I L

H AW ES]

Thank You, TMEA Centennial Sponsors . . . . . . . . . . . . . . . . . . . . . . . . 52

College Notes . . . . . . . . . . . 79

on the cover

Daniel Doss performs with the Martin HS Symphony Orchestra during the 2019 TMEA Clinic/Convention. Photo by Karen Cross.

[V I C K I

BAKER]

Southwestern Musician | January 2020

Editor-in-Chief: Robert Floyd UĂ R\G@tmea.org 512-452-0710, ext. 101

Managing Editor: Karen Cross

kcross@tmea.org 512-452-0710, ext. 107

Creating Your Convention CPE Record

TMEA Executive Board President: Joe MuĂąoz PXQR]M#SHDUODQGLVG RUJ 3775 South Main Street, Pearland, 77581 281-997-3219 â&#x20AC;&#x201C; Pearland HS

President-Elect: Brian Coatney brian.coatney@pisd.edu 2200 Independence Parkway, Plano, 75075 469-752-9396 â&#x20AC;&#x201C; Plano Senior HS

Past-President: Robert Horton rhorton@conroeisd.net :HVW 'DYLV 6WUHHW &RQURH 936-709-7806 â&#x20AC;&#x201C; Conroe ISD

Band Vice-President: John Carroll MRKQ FDUUROO#HFWRUFRXQW\LVG RUJ 1800 East 42nd Street, Odessa, 79762 432-553-2780 â&#x20AC;&#x201C; Permian HS

Orchestra Vice-President: Michael Stringer mstringe@aisd.net :HVW $UNDQVDV /DQH $QQH[ $UOLQJWRQ 682-867-7662 â&#x20AC;&#x201C; Arlington ISD

Vocal Vice-President: Jed Ragsdale MHGUDJVGDOH#WRPEDOOLVG QHW 1RUWKSRLQWH 5LGJH /DQH 7RPEDOO 281-357-3230, ext. 1106 â&#x20AC;&#x201C; Memorial HS

Elementary Vice-President: Abigail Hawes DELJDLO KDZHV#FĂ&#x20AC;VG QHW 13734 Lakewood Forest Drive, Houston, 77070 281-370-4040 â&#x20AC;&#x201C; Moore Elementary

College Vice-President: Vicki Baker 9%DNHU#WZX HGX 3 2 %R[ 'HQWRQ Â˛ 7H[DV :RPDQÂˇV 8QLYHUVLW\

TMEA Staff Executive Director: 5REHUW )OR\G | UĂ R\G@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: =DFKDU\ *HUVFK | ]JHUVFK@tmea.org

TMEA members attending our convention have numerous opportunities to receive Continuing Professional Education (CPE) hours. TMEA provides an online method for creating your CPE record after the convention. Follow these steps now so that you will be prepared to return from the convention and complete your record.

1. Now: Create a personal schedule online. â&#x20AC;˘ Go to www.tmea.org/convention â&#x20AC;˘ Go to the Schedules page and click on Personal Schedule â&#x20AC;˘ Log in with your username and password Bonus! Save it by January 23, opt in, and your schedule will transfer to your convention app account!

2. During the convention: Make note of the sessions you attend to completion. Active membership, convention registration, and attendance is required for CPE credit to be granted.

Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: &ULVWLQ *DIIQH\ | cgaffney@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org Administrative Assistant: 5LWD (OOLQJHU | rellinger@tmea.org

70($ 2IĂ&#x20AC;FH Mailing Address: 3 2 %R[ $XVWLQ 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 2IĂ&#x20AC;FH +RXUV Mondayâ&#x20AC;&#x201C;Friday, 8:30 A.M.â&#x20AC;&#x201C;4:30 P.M.

3. When you return home: Update your online personal schedule to confirm the sessions you attended and print your CPE form. Submit one to your school district and keep a copy for your records.

www.tmea.org/convention

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Southwestern Musician | January 2020

TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music. For speciﬁc qualiﬁcations for each award, visit www.tlu.edu/music-scholarships.

SCHOLARSHIP AUDITION DATES: Saturday, February 22, 2020 | 1-3 p.m. Saturday, March 28, 2020 | 1-3 p.m. Saturday, April 18, 2020 | 1-3 p.m. Individual audition dates may be requested if necessary.

SCHOOL OF MUSIC DEPARTMENT HEADS

Elizabeth Lee Asst. Professor, Cello

Douglas R. Boyer Director, School of Music and Director of Choral Activities dboyer@tlu.edu 830-372-6869 or 800-771-8521

Wei Chen Bruce Lin Asst. Professor, Piano

Beth Bronk Director of Bands bbronk@tlu.edu

Scott McDonald Instructor, Saxophone & Jazz Band

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Carla McElhaney Asst. Professor, General Music

Eric Daub Director of Piano Studies edaub@tlu.edu

Kurt Moede Instructor, Horn Sung-Eun Park Asst. Professor, Collaborative Pianist

FACULTY

Jill Rodriguez Instructor, General Music

Mark Ackerman Instructor, Oboe Adam Bedell Instructor, Percussion

Paula Corley Instructor, Clarinet

BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION | BACHELOR OF MUSIC IN PERFORMANCE | BACHELOR OF ARTS IN MUSIC

David Milburn Instructor, Double Bass

Eliza Jeffords Director of Strings ejeffords@tlu.edu

Carol Chambers Instructor, Music Education

WWW.TLU.EDU/MUSIC

Deborah Mayes Choral Accompanist

Chad Ibison Asst. Professor, Guitar Hilary Janysek Asst. Professor, Flute & Music History Monica Kang-Sasaki Asst. Professor, Piano

Keith Robinson Instructor, Tuba & Music Education

Robert Mark Rogers Asst. Professor, Bassoon Shaunna Shandro Asst. Professor, Voice Eric Siu Asst. Professor, Violin Sophie Verhaeghe Instructor, Violin Steven Vogel Instructor, Trombone & Euphonium Lance Witty Asst. Professor, Trumpet Simeng Wu Asst. Professor, Collaborative Pianist

Stars at Night FRIDAY IN

TMEA is excited to offer performances and presentations by these celebrated special guests on Friday in the Stars at Night Ballroom. SUSAN GRAHAMȰĨīďåÐĮĮðďĊă ĉÐššďȭĮďĨīĊď 4:00 PM

MANDY HARVEYȰĮðĊæÐīș ĮďĊæœīðĴÐīș ĮĨÐāÐī 1:00 PM

Learn more about these exciting events in the online schedule.

SEPTURA BRASSȰĨīðĊÆðĨăĮ ðĊ OďĊÌďĊȸĮ ĴďĨ ďīÆìÐĮĴīĮ 2:30 PM

LARRY LIVINGSTON—ÆďĊÌķÆĴďīș ÐÌķÆĴďīș ĮĨÐāÐī 11:30 AM

U.S. ARMY HERALD TRUMPETS—U.S. ĨīÐĮðÌÐĊĴȸĮ ďŨÆðă åĊåīÐ ÐĊĮÐĉÅăÐ 10:00 AM

Southwestern Musician | January 2020

B Y

J O E

M U Ñ O Z

PRESIDENT’S NOTES

Healthy resolve

January—Renew your membership and register for the convention. January—Purchase tickets to the President’s Concert. January 11—Area Band and Vocal auditions. January 22—Deadline to cancel a housing reservation without penalty. January 23—TMEA convention online early registration deadline. January 24–February 15—Online convention registration remains available, but at a higher rate. February 12–15—TMEA Clinic/ Convention in San Antonio. February 13—TMEA Division Business Meetings. February 14—TMEA Region Meetings.

popular resolution for many in the New Year is to be healthier. How can we take the foundations of a program for better health and apply them to help our music classrooms be a better experience for us and our students? Plans to improve health often include adjusting one’s diet. To be successful, all plans require structure. The structure of the plan includes an understanding of what can be eaten and the proper portions that will lead to success. Successful music programs also require structure. Planning activities and finding the proper balance are essential to the health of our programs. As music educators, we exercise portion control through the amount of time we spend on each aspect of our programs. Establishing the right balance of activities for our students can at times be a struggle. How long are we spending on fundamentals in each rehearsal and how long are we dedicating to a piece of music before a concert or major performance? Structuring our rehearsals to support student growth and improvement might be the most important component to building prolonged success. It is also important for you, as the educator, to define what success means for your program. Don’t allow your success to be defined by other programs or other people. Every program is unique and can experience improvement and success. Journaling is another activity of a successful health improvement program. Taking time to document meals and exercise is vital to the implementation of

Seeing benefits of a program over time can be difficult. The culmination of several weeks of dedication can result in noticeable change. It can be very similar in music. Southwestern Musician | January 2020

a process that helps meet the goals of the program. Over time, journaling can be a permanent record of what you have accomplished, and it documents your dedication and ability to make sustainable changes to your lifestyle. Journaling can also be a valuable tool for your health as a music educator. Of course, some of our most important journaling happens through our lesson plans or rehearsal plans. Taking time to plan your rehearsals or classes leads to better pacing and sequencing of your lessons. Using an app like Timer with Sections can help you manage how much time you spend on each area of your lesson. You can set as many sections as you like and assign an amount of time for each of those sections. When you start the lesson, press the play button and you’ll see a visual representation of how long you have in each section. It’s a great tool to hold yourself accountable and helps you stay on task as a director. Have you ever run out of time in a lesson and forgotten to wrap up or didn’t offer students the needed time to properly prepare their instruments before storing them in their cases? You’ll always have time if you put a section in your lesson for it. It is a great tool that increases productivity. Staying current on your lesson plans or rehearsal plans is important to ensure you are making the necessary adjustments for daily and weekly progress. Some skills may take longer than anticipated when we planned the lessons. Making adjustments and modifications to your plans ensures ample time for achievement of new skills. Keeping a record of your lesson or rehearsal plans can be a resource for how to structure future lessons. The most important trait to a successful health improvement program is the determination to stick with the program. Seeing benefits of a program over time can be difficult. The culmination of several weeks of dedication can result in noticeable change. It can be very similar in music. When we begin a new semester, it can be challenging to imagine how our students will be able to perform a difficult new piece of music. Having a structured plan and organized, detailed lesson plans can break the new challenge down into manageable portions for your students to undertake. Fostering a positive mindset that your students can achieve the new challenge helps give them a trustworthy

path to success. Your dedication to stick with your plan is generally the best way to ensure your students’ growth. Their commitment to their own growth and development through the structure you provide is the foundation for building a culture of success in the program. Having a structured plan, planning your lessons, and being dedicated to sticking with your plan can be the catalyst to improving your program leading to a healthier experience for you and your students.

President’s Concert This year’s President’s Concert will feature the Dallas Winds, under the direction of Jerry Junkin. This professional wind ensemble is honoring TMEA’s Centennial with their performance entitled “Deep in the Heart of Texas.” The concert will feature works by Texas composers as well as a performance by trumpet soloist Brian Shaw. When you register for the convention, be sure to purchase your $20 tickets. If you already registered, just return to your member record to add this purchase.

Changing Lives. Not Checking Boxes. Your students possess both skill and passion. They thrive in an environment of high expectations and even higher commitment to artistic and personal growth. The Saroﬁm School of Fine Arts offers these students a tailored, hands-on approach, with award-winning faculty and a student-teacher ratio of 6:1. S C H O L A R S H I P AU D I T I O N DAT E S

Fall 2019: One-on-One Auditions Spring 2020: Jan. 25 & Feb. 22, 2020 (Majors & Non-Majors) April 5, 2020 (Non-Majors Only)

southwestern.edu/music

Southwestern Musician | January 2020

2020 TMEA Clinic/Convention February 12–15 • Henry B. González Convention Center • San Antonio

Important Deadlines Near January 22

January 23

• Last day to cancel a reservation made through the TMEA housing system without being assessed a $50 penalty.

Last day to register online at the lower rate! Don’t miss this opportunity to pay less to attend the premier music educators convention! After this date, online registration continues, but at the higher rate.

• Last day to make a reservation with most hotels via the TMEA housing system (some may continue to be available, but the listing will be limited). • Last day to modify a reservation made through the TMEA housing system. After that, contact the hotel directly (wait several days, as there is a delay in the hotels downloading their reservation data).

January 23 If you opt in to having your online schedule transferred to your convention app account, the schedule saved on January 23 will be transferred (note: transferred events cannot be deleted in the app).

ATTEND THE BEST MUSIC EDUCATORS CONVENTION!

President’s Concert Dallas Winds, Music Director Jerry Junkin Feb. 13 • 8 p.m. • Lila Cockrell Theatre • $20 tickets Pick up purchased tickets February 12 and 13 during registration hours at the Information Booth inside the Registration hall.

Create an Online Schedule The searchable convention schedule is available online at www.tmea.org/convention. Create a personal schedule online to help you organize your time and to begin the process for creating your official CPE record. You can save, edit, and print your online schedule. If you opt in, the schedule you have saved on January 23 will be transferred to your convention app account (available in early February).

SEE YOU IN SAN ANTONIO! 8

Southwestern Musician | January 2020

2020 AUDITIONS

Admission and scholarships/assistantships available + November 16 + February 1 + February 22 + March 7

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EXECUTIVE DIRECTOR’S NOTES

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A treasured partnership

oven throughout the fabric of our 100-year history, as told through our organizational minutes, magazine articles, and research documents, are many references to TMEA’s relationships with companies that have supported and partnered with us on this journey. However, as I referenced in my November article, it has been difficult to identify the first year that a formalized exhibit hall was a part of the convention structure and schedule. TMEA’s minutes and procedures indicate the first exhibits at a TMEA convention were present in 1947 in Galveston, where six companies purchased display space in the lobbies of the hotels. However, in a dissertation by Jack Mahan, 1949–1950 TMEA President, there are references to commercial exhibits being present as a part of educational enlightenment during the 1939 convention. Fast-forward to the 2019 convention where 488 companies contracted for 1,473 booths, and as of this writing, 1,454 booths have been contracted for in 2020 representing 472 companies. We are approaching a sellout. Over the past few years there has been a trend for companies to expand their exhibit hall space, resulting in fewer companies having a hall presence. Despite that trend, 79 companies will be present in the exhibit hall for the first time this February.

Our exhibiting companies are truly our partners in serving students in our music education programs throughout the state, and they are greatly appreciated. 10 Southwestern Musician | January 2020

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One of the impressive industry-related statistics speaks to the loyalty of companies that have exhibited at the TMEA convention for multiple years. Over 24% (113) of the companies that will exhibit in 2020 have been attending TMEA conventions for 20 years or more. And five companies have exhibited for over 60 years in succession—amazing! Those companies are worthy of mention, with years exhibiting: Carl Fischer Music & Theodore Presser Company (64), Conn-Selmer, Inc. (62), Fruhauf Uniforms (61), Kjos Music Co. (61), and Wenger Corporation (60). TMEA could not have experienced the success it has achieved without industry support. From instrument manufacturers, music retailers, and music publishers to uniform companies and tour and travel service providers, all have played a role in our successful history. And, of course, many other business types provide support to help us be successful in delivering instruction to our students. Certainly, the impact of technology on teaching cannot be overlooked. Sometimes we take for granted the

roadie who shows up at the last minute with that drumhead and makes an emergency repair just before our group steps on the field at UIL Marching Contest or the company that overnights the scores we forgot to order that were required for tomorrow’s competition. Each year we have over 900 clinic submissions to consider for acceptance for the TMEA convention program. For 2020, 19% of those proposals were submitted with industry sponsorship. We strive for balance in each of the five divisions, and that limits our capability to accept every proposal, but if all industry-sponsored workshop submissions had been accepted, they would conservatively represent over a quarter of a million dollars that sustaining members were willing to underwrite for professional development for our teachers. Our exhibiting companies are truly our partners in serving students in our music education programs throughout the state, and they are greatly appreciated. Having said that, these are all for-profit companies that strive and deserve to make a profit. Thus, our relationship goes both ways. Thanks must also go to our members

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Southwestern Musician | January 2020 13

A Glimpse of Sustaining Member History

Fruhauf representatives pose with an All-State musician at the 1954 exhibits

April 1950 ad in Texas Music Educator

14 Southwestern Musician | January 2020

and administrators who support and express loyalty to those companies who are sustaining members of TMEA. We hope that when you are seeking services or products necessary to support your program, you will first search our website for a TMEA sustaining member who can meet your needs. In this column in February 2016, I quoted Joe Lamond, NAMM President and CEO, who stated, â&#x20AC;&#x153;While our industry has created wonderful tools, it is the music educator who then unlocks the musical potential in each of our students and helps create lifelong engagement in the arts.â&#x20AC;? This statement is so true, and as educators it is important that each of us budgets enough time in the exhibit hall to thank any company with whom we visit or transact business for their presence and support. While historically TMEA has praised our music industry partners for their support, it is reassuring that the industry recognizes the need for reciprocal thanks. Besides having a presence on the exhibit floor or delivering product showcases at the convention, our sustaining members support us in so many other ways. Numerous companies participate in our sponsorship program for the convention each year, totaling $75,000. This year, some have also committed even more as centennial sponsors at varying levels. Of course, publishing Southwestern Musician would not be possible without the ads purchased by our music industry partners and colleges and universities. Finally, contributions supporting Region functions, from refreshments at Region meetings to underwriting the cost of Region concert programs, must not be overlooked or taken for granted. In summation, last yearâ&#x20AC;&#x2122;s magazine and convention program advertising, convention sponsorships, sustaining membership dues, and product showcase and booth fees totaled over $1,177,761 in revenue for TMEA (not including colleges and universities). Such financial support has allowed us to keep your membership and convention registration fees low, with only two minimal increases in 20 years. Partnerships are a good thing when both sides mutually benefit. TMEA and the music industry represent such a relationship that will hopefully continue through our next century!

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16 Southwestern Musician | January 2020

Convention Tidbits Housing: If you are without a housing reservation, continue to check the housing reservation website until January 23. Cancellations, especially after All-State housing is complete, sometimes appear. Concert Tickets: Tickets to the Presidentâ&#x20AC;&#x2122;s Concert, featuring the Dallas Winds under the direction of Jerry Junkin, are still available. You may buy tickets when you register to attend the convention or after that by returning to your member record. Historical Presentations: Each division will present a program celebrating and telling the story of its history as a TMEA division. Presenters and committee members have invested hundreds of collective hours in putting together these special centennial events. Support them with your presence. It Starts With Music Production: Do not miss It Starts With Music, a 45-minute production featuring Texas music students and premiering seven TMEA-produced videos telling the story of the value of music education through different voices and mediums and for varied audiences. Wednesday evening at 7 p.m. you may attend the dress rehearsal in Lila Cockrell Theatre, and the showcase will be formally presented on Thursday morning during the First General Session. You do not want to miss it! Centennial Commission Premiere and More: The Second General Session will feature members of the All-State Symphonic Band, Symphony Orchestra, and Mixed Choir performing our TMEA Centennial commission, Sailing the Sky, by Frank Ticheli. Receiving his public school and undergraduate college education in Texas, Ticheli also wrote the lyrics to the composition. During the program Tim Lautzenheiser will interview Ticheli (who is also serving as our All-State Symphonic Band conductor) and All-State Symphony conductor Carl St.Clair, also a product of Texas public schools. They will share their stories of the impact of Texas music education on their lives. The music advocacy videos premiered on Thursday will be shown again for those who werenâ&#x20AC;&#x2122;t able to view them previously.

qŦķæÐīŒðăăÐ Aw# 9ðĊÐ īĴĮ qÐīåďīĉÐīĮ Ȣ #ķĊÆĊŒðăăÐ >w ĨĨÐăă ìďðī }ÐŘĮ ɪT ĊðŒÐīĮðĴřȭNðĊæĮŒðăăÐ }īķĉĨÐĴ 'ĊĮÐĉÅăÐ Ȣ īķĊ sķīĴÐĴș }ÐŘĮ }ÐÆì ĊðŒÐīĮðĴř }īÐŒďī #Ðīř ĊÌ ĴìÐ ĊðŒÐīĮðĴř ďå UďīĴì }ÐŘĮ qÐīÆķĮĮðďĊ 'ĊĮÐĉÅăÐ ðďăðĊðĮĴĮ :īÆÐ wďĊæș ăăřĮďĊ ìķș ďĊĊďī ìĴăÐř Ȣ ÐăăðĮĴ tÐðăăř ìĴăÐř

8:15 AM • THURS, FEB 13 • LILA COCKRELL THEATRE ƌ Ƃ ŬƼ ǀ Ƶ Ƃ Ʋ Ƶ Ƃ Ƹ Ƃ ƣ ƼŬƼ ƒ ƨ ƣ ƨ ƌ Ƽ Ɛ Ƃ ƌ ƒ Ƶ Ƹ Ƽ ƍ Ƃ ƣ Ƃ Ƶ Ŭ Ɲ Ƹ Ƃ Ƹ Ƹ ƒ ƨ ƣ

OPEN DRESS REHEARSAL: WEDNESDAY, 7 P.M. • LILA COCKRELL THEATRE Experience It Starts With Music — a captivating production of ăðŒÐ ĨÐīåďīĉĊÆÐș ĨÐīĮďĊă īÐŦÐÆĴðďĊș ĊÌ ŒðÌÐď ŒðæĊÐĴĴÐĮ ĴìĴ will illuminate the power of music education for all.

Southwestern Musician | January 2020 17

Executive Board Candidates TMEA President-Elect will be elected by electronic ballot on February 13 after the First General Session (voting closes at 10 p.m.). Division Vice-Presidents will be elected in their business meetings, February 13 at 5:15 p.m.: Band (Stars at Night Ballroom 1–2); College (CC 304).

Candidates for President-Elect: John Carroll & Casey Medlin John Carroll Present Position: Associate Director of Bands, Permian HS (1995–present). Previous Positions: Band/Choral Director and Associate HS Band Director, Dalhart ISD (1986–1995); Associate HS Band Director, La Feria ISD (1983–1986); Associate HS/MS Band Director, Quanah ISD (1981–1983); Associate HS Band Director/MS Director, Stephenville ISD (1979–1981); Associate HS Band Director/MS Director, Dumas ISD (1977–1979). Education: Master of Arts, West Texas A&M University (1991); Bachelor of Music Education, Abilene Christian University (1977). TMEA Offices and Positions Held: State Band Chair (present); Region 6 Band Chair (2012–2018); Region 6 President (2002– 2004); Stage Manager for Clinic/Convention (2007); All-State Band Organizer (2003–2006); All-State Band/Orchestra Auditions Judge (1996–2018); All-State Percussion Organizer (15 years); Convention Clinic Presider; Band Division Office Worker; Honor Band Area Listening Center Chair (2017); Registration volunteer (2015–2018). Other Offices and Positions Held: Member of multiple Phi Beta Mu committees; WTAMU Band Camp faculty member; UIL Music Advisory Committee member; Permian HS Department Head. Professional Affiliations: TMEA, TBA, Phi Beta Mu, TMAA, ATSSB, PAS. Honors/Accomplishments: Texas Bandmasters Association Meritorious Achievement Award; Consistent UIL Sweepstakes awards; Percussion ensemble performance at Music for All National Percussion Festival; Multiple jazz band awards; National Percussion Ensemble Mark of Excellence; Clinician at TBA Convention/Clinic; Master Teacher of the Year, Permian HS. Personal Information: I am a happy person, blessed to be from a home with parents who supported my music from the beginning and two siblings who enjoyed music during their schooling. I share my trials and joys with someone who happens to share my last name (Beth Carrell, though spelled one letter differently). Besides my job, I enjoy movies, reading, and traveling. Statement: I am humbled to be a nominee for the position of TMEA President-Elect. I thank those who nominated me at the Region level and who have encouraged me. I respectfully ask for your vote. I seek election because I look forward to being able to continue to give back to the profession that has given me so much. I am grateful to all past and current TMEA members for their legacy of establishing the best fine arts programs in our nation. I have been a Texas music educator for 42 years. I am a product 18 Southwestern Musician | January 2020

of the Texas music programs, thoroughly enjoying my beginnings in elementary music classes as a first grader, singing in elementary, secondary, and college choir, playing in secondary and college orchestra, performing in band since fourth grade, and having learned from fine teachers who taught so many great music courses in college. While I have served on the TMEA Executive Board, the Band Division has seen the formation of the Invited Percussion Ensemble and the creation of the 2021 All-State Percussion Ensembles (6A and 5A), has issued invitations to two urban ensembles to present clinics at TMEA, has worked on the ground floor with the Orchestra Division leading the way for the creation of an All-State Mariachi Ensemble, and has conducted much discussion regarding our time-honored Honor Band system. Music education is thriving in Texas. However, I also know that there are still obstacles in our way. I wish to continue serving you in helping overcome these obstacles and providing great professional development opportunities to all members. That is what TMEA does, and I hope to continue helping with that. I know that even years from now TMEA will still be leading the way for our Texas music educators. I am a strong advocate for all divisions of TMEA—Band, Vocal, Orchestra, Elementary, and College. I gratefully recognize that our Elementary Division members start our students in their love of music. I also realize the importance of many fine arts performance choices in secondary grades. I highly believe in our College Division members and their work with future educators. My membership on the TMEA Executive Board has made me even more conscious that all Texas music educators are valuable to our goals. If elected, I will be eager to get input from all divisions in TMEA, making certain that all voices are heard. We are not TMEA without vital contribution of all divisions. I hope you will consider me as you vote for President-Elect and that you will place your trust in me. I would be grateful for your support.

Casey Medlin Present Position: Music Specialist, Brazos Bend Elementary, Fort Bend ISD (2015–present). Previous Positions: Music Specialist, Mary Austin Holley Elementary, Fort Bend ISD (2008–2015); Music Specialist, Winbourne Elementary, East Baton Rouge Parish School System (2007–2008). Education: Bachelor of Music Education, Louisiana State University (2007); Orff Certification (2011); Kodály Levels I & II (2019). TMEA Offices and Positions Held: Region 13 Elementary Chair (2011–2017); Elementary Division Vice-President (2017–2019). Other Offices and Positions Held: Music and Technology Conference of Houston Organizer (2015, 2017), Music and Technology Conference of Houston President (2019).

Professional Affiliations: TMEA, TCDA. Honors/Accomplishments: TMEA Elementary Invited Performing Ensemble. Personal Information: I began my music career as a saxophone player. In high school, I had the opportunity to experience what it is like to be in ensembles in both a large and a small-school setting. I was a member of a band that competed in regional Bands of America competitions and toured nationally. I was also a member of a band that had just 25 wind players in total. I attended Louisiana State University with the intention of being a high school band director. While enrolled, I was fortunate enough to study under Griffin Campbell, James Byo, and Frank Wickes. Surprisingly, my plans changed when I took my elementary methods class and found my passion. I am fully Orff Certified and I recently completed Kodály Level II training. I plan to complete my Kodály Certification in June 2020. I currently teach PreK–5th grade in Fort Bend ISD in Sugar Land. Statement: I am humbly seeking your vote in the 2020 TMEA President-Elect election. It was my distinct pleasure to have served as TMEA Elementary Vice-President from 2017 to 2019. During my time in office, TMEA awarded over $750,000 in grants to elementary music teachers across the state. Additionally, we moved the Invited Elementary Performing Ensembles to a beautiful, new performance venue during the 2019 Clinic/Convention. As an elementary teacher on the Board, I was eager to learn the inner workings of the All-State audition process. If elected to the Presidency, I am confident that, with the support of the other Board members, the All-State ensembles will continue to grow, evolve, and thrive. The addition of the Small School Choir and

the newly formed Sinfonietta, All-State Percussion, and Mariachi ensembles are evidence of TMEA’s evolution and a testament to our mission to provide quality musical experiences to every student in the state. The Texas Music Educators Association has been an amazing organization for years. There are a lot of things we do well. But, our association in 2019 is not the same as it was just 10 years ago. We are growing and changing. We are becoming more inclusive, responsive, and diverse. I am proud of the work put forth to make sure students from every corner of our state are able to participate, despite differences in culture and funding. I’m also proud of the steps our association has taken to promote diversity among our All-State conductors and convention clinicians. My hope as President is to further conversations about how to be successful in the ever-changing educational environment. I think it’s vitally important to continue the talks concerning rural schools and schools that serve students in low socioeconomic communities. Furthermore, a dialogue regarding the enrollment and retention of students is paramount. The power of TMEA comes from its amazing members. The wealth of knowledge and experience available among our organization is immeasurable. As President, I look forward to learning from, and working with, leaders from each division. It is through collaboration that our association will grow and flourish for another 100 years. I am truly grateful for all TMEA has given me and I hope to continue to give back. I would appreciate your support in voting for me for the 2020 TMEA President-Elect. Thank you for your consideration.

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trinity.edu/music The Trinity University Music Department is recognized as an ALL-STEINWAY SCHOOL by Steinway and Sons, for its commitment to excellence

Southwestern Musician | January 2020 19

Candidates for Band Vice-President: Glenn Lambert & Dana Pradervand Glenn Lambert Present Position: Executive Director of Fine Arts, Wylie ISD (2016–Present). Previous Positions: Director of Bands, Wylie East HS, Wylie ISD (2007– 2016); Director of Bands, Shepton HS, Plano ISD (1999–2007); Assistant Band Director, South Garland HS, Garland ISD (1996–1999); Assistant Band Director, Shackelford JH, Arlington ISD (1993–1996). Education: Bachelor of Music Education, Texas Tech University (1991); Master of Music Performance, Texas Christian University (1993). TMEA Offices and Positions Held: Region 24 Jazz Chair, Region 25 Jazz Chair, Region 25 Band Chair. Other Offices and Positions Held: TMEA Convention Clinician; TMEA Convention Clinic Presider; All-State Section Instructor; TMEA All-State Wind/Percussion Auditions Judge; TMEA All-State Jazz Auditions Judge; TMEA Honor Full Orchestra Finals Judge; Region Band Clinician; Phi Beta Mu Board Member. Professional Affiliations: TMEA, TBA, TMAC, TTAC, TMAA, Kappa Kappa Psi, and Phi Beta Mu.

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Honors/Accomplishments: Consistent UIL Sweepstakes Award Winner; UIL Marching Area Finalist; TMEA Honor Band Area Participant; Outstanding Performance Series Finalist; Mark of Excellence National Wind Band Honors National Winner; Best-in-Class–Concert Band and Jazz Festivals; PTA Lifetime Membership Recipient; Music for All National Concert Band Festival Invited Ensemble; Active Clinician, Adjudicator, and Fine Arts Consultant. Personal Information: I have been married for 27 years to Holly, who is an elementary P.E. teacher. The music world brought us together—we actually met while on tour with our college orchestra at TMEA. We are raising three beautiful girls who are all active musicians. Heather graduated from Texas Tech with a degree in music education and performance and is currently earning a master’s degree in violin performance at the University of North Carolina Greensboro. Claire is a junior at the University of Oklahoma and is a member of the drumline in the Pride of Oklahoma Marching Band. Emma is a senior at Plano Senior High School and plays viola in the orchestra program led by Brian Coatney. Emma just recently advanced to the Pre-Area Round of the TMEA Orchestra Auditions. Statement: I am honored and humbled to have been nominated for the office of TMEA Band Division Vice-President. This organization has had a profound impact on my life dating back to my first experiences in All-Region and All-State Bands. From a very early age, I envisioned TMEA being a significant part of my life due to the positive experiences I had as a member of those organizations. My current position as Director of Fine Arts in Wylie ISD affords me a wider K–12 vision to see how music education (band

in particular) fits into the scope of an academic fine arts education. I get to witness firsthand how much academic pressure from school accountability is placed upon our school district’s campuses and resources. These pressures have a real impact on our band programs. I want to be an advocate for all our programs at the state level. I will work with the other divisions in TMEA to protect and advocate for our programs in the areas of budget, facilities, staffing, master scheduling, teacher and student recruiting/retention, addition (encroachment) of CTE initiatives, added HS electives at the MS level, GPA/graduation considerations, etc. Ultimately, my goal is to be a facilitator of outstanding teaching among the membership of our organization. I will work tirelessly to remove the obstacles that we face in and out of the classroom. Students have an increasing number of choices regarding how to schedule their classes and manage their free time. It is paramount that we continue to creatively and effectively communicate the benefits of a fine arts education to our students, their families, administrators, and the community. The level of professional development opportunities offered by TMEA is second to none. I want to acknowledge the meaningful influence that TMEA has had on my personal growth as an educator and as an administrator. Our “MEA” is the best in the nation, and I am eager to serve an organization with such a rich history of success and past leadership. Thank you for the opportunity to serve your students and your programs.

Dana Pradervand Present Position: Associate Director of Bands, University of Houston. Previous Positions: Director of Bands, Oak Ridge HS, Conroe ISD (2013–2019); Director of Bands/Coordinator of Music, New Braunfels ISD (2009–2013); Director of Bands, Judson HS, Judson ISD (2000– 2009); Director of Bands at Wood MS, North East ISD (1992–2000); Director of Bands, Evans JH, Lubbock ISD (1990–1992); Assistant Director of Bands, Monterey HS, Lubbock ISD (1987–1990). Education: Master’s in Music Performance, Texas Tech University; Bachelor of Music Education, Texas Tech University. TMEA Offices and Positions Held: Region 9 President (2016– 2019); Region 9 Secretary (2014–2016); Region 12 Vice-President (2008–2013); TMEA All-State Audition Chair (2016–present); TMEA State Honor Band adjudicator (2019, 2016, 2014, 2010); TMEA Area Audition Chair (2009–2013); Clinic/Convention Presider (2011–present). Other Offices and Positions Held: UIL Prescribed Music Committee (2019–2021); Phi Beta Mu Area representative; UIL Region Marching Contest organizer, Regions 9 and 12; UIL Concert and Sightreading Contest Organizer, Region 12; Board of Trustees for The Foundation for Music Education (2005–present). Professional Affiliations: TMEA, TBA, TMAA, Phi Beta Mu International Band Fraternity. Honors and Accomplishments: UIL State Marching Band Qualifier (2018); TMEA 6A State Honor Band second runner-up (2017); Mark of Excellence National Award Recipient (2017); Mark of Excellence Commended Award Recipient (2016); National Youth Concert in Carnegie Hall (2013, 2008); TMEA 3C Honor Band Finalist (1997).

Personal Information: I happily live with my two rescue dogs. I enjoy getting to be Aunt Dana to my two nieces, Zoe and Delilah. My other interests include traveling, learning to cook like the chefs on the Food Network, and doing any activity that takes me outdoors. Statement: I am humbled to accept the nomination for the office of TMEA Band Division Vice-President. I must first recognize and thank all my mentors, colleagues, and friends who have so greatly impacted my life as a band director. I am in my 33rd year as a music educator, and I love being a Texas band director! I recognize the legacy of the Texas music educators and our rich history over the past 100 years that have brought us to this milestone. It continues to be my goal to honor the mission and ideals of TMEA. I feel a strong responsibility to serve the organization and our membership because of the indelible experiences I have had in being a Texas band director. We are all excited to be celebrating the 100-year anniversary of TMEA. It is now our responsibility as members of the band division to continue being leaders in music education by examining, improving, and supporting the needs of all our students and programs across the state. We must continue to ensure that our programs remain relevant and vital to our school curriculum, and this will happen only if the mission of TMEA evolves with this everchanging educational climate. It is imperative that we continue the dialogue about the Honor Band process, the All-State audition process, and the All-State performing groups to ensure they are serving the needs of our students, the interests of our programs, and the integrity of our profession. I feel strongly that, through such media as our convention clinics and magazine communication, we must continue to provide educational offerings and training on diversity, teaching practices, programming, and advocacy. Collaboration and open forum discussion among our leadership and our divisional membership will be the key to our continued success in the band division. I will seek input from our Region leadership to address the needs and concerns from our Band Division membership. It is my goal to represent you, your students, and our Band Division in working hand in hand with the TMEA Executive Board. I am so grateful for everything TMEA has given to me through my mentors, my colleagues, my experiences, and opportunities. It would be my honor to serve TMEA and you as the next Band Division Vice-President. I thank you for your vote and for your support!

Candidates for College Vice-President Note: The number of Region nominations required to list candidates for office was not met. Nominations will be accepted from the floor during the College Division Business Meeting.

Southwestern Musician | January 2020 21

Prepare to Vote Electronically for TMEA President-Elect Complete the following before February 1! On February 13, after the First General Session, President-Elect ballots will be emailed to TMEA members eligible to vote. To prepare to vote electronically, complete the following steps before February 1. For more information, go to www.tmea.org/election. 1.

Ensure the primary email on your TMEA member record is accurate. Go to tmea.org/memberinfo and log in. If needed, you can update and save a new email address in your record.

If you will be at the convention on February 13, be sure you can access that email account remotely (on your personal device or over the Internet on a computer, such as at your hotel). If you are unable to access a computer elsewhere, you can go to the TMEA Help Desk by Onsite Registration (Thursday 10 A.M.–5 P.M.).

3. Add membership@tmea.org to your safe senders list to prevent the email from being blocked.

WWW.TMEA.ORG/ELECTION

Summer Music Academy PERFORM AT YOUR HIGHEST LEVEL.

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Take your musicianship to new levels in a residential, supportive environment with other musicians from across the country. HIGH SCHOOL DIVISION July 12–25, 2020 • Entering grades 10–12 • Orchestra, voice, wind ensemble, and jazz programs INTERMEDIATE DIVISION July 26 –August 1, 2020 • Entering grades 7–9 • Band, orchestra and musical theatre programs Registration Open Today! Learn more at ithaca.edu/sma.

22 Southwestern Musician | January 2020

TCU SCHOOL OF MUSIC

Summer Music 2020 TCU Yamaha “Sounds of Summer” Percussion Camp TBA (June 2020) Brian West, director TCU Band Camp June 14-17, High School Session June 18&19, Middle School Session Bobby R. Francis, director TCU Flute Workshop June 22&23 Shauna Thompson, director TCU Saxophone Workshop TBA (June 2020) Joe Eckert, director TCU Harp Workshop July 8-10 Laura Brandenburg, director TCU All-State Choir Camps Purple Camp, July 12-15 White Camp, July 15-18 Sheri Neill, director Christopher Aspaas, conductor TCU String Workshop July 20-22 Elisabeth Adkins, director

To register, please visit our website at www.music.tcu.edu/smi.asp or contact TCU Extended Education at 817-257-7132.

THE UNIVERSITY OF TEXAS AT EL PASO

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AUDITIONS

WE OFFER DEGREES IN: MUSIC EDUCATION MUSIC PERFORMANCE THEORY AND COMPOSITION COMMERCIAL MUSIC GRADUATE STUDIES

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TMEA Region and Area Realignment Underway

n the spring of 2014, the TMEA Executive Board and staff initiated a comprehensive review and reformulation of our Region/Area alignment that went into effect in the fall of 2016. Four new Regions and one new Area were created and a defined commitment to geographic Area centers was made. Also, a renewed emphasis was placed on the accurate submission and final tracking of online audition entry data. In addition, the TMEA Executive Board committed to reviewing the Region/Area alignment and resulting All-State apportionment data every two years. That time is upon us yet again. In the spring of 2018, the TMEA Executive Board revisited the Region/Area alignment and All-State apportionment numbers and made minor adjustments in alignment and apportionment. We now have four years of audition entry data for comparison purposes and UIL’s biennial enrollment and classification report. The timeline for this alignment review is outlined below. The two State Board meetings, Region and Area Chair luncheons, and the Region meetings during our convention will provide opportunities for information and member feedback. Final revisions to the proposed alignment and All-State apportionment will need to be approved and adopted by the TMEA Executive Board no later than mid-April so that important agenda items like the election of Region officers and the selection of Region sites and dates may be conducted at the spring Region meetings. Also, note that the deadline for Region variance requests or waivers is still August 1.

Preliminary Timetable for Region/Area Alignment and Apportionment The following is the schedule for the next review and adoption of our Region/Area alignment: December 2019: UIL released biennial enrollment/classification data. January 2020: TMEA Executive Board Meeting. TMEA Executive Board and staff review the two-year audition data and the Board proposes the TMEA Region/Area alignment and AllState apportionment for the next biennial audition cycle. The proposed plan is published on the TMEA website prior to the convention and sent to the TMEA State Board for member review and feedback.

February 2020: TMEA convention. State Board meetings, Region Chair luncheons, and Region meetings will offer opportunities for feedback and discussion from TMEA State Board and general membership regarding the proposal. More than before, enrollment and program participation data by district and high school campus will be available through the Region/Area alignment map on our website. March 2020: TMEA Executive Board Meeting. Based on feedback and input from the membership and staff, the TMEA Executive Board finalizes and adopts the revised proposal. April/May 2020: Spring Region Meetings. The adopted plan is published on the TMEA website by mid-April and sent to the TMEA State Board for the spring Region meetings. Members attend their spring Region meetings based on the adopted TMEA Region/Area Alignment. July 2020: TMEA State Board Training and Summer Conventions. The TMEA Region/Area alignment and All-State apportionment plan approved for the next biennial audition cycle is reviewed at the summer training for TMEA State Board and membership as needed. August 1, 2020: Deadline for variances and waiver submissions to the TMEA office. Get Involved After a new alignment is in place, members often indicate they didn’t know about it or they weren’t consulted about the possible outcomes of such actions. I encourage you to become involved today. It is appropriate to share your thoughts now with your division’s State Chair, raising issues that may need addressing. I assure you the staff and Executive Board review all input received. You can contact your Division’s State Chair at the following email address to provide your feedback: Band: bandvp@tmea.org Orchestra: orchestravp@tmea.org Vocal: vocalvp@tmea.org Elementary: elementaryvp@tmea.org College: collegevp@tmea.org

Southwestern Musician | January 2020 25

Vastly different.

AUDITION DATES January 25, 2020 February 8, 2020 March 7, 2020

Find Out More: www.depts.ttu.edu/music

@ttuschoolofmusic

2020 TMEA PRESIDENT’S CONCERT THURSDAY, FEBRUARY 13 • 8 PM • LILA COCKRELL THEATRE The Dallas Winds is the leading professional civilian wind band in the United States today. The ensemble is under the inspired leadership of Artistic Director and Conductor Jerry Junkin, who is in his 25th season with the ensemble and 30th

year with the University of Texas at Austin. The Winds makes its home in one of the world’s greatest concert halls, Dallas’s Morton H. Meyerson Concert Center. Learn more about them and listen to their recordings at www.dallaswinds.org.

Tickets: $20 | General Admission Purchase tickets when you register for the TMEA Clinic/Convention, or anytime following by returning to your member record. Ticket pickup will be at the convention registration Information Booth.

Learn more at www.tmea.org/presidentsconcert.

Deep in the heart of texas

Artistic Director Jerry Junkin

r u o Get Y s t e k Tic ! y a d To

Southwestern Musician | January 2020 27

B Y

J O H N

BAND NOTES

C A R R O L L

In Memoriam Mary E. Thompson July 7, 1935–October 24, 2019 Robert Renfroe February 4, 1928–October 31, 2019 Stuart Shipley August 8, 1954–November 23, 2019

Uplifting teachers and students

January—Renew your membership and register for the convention. January—Purchase tickets to the President’s Concert. January 11—Area Band and Vocal auditions. January 22—Deadline to cancel a housing reservation without penalty. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio. February 13—TMEA Band Division Business Meeting. February 14—TMEA Region Meetings.

hope you had a wonderful holiday season and a happy New Year. This is an easy and convenient time to start anew, look for fresh ideas, and resolve to be better at our craft of teaching music. As the cold continues for several more weeks, I suggest that we keep our New Year fresh by searching for new ways to reach our students. That being said, let’s be sure we don’t let go of wonderful tools we already have just because they aren’t new. I’ve always believed the healthiest approach is to continue to use that which has successfully reached our students, while not being reluctant to try others’ ideas of what has worked for them. Recently, the directors at my school have been talking with students about being kind and uplifting to each other. From time to time, we have asked them to look at each other and say something nice to their neighbor. Naturally, this is out of the comfort zone for some, and they react with nervous laughter. However, I have been pleased to see many of our students buy into this idea. While I don’t believe band directors and other fine arts teachers have a monopoly on all the good students in our schools, it does seem that we enjoy the luxury of teaching a number of great young people who want to do right and treat people the way they would wish to be treated. I also recently reflected on my behavior to see whether I was practicing what I preach in regard to being kind, respectful, and uplifting. I always try to get better at that. I constantly evaluate whether the issues we often allow ourselves to stress over are indeed worthy of that emotional investment. I have heard the following quote attributed to many of my heroes in our music

I appreciate knowing that the overriding philosophy of our state’s teachers is one that uplifts students and ensures they are treated with respect, kindness, and love. Southwestern Musician | January 2020 29

profession: “Kids don’t care how much you know until they know how much you care.” I doubt there are many people in our wonderful profession who haven’t heard that. Furthermore, I doubt anyone would disagree with it. I have seen my wonderful colleagues of Texas music teachers (not just band, but all our Texas music teachers) practice this and model it in a textbook fashion. The idea isn’t new, nor is it innovative. However, I try to remind myself of that quote at least once daily. I believe it is a basic tenet to our success.

In our profession, several philosophies guide our definition of success. I appreciate knowing that the overriding philosophy of our state’s teachers is one that uplifts students and ensures they are treated with respect, kindness, and love. I realize I don’t have to encourage anyone reading this article to be more uplifting. Directors in Texas already know how important this is. Regardless, I respectfully suggest we occasionally remind ourselves of its importance and that we count the blessings we have in the students we

AUDITIONS NOVEMBER 16, 2019 VOICE & ALL INSTRUMENTS

(WITH THE EXCEPTION OF GUITAR, PERCUSSION, & PIANO)

FEBRUARY 1, 2020 VOICE & ALL INSTRUMENTS

(WITH THE EXCEPTION OF GUITAR & PERCUSSION)

FEBRUARY 8, 2020 VOICE & ALL INSTRUMENTS

(WITH THE EXCEPTION OF GUITAR & PIANO)

MARCH 21, 2020 VOICE & ALL INSTRUMENTS APRIL 13, 2020 VOICE ONLY

teach. Stress can affect us all, and sometimes it might get in the way of treating people with care and kindness. I am constantly trying not to let that happen to me. Updates and Convention News As our convention gets closer, remember that invaluable chance we have to learn from others. As we celebrate our association’s centennial, we have numerous opportunities to attend inspiring concerts, hear from motivational speakers, and gain new ideas in superior workshops. January 23 is the deadline for early online convention registration. After that date, you may still register online and onsite, but a higher fee will be in effect. I hope you make time to explore the convention exhibits and attend product showcases. Offer thanks to our industry partners for their support of TMEA and music education in Texas schools. I hope to see you in San Antonio! I am pleased to introduce our invited university bands that will perform at this convention and hope you add their performances to your personal schedule. These groups are fantastic examples of our collegiate programs that are providing leadership and setting a high standard for us all.

(NOT FOR SCHOLARSHIP CONSIDERATION)

2020 SCHOOL OF MUSIC SAM HOUSTON STATE UNIVERSITY

1751 Avenue I, Suite 225 Huntsville, TX 77340 936-294-1360

WWW.SHSU.EDU/ACADEMICS/MUSIC MEMBER THE TEXAS STATE UNIVERSITY SYSTEM

30 Southwestern Musician | January 2020

Baylor Wind Ensemble The Baylor Wind Ensemble is the premier wind band of the Baylor University School of Music and has been praised as one of the flagship programs in the nation. Under the baton of Director of Bands Eric Wilson, performances at previous state and national conferences in the country were characterized as “nothing short of spectacular” and “representing the best in wind band performance.” The Baylor Wind Ensemble is guided by a philosophy that seeks to educate and expose its students and audiences to the highest quality music representing a diversity of musical styles and historical periods. In more than four decades, the Baylor Wind Ensemble has appeared at numerous conventions sponsored by the ABA, CBDNA, TMEA, and the Midwest Clinic. Frequent collaborations with distinguished guest conductors, composers, and performers provide compelling perspectives and inspiring interactions for Baylor students and faculty. Graduates of the program hold distinguished teaching positions at the elementary, secondary, and collegiate levels. Furthermore,

Baylor Wind Ensemble

Sam Houston State University Wind Ensemble

Texas Christian University Wind Symphony

West Texas A&M University Symphonic Band

Southwestern Musician | January 2020 31

former members of the group have secured appointments in orchestras around the world and in leading military bands. Sam Houston State University Wind Ensemble The Sam Houston State University Wind Ensemble is one of three concert bands in the SHSU School of Music. Conducted by Matthew McInturf, the Wind Ensemble has performed at conventions of TMEA, CBDNA, and ABA. The Wind Ensemble performs a variety of repertoire reflecting the history of wind

music, with an emphasis on American music and collaboration with significant contemporary composers. The SHSU Bands are an integral component of the School of Music’s mission to prepare the next generation of performers, music educators, composers, and music therapists. Texas Christian University Wind Symphony The TCU Wind Symphony is recognized as one of the premier collegiate wind bands in America. It regularly performs the best in wind band literature

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and commissions new works—from the Renaissance masters to the most recent prize-winning composers. The Wind Symphony frequently collaborates with guest artists and composers. Recently guests have included Paul Dooley, John Mackey, Frank Ticheli, David Maslanka, Michael Colgrass, Joseph Turrin, James Syler, James Stephenson, Kevin Day, Eric Ewazen, Michael Daugherty, and John Corigliano. The ensemble performed at the 2018 ABA Convention with guest artists Boston Brass and at the 2019 CBDNA Convention with euphonium guest artist Demondrae Thurman. The ensemble’s performance at the 2020 TMEA Clinic/Convention will include a premiere of a new concerto by Kevin Day featuring trumpet guest artist Jens Lindemann. In addition to serving as highly successful teachers and conductors, graduates of the Wind Symphony hold positions in professional symphony orchestras, military bands, and recording studios. This will be TCU Wind Symphony’s fourth performance under the direction of Bobby R. Francis at a TMEA convention. West Texas A&M University Symphonic Band The West Texas A&M University Symphonic Band, under the direction of Don Lefevre, consists of the most select performers on campus. The strong support and involvement shown to the band program by the faculty creates an atmosphere conducive to effective teaching, which ensures the success of this program. During the last six decades, there have been only two conductors of the West Texas A&M University Symphonic Band. Under the direction of Gary Garner and Don Lefevre, the Symphonic Band has established a national reputation through performances at CBDNA conventions, Carnegie Hall, and 15 TMEA conventions. Graduates from the WTAMU Symphonic Band are among the most influential leaders in teaching positions at the elementary, secondary, and collegiate levels. Former members of the ensemble hold positions in orchestras around the world as well as in the leading bands of the armed forces.

2020 Scholarship Auditions January 25 • February 22 • February 29 • March 21

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TCU Wind Symphony performs at TMEA on Thursday, February 13 at 6:30pm, Lila Cockrell Theatre

Scholarship Opportunities Available For You 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.

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ACCEPTANCE TRUST C COMMUNICATION ACCE Principles of Strong TRUST COMM CEPTANCE Ensemble Cultures MMUNICATION ACCEPTA ANCE TRUST COMMUNIC By David W. Montgomery

he culture of any group deeply affects its members and impacts its success. It influences how people interact with one another, how problems are solved, and how everyone works toward goals. The culture of a music ensemble is particularly important. Negative energy, low standards, apathy, and drama can severely limit potential and success, as well as enjoyment. Conversely, in a positive culture, students feel challenged and supported and become willing to take the risks required for their musical development. Directors must be intentional and persistent in cultivating a positive atmosphere and culture. In my years working as a high school and university director, I’ve learned that building this positive culture begins with a few fundamental principles. Offering Acceptance At a basic level, each of us has a need to be accepted by the people and organizations with which we interact. In other words, we want to belong. Because of this need, there is almost always a feeling of anxiety and uncertainty for someone when they first join an ensemble. Even veteran members can feel this when situations arise that make them question their importance or feel like an outsider. Once people feel accepted it frees them to do their best work and it makes them feel good. People who feel good do good work. In programs with positive cultures, a strong value is placed on making sure everyone feels like they are accepted and belong—that they are important. This is crucial to culture-building. In my role as a university band director, I understood the sooner everyone felt like they belonged, the faster we would learn the show and the more success we would have in performance. We worked to accomplish this in a couple of important ways. First, staff members were given contact information for their section members over the summer and were instructed to reach out to everyone and establish a connection. They welcomed them to the band and offered to answer any questions they had along the way. When camp began, all staff members were at the dorms to welcome students, help them move in, answer questions, and get them excited about being in the band.

During band camp we spent a lot of time in sectionals. In addition to learning music, sectionals were intended to foster bonds of acceptance and belonging among everyone in the section. They became a mini-family that could grow into deep friendships over time. We also planned social activities and friendly competitions between sections in a fun atmosphere that culminated in Section Olympics in our football stadium on the last day of band camp. These interactions created strong signals of acceptance to everyone. Once this fundamental was established, everyone was free to focus on the work we needed to do and not worry about whether or how they fit in. Throughout the year, we encouraged regular section activities to serve as reminders of that acceptance and belonging. Learning names is another important way acceptance is communicated and it establishes a personal connection with each student. When someone takes the time to learn our name, it communicates that we matter to them. In large programs it’s easy to feel anonymous and lost in the shuffle during fast-paced rehearsals. When I called a student by name and offered a praise or correction, it sent a strong message that I knew who they were—they weren’t just a dot on the field. All staff members need to work hard to learn names as quickly as possible. The personal connection that is created as a result leads to deeper connections that continually strengthen the bonds of acceptance and belonging. Establishing Trust After students feel accepted, the next concern they have is whether they can trust fellow students in the ensemble, the leaders, and directors. Trust is about relationships and safety. Strong cultures send repeated messages of trust. Trust is created by being trustworthy—by treating others with dignity and showing honesty and integrity. One of the important moments when trust is earned is when mistakes happen. When a student makes a mistake, they wait for the reaction—will they be yelled at or embarrassed? Or will the correction come with coaching and mentorship? Sometimes yelling is confused with good teaching. However, criticizing and Southwestern Musician | January 2020 35

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embarrassing students in the process of getting it right yields an atmosphere of anxiety and tension—not the atmosphere where people can take risks and do their best work, and ultimately not where they want to spend their time. Honesty is a key ingredient of trust. A rigorous culture doesn’t need to be a ruthless one, but feedback must still be honest. People do not get better when we make them feel worse, nor do they get better when we ignore their mistakes. In a positive culture, leaders offer highly specific, accurate, and honest feedback, but they do not use truth as a weapon to hurt. They use truth in feedback to improve skills and processes. Frequent, specific, and honest feedback is crucial to building trust and is a hallmark of a positive program culture. A culture like this leads to strong performance. Integrity has its roots in the Latin word integer which means whole or complete. Someone who has integrity is someone who practices what they preach and follows through on what they say. Put differently, their words and actions are integrated. Cultures are destroyed by leaders who say one thing and then do another, or who hold some students to one standard but let others slide by on a different standard. I believe it’s important for staff to participate in moving equipment at the beginning and end of practice, help with uniforms, and more. Students need to learn that leaders help with the work that’s needed, regardless of the task. Communicating an Ideal Just like we need constant reminders of acceptance, we also need constant reminders of what the culture of the ensemble is about and what our goals are. I’ve found great success using catchphrases. These are short, simple phrases that express a deeper ideal and create unity across the members. They encapsulate the values and ideals of the program in just a few words. Catchphrases guide us as we go through the daily efforts of rehearsal and interactions. They serve as reminders that bring us back to who we are, why we do what we do, and how we do it. In other words, they define our culture. In our marching band, we used the phrase Keep Your Head Up. People who are proud of their work hold their heads high. Keep Your Head Up is about working to the very best of your ability and hold-

ing nothing back during our time together. It is a reminder that each member—not the director—is responsible for their own work ethic. You are expected to work as hard as you can during practice through every single repetition and rehearsal segment. When you do this, you can be proud of your work. It helps you build the pride and intrinsic motivation for the work you have to do. Keep Your Head Up was in my opening speech each year as I defined our culture. We put it on T-shirts. I had challenge coins made and I awarded them to students who exemplified this especially well. At the beginning of a rehearsal, I would often tell the students that I needed everyone “to keep your head up today” because we had a lot to accomplish. I would follow it up in the middle of practice to remind them to continue pushing and giving their best. Rehearsals would often end with my asking them if they can Keep Their Head Up. This helped us have consistently productive rehearsals and helped students develop a habit they could transfer to other aspects of their lives. Catchphrases work for subsets of the ensemble too. Our drumline adopted the saying Look Great—Sound Great. It became a simple reminder that everything must be completed to a high standard and expectation—from the organization and care of equipment to the approach to rehearsals to performance quality. When a group of people can rally behind a singular ideal, it creates a bond and great achievement can be accomplished. This is what strong cultures build and nurture. As mentioned above, everyone wants to belong. But they also want to belong to something great. They want to know they are part of something that matters and that produces quality work. They want to be around others who are working as hard as they are and who share these goals. As you reflect on the culture of your ensemble, focus on these principles of offering acceptance, establishing trust, and communicating your ideals. Let them form the basis of a strong foundation that can shape your program into the kind of culture you dream about. David W. Montgomery is an Associate Professor of Music Education at Baylor University School of Music.

Attend the TMEA 2020 Clinic/Convention

February 12–15 • San Antonio Celebrate TMEA’s Centennial during this extraordinary event that features over 300 workshops for band, orchestra, vocal, elementary, and college educators, more than 100 performances Åř ĴìÐ ĮĴĴÐȸĮ ťĊÐĮĴ ĉķĮðÆðĊĮș ĊÌ ďĊÐ æðĊĴ ÐŘìðÅðĴ ìăă ťăăÐÌ œðĴì over 1,400 booths representing all facets of the music industry. Learn more at www.tmea.org/convention.

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Duties • Weekly rehearsals as a string quartet • Event performances • Assisting studio professors/ orchestra conductor Opportunities • Leadership positions in SHSU performances • Weekly coachings with music faculty

Southwestern Musician | January 2020 37

Then–Now–And–? As TMEA celebrated its first 50 years, Nelson G. Patrick, 1957–1958 President, wrote the following reflection. Almost 50 years later, it’s clear that some things have changed, yet many aspects of and challenges in our profession persist. As you read, understand that TMEA celebrated its 50th anniversary in 1974 (images on page 40). At that time, we considered the 1924 formation of Texas Band Teachers Association as our association’s beginning. Our leaders later reestablished our inception as the founding of TBTA’s predecessor, Texas Bandmasters Association, formed on April 20, 1920. Learn more about TMEA’s history at www.tmea.org/centennial.

by Nelson G. Patrick

he 1974 TMEA Anniversary Convention stands out as a symbol closing a frontier era in Texas music education. At the same time, it is symbolic of a pioneering spirit in continuum as we chart our way through the maze of economic, educational, and social changes of today. Just as music in the schools and the beginnings of TMEA came about following changes in our social cial institutions after World War I, we are faced with similar probb lems today. The Vietnam War, social transitions of the sixties, and now economic adjustments resulting from the energy crisis have catapulted us into a new era. What happens to music education depends upon how well we resolve these problems as they arise. Problems facing TMEA today are neither more nor less formidable than those facing those who organized the first music association in Texas devoted to school music. In retrospect, their problems might appear less imposing, but we must remember that these men also were probing into the new, the untried, the unknown. We now live by and have grown because of the solutions they evolved. Those in early meetings of TMEA were concerned with organization, identification, and recognition. The initial group, first, had to create an organization which members of their own profession were willing to accept. Many teachers were wary of losing their independence and were unwilling to become identified with an association that might dictate to them. On the other hand, the fledgling organization was seeking professional identification and respect, jealously guarding its membership by requiring high standards of ethics. At the same time, they were concerned about including as many music educators as possible, which was evidenced by rules and regulations that forced membership upon those who entered contests. Probably, the most difficult obstacle facing the young association was obtaining recognition and acceptance from school administrators. The solution was an ongoing sort of thing and was not really resolved until the late sixties. Other difficult problems were selling school boards and administrators on accepting music as a part of the school day and at public expense; securing academic affiliations; certifying teachers;

38 Southwestern Musician | January 2020

convincing i i college ll and d university i i music i d departments off the h necessity of creating a variety of music curricula to prepare teachers; establishing rapport with professional musicians of the communities; enlarging the scope of the association to include all teachers concerned with school music; gaining recognition and acceptance at the national level. The list could be of indeterminate length if space permitted. Most of the problems noted above have been resolved or partially resolved through compromises reached after bitter, emotional, and sometimes stormy sessions. Often splinter groups broke off from the association because they did not approve of the decisions made or the compromises agreed to. When orchestra directors were included, one group refused to accept the “wire-players.” Again, when vocal and elementary teachers were accepted, another group broke off and established its own association without the “songbirds.” Fortunately for us, time and wise leadership combined to maintain a strong association. Today, as we enter a new era, we still have some of the old problems with us. Those problems partially resolved or bypassed twenty to thirty years ago are now clamoring for resolution, the solution of others would enhance our association, and there are always new ones awaiting recognition. One problem that appears to be crucial to the effectiveness of the association is that of our relationship with professional musicians. In all other societies, professional music is not separated from school music. Orff, Kodály, Suzuki, Britten, Tchaikovsky, to name a few, were all concerned with music in the schools, not only as composers, but also by becoming directly involved in teaching methods. Music in education in other societies and music of the society were the same, while in our culture, we in education have

tended to develop “music materials,” “contest music,” and contrived a music designed for school use only. Many of our national composers appear reluctant to have their names associated with school music, while professional performers frequently remain on the sidelines. Could we not initiate a program such as our administrators’ visits to bring professional musicians to our convention, where we can exchange viewpoints? We just might be able to establish a rapport that would be mutually beneficial. Another unresolved problem is our relationships at the national level. We, to some extent, have remained isolationists. With all the strength that we have in our association, we have not been a decisive force at national meetings. Most other professions in Texas have provided their share of national leaders. In military services, we have had outstanding generals and admirals; we have provided two presidents, two vice-presidents, cabinet members, doctors, financiers, industrialists, heads of corporations at both national and international levels, educators and ambassadors, but in music education, we are not as influential as we might be. Through the utilization of our potential voting strength, we could be an effective force in shaping national policy. On the other hand, we do not hesitate to borrow educational concepts, hire teachers, college faculty, or to accept the general benefits created through the national association, while withholding our own participation. We all too frequently find fault with national leadership and criticize administrative policies but refuse to become fully franchised where our vote often could be a determining factor. Refusing to accept the national association does not cancel our responsibilities. We are the music educators of Texas, a part of the national scheme of education just as Texas is a part of the national organization of states. We can no more divorce ourselves from our responsibilities to the nation than our state can isolate itself from its obligations, whether or not we elect to join. (Editor’s Note: Patrick’s commentary about national unity was likely a response to the heated debate at that time about whether TMEA members must also be members of the national music educators association. Ultimately, TMEA members voted this down, asserting their independence and unwillingness to pay additional dues. Learn more about this in the November 2019 issue.) Many other problems are yet unsolved. For example, we are now teaching music to about a third or a half of our school children. What about those who are not receiving music? What do we do to encourage more participation in orchestra and string instruction? Other states are doing much better in these areas than we. In some schools we have as many as six bands and four to six choirs, but not enough students to encourage orchestras. Furthermore, many schools outside Texas have large piano classes, instruction in harp, guitar, other social instruments, theory, and literature. Through various

devices, most states are bringing music to a much higher percentage of their school children than we. What are our plans to resolve these problems? As we look toward the next fifty years, we are confronted with many questions. Our lifestyles are being changed daily by social readjustments, new values, and economic fluctuations. The fuel crisis will impinge directly upon our music activities. If travel facilities are not available for contests, out-of-town ball games, and other music activities, how do we plan to fill the void? This might well be the time for us to put music education on a broader music foundation instead of being adjunct to some other activity, as is so often the case. It is within the realm of possibility that each community will have to become musically self-sufficient. Can our present music programs fill this requirement? Can TMEA assume the leadership to develop these changes without losing our present momentum that we have worked so long to obtain? Whatever the next fifty years might hold for us, there is no doubt that we can and will solve whatever problems arise with the same pioneering spirit that prevailed in the 1920s. It is important, however, that we utilize the collective strength of all music educators and that we share our successes and our responsibilities with the entire society. Our 50th anniversary, then, can symbolize the opening of new frontiers and the acceptance of new challenges without self-imposed limitations.

Southwestern Musician | January 2020 39

1924

50th Anniversary

1974

TMEA Convention-Clinic Houston, Texas Convention-Clinic highlights featured a special multimedia presentation on the growth and history of TMEA, an exhibit of Charles Ives documents and memorabilia, and the 1974 Grand Concert. Pictured are random scenes from the three-day work-study sessions, February 7â&#x20AC;&#x201C;9.

NEWLY ELECTED TMEA OFFICERS â&#x20AC;&#x201D; Bill Cormack, right, of Midland, assumed the office of President at the end of the annual clinic. The name of the new President-elect to succeed Cormack will be announced following tabulation of balloting by mail. Also pictured, left, is Bill J. Dean, Director of Bands and Orchestra at Odessa High School, newly elected Vice-President and Band Division Chairman. Pictured, center, is Dr. George E. Umberson, head of the department of music at West Texas State University at Canyon, newly elected Vice-President and College Division Chairman.

40 Southwestern Musician | January 2020

4) 5)

1) All-State Symphonic Band conductor, H. Robert Reynolds, in rehearsal. 2) Conductor of the All-State Choir, Dr. Howard Swan, rehearsing 3) All-State Concert Band clinician, Col. Arnald D. Gabriel, begins rehearsal 4) Retiring president, J. W. King, opens the Grand Concert

5) Concertmistress for the All-State Symphony Orchestra, Debbie Moran, of Houston, intent on her music 6) Executive Secretary Joe Lenzo at the mike during the Grand Concert 7) Young musicians practice against Houstonâ&#x20AC;&#x2122;s skyline atop the Rice Hotel

8) Performers presenting session on Black American Music 9) Serious mood of rehearsal is captured in a reflection on a bell 10) Dr. George Trautwein rehearsing the All-State High School Symphony Orchestra 11) Behind-the-scenes view of All-State Youth Orchestra 12) Overall view of the 1974 Grand Concert

13) Nicolas Slonimsky, lecturer on Charles Ives, makes his point in a session 14) Members of the All-State Choir perform during the Grand Concert

11) 12)

10)

13)

14)

TEXAS STATE SCHOOL OF MUSIC AT TMEA 2020 EXHIBIT HALL

SATURDAY, FEBRUARY 15

Texas State School of Music College Fair Booth Coordinator: Ms. Krystyn Jensen

THURSDAY, FEBRUARY 13 9:30am â&#x20AC;&#x201C; 10am, CC Bridge Hall Music Showcase Church Hill Middle School Percussion Ensemble and Samba Pantera Director: Mr. Rene Gonzalez 1pm â&#x20AC;&#x201C; 2pm, CC Stars at Night Ballroom 1-2 Tuning with Technology Clinicians: Dr. John Denis and Mr. Jordan Stern 6:30pm â&#x20AC;&#x201C; 7:30pm, CC 217 Middle School Choral Students â&#x20AC;&#x201C; How Do You Motivate Them? Clinician: Dr. Lynn Brinckmeyer

FRIDAY, FEBRUARY 14

8am â&#x20AC;&#x201C; 9am, CC 302 AB Harmonic Dictation: A Sequence and Strategies for Success Clinician: Dr. Cynthia Gonzales 11am â&#x20AC;&#x201C; 12pm, Grand Hyatt 4th Floor â&#x20AC;&#x201C; Crockett AB Build Musicianship Skills Without Using Rehearsal Time Clinician: Dr. Cynthia Gonzales 12:30pm â&#x20AC;&#x201C; 1:30pm, CC Stars at Night Ballroom TMEA All-State Mixed Choir with Texas State University Symphony Orchestra Accompanying Preparation Conductor: Dr. Jacob Harrison 2:30pm â&#x20AC;&#x201C; 3:30pm, CC Stars at Night Ballroom TMEA All-State Small School Mixed Choir with Texas State University Symphony Orchestra Accompanying Preparation Conductor: Dr. Jacob Harrison

9:30pm â&#x20AC;&#x201C; 11:30pm, Marriott Plaza Texas State School of Music Alumni Reunion Hosted by Dr. Thomas Clark and Ms. Krystyn Jensen

B Y

M I C H A E L

S T R I N G E R

ORCHESTRA NOTES

Leadership part 2: be the driver

n November, I began a series on leadership that will be in a total of five parts. I have been re-inspired to discuss leadership, having revisited a wonderful book that I used in my graduate studies by David Cottrell titled Monday Morning Leadership. While this book was written by a business manager, I found the lessons taught in each chapter have unique connections to our schools and classrooms. I hope each topic that is discussed will help you define what kind of leader you want to be for your program and give you ideas on how to better train and grow the student leaders of your program.

January—Renew your membership and register for the convention. January—Purchase tickets to the President’s Concert. January 22—Deadline to cancel a housing reservation without penalty. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio. February 13—TMEA Orchestra Division Business Meeting. February 14—TMEA Region Meetings.

Drivers and Passengers In the first chapter of Cottrell’s book, he discusses the differences between drivers and passengers. He describes the passenger as those in the vehicle who can mess around. I imagine passengers listening to loud music, using their cell phones, or turning around to talk to other passengers in the back seat (all things we shouldn’t do as drivers). The driver is the one who must be focused on the road ahead, concentrating on the mission of helping everyone arrive safely at the destination. One of our main responsibilities as teachers is to drive the focus of our program. We must carefully consider in what direction the program is heading, how fast the program can grow and mature, and how to avoid any distractions from our mission along the way.

You are the driver of your program and your responsibility is to get your students to their destination. Southwestern Musician | January 2020 43

Focus How would you reply if someone asked you where your program is heading? What comes to mind as you consider that question? Do you think about growth in student numbers, retention percentages, quality of performer, or the overall student experience? As you focus your thoughts on one area of growth, consider reaching out to other teachers who lead programs that have accomplished the very thing you are looking to grow in yours. Cottrell points out, “There are few—very few, if any—leaders who have not been faced with the same issues.” Within our programs, we often view our set of circumstances as unique, but I have found the opposite to be true. Anytime I have been faced with an area of growth that was needed in my program, I was always able to reach out and find a program that had solved that issue. While these were not always simple solutions, I was always able to use what I learned from my colleagues and modify it to solve the issue I was having in my program. Change When shaping the focus of our program, we must consider how change is

44 Southwestern Musician | January 2020

possible within our classrooms. We often believe that once we are a few months into the school year, it is too late to make changes to our program. We convince ourselves that it will take too much time to train the students on a new system or to develop new techniques. If change is needed in your program, make that change as soon as you determine what is best. Carefully consider how to implement the new system, give your students the reason for the change, and then make it happen. Remember you are the driver of your program and are responsible for getting everyone to the destination in the safest, most efficient manner. Your students (the passengers) will be along for the ride and will be more responsive to changes than you realize. The Mission During the school year, it’s easy to get distracted from the mission. As you head into UIL evaluation season, don’t abandon your plan or lose your focus. If you have been focusing on advancing your technique all year, keep going! If your focus has been increasing students’ exposure to new music, keep playing new music! Too many

times, we lose sight of the things we have been doing all year to focus on the rating that is circled at the bottom of a page. Your students need to know you are confident in your process. They need to be confident that if they continue to ride along, they will be successful no matter what rating is assigned to the performance at the end of the evaluation. One of my favorite memories is a group of students who needed most of the class time focused on technique. During this class on any given day, the technique lesson would outlast the repertoire rehearsal two to one. As we grew closer to evaluation we stayed the course, and even when we were worried that the music was not getting contest-ready, we continued with our process. On evaluation day, the orchestra performed to the highest level they had achieved all year and knew they were successful before ever exiting the stage. It was in that moment that I vowed to always trust the process and keep my focus on the road ahead. As you begin the second semester, remember that you are the driver of your program and your responsibility is to get your students to their destination. Keep

your focus, don’t be afraid to try new things, and reach out to your colleagues for help and guidance. Cottrell ends this chapter with “Be a Driver: Until you accept total responsibility—no matter what—you will not be able to put plans in place to accomplish your goals.” I encourage you to accept responsibility for your program and execute a plan that will ensure your students have every success they deserve. Have a great semester! HS String Honor Orchestra Congratulations to our finalists and HS String Honor Orchestra (see the adjacent list). This month, learn more about this Honor Orchestra. Our other Honor Orchestras were featured in the November issue. TMEA Clinic/Convention Update I hope you have registered for the convention and made your hotel reservation. If not, be sure to do that now so that you enjoy a smooth registration process and have a place to stay (go to www.tmea.org/ convention). You can now view the convention schedule online and create a personal schedule that you can save and edit (www.tmea.org/conventionschedule). You can also opt in to have that schedule transferred to your mobile app account (your personal schedule saved as of January 23 will be transferred to your Guidebook account). In addition to our HS String Honor Orchestra, I’m pleased to feature our

Invited University Orchestra. Next month, you’ll learn about our inaugural Invited Mariachi Ensemble. Be sure to put these ensembles’ performances in your personal schedule! HS String Honor Orchestra Clear Lake HS Chamber Orchestra, Clear Creek ISD The orchestras at Clear Lake HS, under the direction of Bryan Buffaloe and Kevin Black, have consistently ranked as a finalist each year in the TMEA Honor Orchestra

competition, in both the string and full orchestra divisions. Over the years, the program has produced numerous AllRegion and All-State level performers, with many students going on to study music education, music composition, music performance, and music therapy as their chosen career path. The department has been recognized several times as a Grammy Signature and all orchestras have earned consistent UIL Sweepstakes awards. In 2006, the orchestra performed for the Chinese New Year World Global

HS String Honor Orchestra Results Congratulations to the following orchestras and their directors for this outstanding accomplishment: Rank School

ISD

Director

Clear Lake HS

Clear Creek

Bryan Buffaloe & Kevin Black

Tompkins HS

Katy

Matthew Porter

Jasper HS

Plano

Matthew Moreno

Plano East HS

Plano

Ann Smith

Clements HS

Fort Bend

Neal Springer

Lebanon Trail HS

Frisco

Paul Vanderpool

Taylor HS

Katy

Clinton Capshaw

Flower Mound HS

Lewisville

Stephen Clink

L.D. Bell HS

Hurst-Euless-Bedford Allison King

McCallum HS

Austin

Ricky Pringle

Allen HS

Allen

David DeVoto

Clear Lake HS Chamber Orchestra Southwestern Musician | January 2020 47

Baylor University Symphony Orchestra Gala sponsored by New Tang Dynasty Television, which was broadcast worldwide. They have performed in the National Band and Orchestra Invitational held in Carnegie Hall and the Circle of Honor series in Chicago at Symphony Hall. The Symphony Orchestra earned the honor of being named the TMEA State Honor Full Orchestra in 1991, 2011, and 2013. In addition, the orchestra was named Grand Champions at the prestigious National Orchestra Gold Cup competition in New York at Alice Tully Hall in 2013 and 2017. The CLHS Chamber Orchestra was named

the TMEA Honor HS String Orchestra in 2014 and invited to perform at the Midwest Clinic in 2018. Much of the success of the Clear Lake HS orchestra program can be attributed to the outstanding middle school programs and their directors. Baylor University Symphony Orchestra Winner of the University Division of the American Prize four times, the Baylor Symphony is dedicated to the quality performance of the orchestral repertoire and the professional and artistic growth

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48 Southwestern Musician | January 2020

of its members. In a typical year, over 110 Baylor students are chosen through highly competitive auditions. They hail from two dozen states and several foreign countries. This is the ninth time the Baylor Symphony has been invited to perform at the TMEA Clinic/Convention. They have also appeared by invitation at the prestigious Piccolo Spoleto Festival and at national conventions of American String Teachers Association and College Orchestra Directors Association. In December of 2003, the Baylor Symphony was featured in a PBS Special, “Christmas at Baylor,” with university choral ensembles. It was aired nationally in over 350 markets with an estimated audience of over six million viewers. The Baylor Symphony was privileged to accompany the final public performance of revered violinist Joseph Gingold, and they have also collaborated with a number of distinguished American performers and composers like Robert Shaw, William Kraft, Jacob Druckman, Corey Cerovsek, Peter Schickle, Roberto Diaz, and Lorin Hollander. In recent years, the Symphony has toured in Costa Rica and Belgium. The orchestra also annually presents a series of concerts for over 6,000 Waco-area school children—an unbroken tradition since 1946.

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OUR CONCERT PROGRAMS

by Emily Ellsworth

tudent recitals often follow a familiar format, showcasing individual progress of the performers. They proceed from least to most experienced, with applause after each piece. The only intentional flow is that of chronology of age and experience. Choral concerts often utilize this recital approach, particularly when several ensembles are involved. They move from youngest to oldest, or from one ensemble to the next, allowing applause after each octavo, ending with a combined piece for all. While they do offer the platform for showcasing your ensembles’ progress, these events become predictable and don’t consider the more visual, less focused world in which we live. With some creative programming, you can enrich your concert experiences for the audience and singers alike. The Art of Storytelling When I began working as a choral conductor, I was given a card that read, “Welcome to the world of musical storytelling.” That idea stayed with me and has inspired me to create concerts with an emotional arc, seamless flow, and greater impact. Engaged storytelling breaks down the fourth wall separating performers from listeners and focuses attention on a bigger idea.

Thematic Flow The thoughtful flow of a program from one piece to another and one section to another can significantly impact an audience’s experience. When we add an overriding theme to the efficient

flow of segueing without applause, an experience happens that can be transformative. Themes can be specifically focused, or quite broad, depending on the amount of music presented and number of ensembles. Themes allow for titles more appealing than “Winter Concert.” Examples from my own programs include Frost and Fire, Journeys, Bernstein to Billabongs (American and Australian repertoire), and Innocent Wisdom (last spring’s national ACDA children’s honor choir program). The possibilities are endless! Consider the following example from a well-received program performed by Anima—Glen Ellyn Children’s Chorus. Portraits: The theme of the concert was human connection— from local to global. Singers submitted photos of their families engaged in everyday activities (eating dinner, playing in the backyard, napping, etc.) as well as photos of their elders or ancestors. Images were projected on two screens in the concert space at various times. Four ensembles were on stage or in singable positions in the house. The program was organized as follows: I.

Our Anima Family: Music in Our Lives (images of Anima singers, individually and in groups were projected). An opening set celebrating the joy of song by various ensembles, with applause held until the section’s end.

Sing-along transition: Happy Days are Here Again, with lyrics on screens (copyright 1929 by Milton Ager, lyrics by Jack Yellen). II. Family at Home (images of singers’ families). Works came under the subheadings of “Suppertime” (music about food), Southwestern Musician | January 2020 55

“Sleep” (lullabies), and “At Play” (whimsical, playful pieces), with each ensemble contributing during one or more. Sing-along transition: If I Only Had a Brain, from Wizard of Oz, with lyrics on screens (copyright 1937 by Harold Arlen, Yip Harburg, 1939 lyrics). III. Lessons from Our Elders (Grandparents on stage with grandchildren for one piece). Music with meaningful texts from one generation to the next: works by David Brunner, Stephen Sondheim, etc.

This section included the recognition of graduating seniors. IV. The Human Family (images of global families/children). Music from various ensembles celebrating our global connections through world music. The program was an hour and 40 minutes without intermission; applause was held until the end of each section. The audience loved seeing their images on the screens, singing during transitions on playful repertoire, watching grandparents and grandchildren sing together, and expe-

riencing the theme of human connection. Parks Payton, choral director at Lakeshore MS in Grand Haven, Michigan, helped his seventh- and eighth-grade students create a concert focused on mental health. In five years, the community had experienced a tragic number of student suicides, and during a summer meeting, the students agreed on a mental health focus. Payton chose the choral numbers and students selected solos, program sections, and concert order. They also designed the logo, T-shirts, speeches, digital backdrops, and advertising. They wrote lyrics for one piece as well as their personal affirmations. A local counseling service was selected as the recipient of donations. The program was as follows: You Are Not Alone Please hold your applause until the end of each section. Love: Selections by Abbie Betinis, Jonathan Larson, Jason Mraz, Edith Piaf, and Mark A. Miller. —Counseling Service Presentation— Recognition: Selections by Birdy, Sara Bareilles, Jake Runestad, and Andrea Ramsey. Hope: Selections from the Justice Choir Songbook, Coldplay, Paul Jarman, Avicci, Lauren Aquilina, and Jim Papoulis. Our Resolution: Selections from the Justice Choir Songbook, The Greatest Showman, and Dear Evan Hansen.

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The work of Lynda Hasseler, Director of Choral Activities at Capital University’s Conservatory of Music, offers a final example of intentional storytelling. Hasseler writes: Humans have been expressing life through storytelling since the beginning of time by painting on cave walls, carving stone, or etching stained glass. Research shows stories form the basis of humans’ understanding of the world . . . By writing a concert story, coaching singers to be storytellers, and presenting the program as a dynamic narrative, concerts can be a ‘once upon a time’ transformative experience for our audiences.

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Hasseler’s Chapel Choir presented the following stunning program for the 2018 Central/North Central ACDA Conference, with applause held until the end: comfort ye “Art should comfort the disturbed and disturb the comfortable.” —Cesar A. Cruz Sometimes I feel like a moanin’ dove (excerpt), arr. Shaw/Parker, Lawson-Gould O Vos Omnes, Alberto Ginastera, from Lamentations of Jeremiah, Theodore Presser

Most school concerts include several groups, allowing this repertoire to be divided into thematic sections with more than one ensemble. Consider a list including Fetler’s Sing Unto God, Basler’s Adorable Flujo, Brumfield’s No Time, Mark Hayes’s Walk a Mile, Palestrina’s Sicut Cervus, and Sperry’s Desh. An overriding theme could make use of a fragment of text in the Basler: Amo vivir! (I love living!). Throughout this repertoire, there is a thread of joy and connection to God and others. With that in mind, a possible format follows:

The Rumor of a Secret King, John Mackey, Osti Music

Amo Vivir! (Loving life)

They Get It, Ted Hearne, from Privilege, Unsettlement Music

II. with Community (Hayes, Brumfield)

Music of Stillness (excerpt), Elaine Hagenberg, Oxford University Press Come Ye Disconsolate, arr. Michael Engelhardt, manuscript (to be published by Beckenhorst Press)

I. through Faith (Felter, Palestrina) III. as a Global Family (Basler, Desh) The above example provides a broad enough umbrella to allow for plenty of

choice for each conductor and ensemble to round out a program. Use of Visual Elements in Concert Experiences Use the Whole Stage: Experiment with various formations that enhance the meaning of the text. Distribute groups of 4–5 singers throughout the risers and stage floor to foster community and interaction; create still tableaux (stage pictures) that enhance a more reflective musical setting, and more. A school stage director can be a great colleague. Students may also have ideas for enhancing visual impact. Dance: Adding just one or two dancers to a choral work that lends itself to physical interpretation can be beautiful. You might have dance students in choir who would jump at the chance to choreograph and perform a short work. Global music often demands movement (indigenous African

Longing, Eriks Esenvalds, manuscript (to be published by Musica Baltica) All of Us from Considering Matthew Shepherd, Craig Hella Johnson, Hal Leonard Program Note (excerpted): In a world plagued by war and corruption, terrorism and antagonism, natural disasters and personal battles, the words of the prophet Isaiah (“comfort ye”) resound. We long for comfort. This concert program seeks to convey a message of comfort that is neither passive nor solitary. Finding comfort often requires moving outside of our comfort zone and setting aside our own needs and privilege to offer comfort to others. The music and text of the program’s first half capture and express the anxiety and chaos of a world devoid of comfort. And in so doing, we create and build a community of solace that’s available to all. Working Contest Repertoire into a Themed Program Required contest pieces present a challenge in creating a thoughtfully organized program. If the theme is broad enough, and the selections are worked in at various spots rather than consecutively, it can be accomplished.

Dzelmiesi, Chicago-based Latvian folk dancers, perform during an Anima concert

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and Latino music come to mind). YouTube is a wonderful resource for watching indigenous music performed in its native land. Lighting: Sometimes we think we can’t use lighting effects unless we are in a theater space made for such things, or have endless time. For a December concert titled Stars, Anima rented two spotlights that could easily be plugged in at the front of the stage. We used gobos (metal plates inserted in the spotlights) to project star shapes onto the back wall. This small addition enhanced the overall experience. Screens: Large screens are often avail-

able in school auditoriums and churches. You can use them to display photographs or works of art that directly relate to the music or to show the text for a sing-along or a piece that might otherwise be difficult to understand when sung. Even with superb choral diction, displaying the texts greatly helps understanding. Transitions Between Sections: These moments can be used creatively: can your pianist continue to play an excerpt from the preceding piece as singers move? What about a brief narration, personal affirmation, or pertinent poem?

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Unique Collaborations: Are there people or groups in your community with whom you’d love to work (including nonmusical collaborators for something unexpected)? Anima produced a December concert called Magic of the Season with a professional magician as guest artist. He added magical illusions during points of transition and during appropriate songs, such as a gentle “snowfall” on stage. Another idea is having a visual artist respond to a piece of music in real time on stage. The piece can hang in the choir room or be raffled off as a fundraiser. Explore the Possibilities Creative programming professionalizes our work and helps promote good concert etiquette. Less dead space means greater attention. It is imperative to note that these ideas are not meant to be gimmicks— movement for movement’s sake. Visual and dramatic elements should always enhance the music’s impact and never distract from it. Hopefully, the audience is more engaged and prouder of their singers’ contribution to a greater concept. Music has always been a vehicle connecting us to big ideas; these program examples simply make the connection clearer and more intentional. The possibilities are endless. If it all feels overwhelming, start small. Try a different choral formation. Segue unexpectedly from one piece to the next. Awaken your imagination and those of your singers. You’ll take your work to another level and your community will notice. Emily Ellsworth is a freelance conductor and clinician, having served as Anima–Glen Ellyn Children’s Chorus artistic director (1996–2018) and as lecturer in music performance at Northwestern University. Ellsworth is a 2020 Vocal Division Featured Clinician.

Have a Story to Share? Learn more about submitting an article for consideration: www.tmea.org/ submissions

VOCAL NOTES

B Y

J E D

R A G S D A L E

Learning from the legends

appy New Year! 2020 certainly has a nice ring to it, but even though it’s a new year, it’s also our halfway point. Still, January does mean a new season in the educator’s year. We’ve finished our winter concerts, are preparing for solo and ensemble contests, pop shows, and musicals, and we will soon know who all our All-State members are. Convention is just around the corner, and what a year it will be for students and members to attend our event in San Antonio as we celebrate the triumphs and continued development of this great organization! If we have seen farther than others, it has been by standing on the shoulders of giants. I hope you’ll attend the History of the TMEA Vocal Division on Thursday at 4 p.m. in room CC 217 (preceding the Vocal Division Business Meeting in that room). Be enlightened by the legends of our profession who have paved the way for so many of us. They are the true trailblazers and forward-thinkers who have enabled us to continue the legacy of the highest standards and high-quality choral music education in our great state. We are the product of their expertise and Texas continues to have the strongest support for our programs—more than any other state. We continue to learn from those who still have much to offer us and future generations. I hope you'll be in San Antonio to see where we’ve come from and, especially, to look forward to our journey into TMEA’s next 100 years! After this convention, you’ll hit the ground in stride—or you might feel like the ground hit you—as you enter the season of UIL Concert & Sightreading Evaluation. A large portion of the middle school division events are in early March. I wish you the best of luck, peace of mind, and all the patience you need to make it through.

It’s always effective to have guest directors work with your groups, because it often validates what you say to your students. 62 Southwestern Musician | January 2020

January—Renew your membership and register for the convention. January—Purchase tickets to the President’s Concert. January 11—Area Vocal and Band auditions. January 22—Deadline to cancel a housing reservation without penalty. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio. February 13—TMEA Vocal Division Business Meeting. February 14—TMEA Region Meetings.

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BAYLOR SYMPHONY ORCHESTRA Stephen Heyde, conductor-in-residence “Inspiring Beethoven” Concert with A Cappella Choir, Concert Choir, vocal soloists Amy Petrongelli, Jamie Van Eyck, Randall Umstead, Mark Diamond and violin soloist Patricia Shih 6:30 – 7:20 p.m., Lila Cockrell Auditorium

Friday, February 14 DEVELOPING A CONDUCTING PHILOSOPHY: A PANEL WITH THE PROS Eric Wilson, director of bands, with Eugene Corporan, UNT, and Jerry Junkin, UT at Austin 11:30 a.m. – 12:30 p.m., CC 221

#TMEA100: HISTORY OF THE ORCHESTRA DIVISION Michael Alexander, associate professor of music education Former Orchestra Division Vice Presidents share their remembrances 11:30 a.m. – 12:30 p.m., CC220

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BAYLOR ALUMNI RECEPTION 9:30 p.m., Rio Grande Ballroom of the Hyatt-Regency

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It could still be early enough to change that one repertoire selection you’ve realized just doesn’t fit your group. Don’t try to force a square peg into a round hole. Do seek counsel from a veteran director. Get a fresh set of ears to come listen to your group or even conduct them so you can listen with your undistracted ears. It’s always effective to have guest directors work with your groups, because it often validates what you say to your students. A common misconception is that the program director looks inadequate when a guest comes to work with a group. This is not the case if you have done your due diligence in score and performance preparation. However, you must continue to sharpen your critical ear and develop even more teaching strategies than you think you need. This comes with experience and asking questions of those who have come before us. Your new ideas have likely been executed and possibly failed 20 or more years ago. After all, Brahms is still Brahms, and Emily Crocker is still a goddess of choral music. Key signatures, pitch/interval relationships, and how to shape a phrase are just the same as they were in years past and will still be equally relevant when TMEA celebrates its bicentennial in 2120. I hope to see you in San Antonio! The All-State students, invited performers, clinicians, volunteers, and staff have worked so hard to present the best convention possible, and you deserve to be a part of this momentous occasion. You will be inspired! TMEA 100—in 2020. It, indeed, starts with music.

Clinic/Convention Update If you aren’t yet registered for the convention, be sure to take advantage of the discounted rate that ends January 23. When you register (or, if you already have, you can return to the registration pages), be sure also to register for the Wednesday Technology Preconference and purchase your family badges, access to clinic audio files, and tickets to the amazing President’s Concert that will feature the Dallas Winds performing “Deep in the Heart of Texas,” a concert in honor of TMEA’s Centennial. This month, I’m pleased to share with you highlights of seven of our invited performing choirs (the other six were featured in our November issue). When you create your online personal convention schedule, be sure to include these concerts to witness the incredible work of your colleagues from around the state! Angleton HS Varsity Treble Choir, Angleton ISD Angleton HS maintains a flourishing choral program that achieves the highest standards of success. One of five choirs on campus, the Treble Choir consists of varsity singers from the all-female Show Choir and Varsity Mixed Chorale. They consistently receive UIL Sweepstakes awards and singers compete in the TMEA audition process, with many earning spots in Region Choirs annually. Recently this ensemble has been recognized by the Foundation for Music Education and has been a recipient of the National Mark of Excellence Award. Many of the students are in multiple choirs and piano classes, and most of them participate in other fine

arts, athletic, and leadership organizations on campus, while maintaining a strong dedication to their choir family. The average GPA in this choir is 3.56, a testament to their high overall academic achievement. The Angleton community, including upper-level administration, has shown consistent support for these outstanding students and the entire choral program. The Treble Choir, under the direction of Tony Stewart, is proud to bring the prestigious honor of TMEA’s recognition to the district and greatly looks forward to sharing the artistry of its singers with the state of Texas. Cedar Park MS Treble Choir, Leander ISD Cedar Park MS opened in 1995 and serves a diverse population of students who excel in fine arts, other academics, and athletics. The choir, theatre, and dance departments collaborate on several projects, including a full school-wide musical. Cedar Park MS choirs earn UIL Sweepstakes awards and place the most singers of any school in the Region 32 choirs. The Cedar Park MS choir program has over 380 students in seven performing ensembles. The Varsity Treble Choir consists of 79 singers who meet daily and are also involved in many other activities such as AVID, STEM classes, cheerleading, dance team, National Junior Honor Society, student council, athletics, yearbook, band, and swim team. Many members of the Varsity Treble Choir are captains or officers in their respective extracurriculars.

Angleton HS Varsity Treble Choir 64 Southwestern Musician | January 2020

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Director Kara Kasberg graduated from the University of North Texas in 2014 with a degree in choral music education and teaches with Emma Graves, who graduated from the University of Texas in 2017. Kasberg and Graves serve as cooperating teachers for the University of Texas and serve in several capacities in Region 32 MS Vocal Officer positions. The Woodlands HS Chamber Choir, Conroe ISD The Woodlands HS Chamber Choir enjoys a rich tradition of excellence, and this marks the third invitation for a choir from TWHS to sing at a TMEA convention, each time with a different director. The Chamber Choir is a small, highly selective choir dedicated to choral excellence. This choir’s main objective is to prepare and perform music from all musical time periods suitable for a chamber choir. Members complete a rigorous audition process that includes singing cuts of their UIL concert literature and independently sightreading an eight-measure melody. In addition to their membership in the Chamber Choir, these students sing in the Varsity Mixed, Treble, and Men’s Choirs. TWHS Chamber Choir has won many best-in-class and overall outstanding awards at festivals throughout Texas. Most recently, they won first place at the 2018 American Classics Madrigal Festival in San Antonio and had the joy of singing the Honor Concert for that Festival in 2019. TWHS Chamber Choir is led by Patrick Newcomb. They are a team of talented, driven, and exceedingly kind students who can’t wait to sing at the TMEA Clinic/Convention.

Cedar Park MS Treble Choir

Clements HS Concert Chorale, Fort Bend ISD The Clements HS Concert Chorale is a select group of mixed voices that has received acclaimed reviews under the direction of Janet Menzie and assistant conductor Ryan Bogner. In addition to their performance at the TMEA Clinic/ Convention, the Chorale will be performing in collaboration with Houston Choral Society in their “A Glorious Christmas” concert and is the featured high school choir in Houston Chamber Choirs’ “Hear the Future” concert in January. The Chorale Women will also represent the

Clements choir program in March as an ACDA Southwest Division Conference Invited Choir. Almost every CHS sport, fine art, honor society, and club has a representative or officer in the Clements Concert Chorale. Outside of school, members serve as camp counselors, hospital volunteers, pianists, seamstresses, figure skaters, Indian classical dancers, scouts, team coaches, and photographers and are active in their houses of worship. Clements HS is located in Sugar Land, a suburban city southeast of Houston. The school is known for its ethnic, cultural, and

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The Woodlands HS Chamber Choir religious diversity as well as its academic rigor, with many students focused on STEM, business, and world language courses. Patterson MS Varsity Tenor/Bass Choir, Killeen ISD Killeen is a moderately sized cultural melting pot given its proximity to Fort Hood Army Base. The students at Patterson MS represent a highly diverse population, both ethnically and economically. CPMS firmly believes that their diversity is their strength, and that strength is made known in their Varsity Tenor/Bass Choir. The Varsity Tenor/Bass Choir has come far since its humble beginnings in 2015. This ensemble ranges from approximately 20 to 35 students each year. They engage in challenging repertoire and consistently deliver exciting performances. These students not only sing in the choir but also participate in football, basketball, track, soccer, chess, National Junior Honor Society, and plenty of other activities. They give their all in everything they do and look forward to representing Killeen ISD at the TMEA Clinic/Convention! North Mesquite HS Varsity Tenor/Bass Choir, Mesquite ISD The North Mesquite HS Varsity Tenor/ Bass Choir consists of approximately 50 auditioned male singers under the direction of Ryan Forkner and Donna Middlebrooks. The choir reflects the school and community—diverse, hardworking, and proud. While NMHS has had several men’s choirs during its 50-year history, the current choir is the product of a rebuilding project that began 15 years ago with an ensemble consisting of 12 male singers. Since that time, the North Mesquite

Varsity Tenor/Bass Choir has built a strong tradition of male singing, becoming consistent UIL Sweepstakes award recipients and having several of its members earn chairs in All-Region and All-State Choirs. In 2018, the Varsity Tenor/Bass Choir was honored to perform at the Southwestern ACDA Convention in Oklahoma City. University of North Texas A Cappella Choir Founded by Wilfred Bain in 1938, the UNT A Cappella Choir has been led by Frank McKinley, Hal Gibbons, Mel Ivey, and Jerry McCoy. The A Cappella Choir is one of nine choral ensembles at UNT, which includes the University Singers, Concert Choir, Men’s Chorus, Women’s Chorus, Vox Aquilae, Grand Chorus, Conductor’s Chorus, and UpFront. The Choral Studies program works closely with the renowned Vocal Studies and Opera programs at UNT, creating an ideal environment for student singers. In addition to a distinguished record of appearances before TMEA and the ACDA Southwestern Division, the A Cappella Choir has performed for national conferences of ACDA in 2013, 2005, and 1999 and for the National Collegiate Choral Organization convention in 2008. Allen Hightower assumed leadership of the choir upon his appointment as Director of Choral Studies at UNT in the fall of 2016. His previous choirs have performed before the Southwestern, North Central, and National conferences of ACDA. Having previously served at Odessa Permian HS, Sam Houston State University, and Luther College, this appearance marks his fifth conducting a TMEA Invited Choir.

Clements HS Concert Chorale

Patterson MS Varsity Tenor/Bass Choir

North Mesquite HS Varsity Tenor/Bass Choir

University of North Texas A Cappella Choir Southwestern Musician | January 2020 69

2020 TMEA Clinic/Convention

Fe b r u a r y 12–1 5 • S a n A n to n io W W W.TME A .OR G/CONVENTION Celebrating Our Centennial! This extraordinary event features over 300 workshops by nationally recognized clinicians for band, orchestra, vocal, elementary, and college educators, more than 100 performances by the state’s finest musicians, ĊÌ ďĊÐ æðĊĴ ÐŘìðÅðĴ ìăă ťăăÐÌ œðĴì ďŒÐī Ǡșǣǟǟ ÅďďĴìĮ representing all facets of the music industry. The TI:ME Music Technology Preconference is held in conjunction with our convention. Learn more about the latest music technology solutions. This Wednesday event offers a full day of music technology clinics ($50 separate registration).

• • • • •

Other Opportunities

Active music educators: $60 Retired music educators: $20 College students: $0 ($25 membership) Out-of-state attendees: $110 Technology preconference: $50 Online registration only. Email/fax/ mail registration ended December 31.

When you register, you can purchase these additional items: • Family member badges: $10 each non-music educators only • ăðĊðÆ ķÌðď ťăÐ ÆÆÐĮĮȚ ɄǠǟ • President’s Concert tickets: $20 Dallas Winds (see page 27 for details)

After January 23 Active music educator fee increases to $80; Out-of-state to $130.

! y a d o T r e t s Regi B A ND • OR CHE S T R A • V O C A L • E L E ME N TA R Y • C OL L EGE 70 Southwestern Musician | January 2020

Summer 2020 Graduate Studies in Music Education Intensive Music Education Courses as Brief as Two Weeks (plus online components) June 1 - July 6, 2020 Introduction to Applications in Music Technology: MUSI 5342 • Dr. Keith Dye (O) Advanced Applications of Technology in Music Education: MUSI 5343 • Dr. Keith Dye (O) Classroom & Rehearsal Behavior Management: MUED 5344 • Dr. Janice Killian (O) Topics in Orchestral Music Education: Rehearsal Strategies for the MS and HS Orchestra: MUED 5327 • Dr. Blair Williams (O) June 3 - June 27, 2020 Applied Choral Music Literature: MUAP 5302 • Dr. Alan Zabriskie • 1pm-3pm (L) Conducting Techniques and Analysis II: MUAP 5307 • Dr. Alan Zabriskie • 1pm-3pm (L) Vocal Ensemble: MUEN 5101 • Dr. Carolyn Cruse • 6pm-8pm Tuesdays and Thursdays only (L) June 1 - 12, 2020 Teaching Music in Urban Settings: Meeting the Needs of Culturally Diverse Learners: MUED 5344 • Dr. Jacqueline Henninger • 8am-12pm (L,V) Styles in Wind Literature of the 19th and 20th Centures: MUTH 5305 • Dr. Peter Martens • 8am-12pm (L,V) Foundations of Music Education: MUED 5340 • Dr. Jacqueline Henninger • 1pm-5pm (L, V) Teaching Musicianship: Sight-Singing, Fundamentals, and Aural Skills in the Choral Rehearsal: MUED 5325 • Dr. Carolyn Cruse • 1pm-5pm (L,V) June 15 - 26, 2020 West Texas Kodály Initative Levels 1-4: Partnership with Lubbock ISD • Contact Susan.Brumfield@ttu.edu for details (L) Band Conducting Methods: MUAP 5310 • Dr. Eric Allen • 8am-12pm (L) Upper Strings Methods for the String Educator: MUED 5344 • Dr. Blair Williams • 1pm-5pm (L) Graduate Theory Review with AP Primer: MUTH 5300 • Dr. Peter Fischer • 1pm-5pm (L) Tests & Measurements: MUED 5333 • Dr. Janice Killian • 1pm-5pm (L,V) July 6 - July 10, 2020 Choral Music Experience (CME): MUED 5344 • Dr. Carolyn Cruse • Contact Dr. Cruse for details: carolyn.cruse@ttu.edu • 8am-6pm (L) July 7 - August 7, 2020 Graduate Music History Review: MUHL 5300 • Dr. Stacey Jocoy (O) Music for Students with Exceptionalities: MUSI 5306 • Dr. Janice Killian (O) Learning & Music: MUED 5332 • Dr. Keith Dye (O) O = online • L = live • V = video conference TTU Summer-Only Options Master’s in Music Education • Master’s in Music Education (Distance) • MM in Choral Conducting

For more information please contact: Dr. Peter Martens Associate Director of Graduate Studies peter.martens@ttu.edu Dr. Janice Killian Chair of Music Education janice.killian@ttu.edu Kimberly Calvert-Gibson School of Music Graduate Admissions kimberly.calvert@ttu.edu

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B Y

A B I G A I L

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ELEMENTARY NOTES

Where’s the joy?

January—Renew your membership and register for the convention. January—Purchase tickets to the President’s Concert. January 22—Deadline to cancel a housing reservation without penalty. January 23—TMEA convention online early registration deadline. January 24–February 15—Online convention registration remains available, but at a higher rate. February 12–15—TMEA Clinic/ Convention in San Antonio. February 13—TMEA Elementary Division Business Meeting. February 14—TMEA Region Meetings.

recently had the honor of presenting a day of professional development for teachers in a nearby school district. Having been specifically asked to share Kodályinspired activities, I found myself reading through Zoltán Kodály’s writings as I planned my opening remarks and rationale for the day. By far, one quote stood out from among the rest: “Teach music and singing at school in such a way that it is not a torture but a joy for the pupil; instill a thirst for finer music in him, a thirst which will last for a lifetime.” A joy. Teaching music in our classrooms should inspire a feeling of joy. As we all begin a new year, I urge you to think back over the past semester. Can you picture times in your classroom where you and your students shared a feeling of joy? What was happening at those times that brought that feeling about? For me, the most joyful experiences often come in the form of singing games. One moment that comes to mind is during any group’s first game of “Bow Wow Wow.” More often than not, the room is filled with the purest peals of laughter as the students express their sheer delight and surprise upon meeting their new partner in each round. This is truly one of those moments I wish I could bottle up and save for those days when I struggle to find the joy. Because—let’s face it—we all know those days are very real. Speaking from personal experience, I can name a few times in the past semester where I would describe the experience of teaching music in my own

In those most challenging classes and circumstances even the smallest sparks of joy can make the most difference. Southwestern Musician | January 2020 73

classroom as anything but a joy, and I am certain there were times when I could have done more to infuse my teaching with that joy Kodály mentions as critical to a students’ development as a young musician. Some classes are hard, and some days are difficult; some circumstances are just plain challenging. However, as elusive as that joy might be, it’s always there, waiting to be rediscovered. Indeed, we can find our way back to it—even on our toughest days—and our students are depending on us to do just that. And it’s in those most challenging

classes and circumstances that even the smallest sparks of joy can make the most difference. So, I urge you to take note of when you feel that sense of joy during a class or lesson. It could be the result of a silly song, a singing game, or even a conversation with a favorite puppet. Whatever the case may be, remember why we’re doing it: because those little moments of joy can truly add up to a lifelong appreciation and love of music. May the new year bring with it many opportunities to cultivate joyful, musical

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learning in your own classrooms! Make Plans for a Great Convention! Have you reviewed the December edition of Southwestern Musician? Be sure to check out the incredible lineup of clinics and concerts you’ll have to choose from this February at convention. While you’re at it, don’t forget to make plans to attend the Elementary Division Business Meeting on Thursday, February 13. You’ll hear the latest in division news, you’ll connect with colleagues, and perhaps you might even leave with a fantastic door prize! In this month’s column, I’m pleased to introduce two of our TMEA Invited Performing Ensembles. The performing group selection committee and I sincerely hope you’ll make plans now to support these talented students and their dedicated directors. Our other Invited Performing Ensembles were featured in our November 2019 edition. Finally, I’m looking forward to sharing information in next month’s column on two additional performances you’ll want to get on your calendars now: the Kodály Educators of Texas Showcase Choir and Orff Showcase Ensemble. Stay tuned! Walnut Glen Academy Honor Choir, Garland ISD Walnut Glen Academy for Excellence is a fine arts magnet and leadership elementary school that provides an exceptional education for our diverse magnet,

Attend the Elementary Division Business Meeting Division Updates Door Prizes Live Performance Thursday, February 13 Grand Hyatt Texas ABC 5:15 PM 74 Southwestern Musician | January 2020

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artistically and musically talented, and regular education students by teaming with parents, teachers, and community members to present innovative learning opportunities for all, following the Stephen R. Covey’s The Leader in Me program. Students are provided opportunities to participate in many fine arts organizations that include choir, orchestra strings, enriched music, enriched art, and harp lessons. The WGA Honor Choir is a nonauditioned group of 68 members from fourth and fifth grades. Members are committed to an entire school year of artful music-making, with weekly rehearsals in preparation to perform for the Garland

and Dallas area communities. The WGA Honor Choir has previously performed for the TMEA Clinic/Convention in 2007. The choir’s recent achievements include straight Division I ratings, outstanding elementary choir, best-in-class and bestin-class runner-up at choir competitions at Hawaiian Falls–Garland and former Sandy Lake Suzy Fun Fest competitions. Veronica Longoria Orozco has taught elementary music for 13 years and is in her third year of directing the WGA Honor Choir. She is an alumna of Texas A&M University–Commerce with a bachelor of science in music education. In addition to directing the WGA Honor Choir at her campus, this is Orozco’s second year as director of the Fourth Grade Garland Children’s Chorus.

Mary Orr Concert Choir, Mansfield ISD The Mary Orr Concert Choir is honored to represent Mansfield ISD at the TMEA Clinic/Convention. Mary Orr Intermediate School is a fifth–sixth-grade campus in the DFW Metroplex and has two sixth-grade choirs—the Concert Choir and the Tiger Choir. The Concert Choir is an auditioned choir of 70 students. These students audition at the end of their fifth-grade year and commit to a rewarding sixth-grade choral experience. The 70 students are divided into two classes and meet as part of their daily class schedule for 70 minutes every other day. At least once a month, the Concert Choir practices together after school to develop as an ensemble and promote a feeling of unity. The choir enjoys performing varied and challenging middle school repertoire. They perform four evening concerts, an elementary school tour, and an assembly for fifth graders, and they compete at a choral festival where they have consistently earned all first division ratings. Christi Powell is a graduate of UT/ Arlington and is in her 22nd year as a music educator. She came to Mary Orr Intermediate eight years ago, after serving as an elementary music specialist for 14 years in Keller ISD and Arlington ISD. Powell is honored to have taught several students who were selected to perform with the TCDA Elementary Honor Choirs and to have her choir selected to perform at the 2016 and 2020 TMEA conventions.

Mary Orr Concert Choir

Walnut Glen Academy Honor Choir 76 Southwestern Musician | January 2020

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B A K E R

COLLEGE NOTES

Making your mark

January—Renew your membership and register for the convention. January—Purchase tickets to the President’s Concert. January 22—Deadline to cancel a housing reservation without penalty. January 23—TMEA convention online early registration deadline. January 24–February 15—Online convention registration remains available, but at a higher rate. February 12–15—TMEA Clinic/ Convention in San Antonio. February 13—TMEA College Division Business Meeting. February 14—TMEA Region Meetings.

ne of my favorite events in the Summer Olympics is track and field. As I watch those athletes at the peak of physical training and fitness run at seemingly superhuman speeds, fly over hurdles, overcome obstacles without breaking pace, and tirelessly complete multiple laps, I am inspired to emulate their performance in my role as a music educator. We, too, jump over hurdles, navigate through obstacles, and continue to work many hours past the typical 40-hour workweek. While I confess that I am far from the peak of my physical training and fitness, I recognize the demands placed on me require attention to my physical, mental, and emotional health. As we enter the starting blocks of a new year, prompted by the command of “On your mark . . . get set . . . go!,” we need to make wellness a priority in our lives, and thus serve as role models for our students. When I was reviewing College Division session proposals for the 2020 convention, I was surprised to see that four of the highest-rated sessions were associated with teacher and student health-related issues. Previewers indicated their strongest interest in a session on adolescent anxiety and depression, consequently suggesting that these are challenges they frequently encounter in the music classroom. While it is our nature, as educators, to reach out to our students who need help, we must also give attention to self-care. Our longevity and effectiveness as a music educator depend on the lifestyle choices we make. Mark Your Calendar Although digital calendars are the way many of us organize our lives, I enjoy posting a calendar on my wall. I elect to either have pictures of dogs to make me

Wherever you find something extraordinary, you’ll find the fingerprints of a great teacher.— Arne Duncan Southwestern Musician | January 2020 79

smile or an inspirational saying to make me think (sadly, I’ve yet to find one that combines the two). Regardless of your preferred method, be sure to mark your calendar to attend TMEA’s Clinic/Convention February 12–15, where we will celebrate

TMEA’s Centennial! The College Division will host 44 sessions during the 2020 convention, including eight presentations by our two featured clinicians, Ruth Brittin (University of the Pacific) and Deborah Confredo (Temple

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University). Two sessions will offer a special centennial focus: “#TMEA100: Sharing Wisdom, Earning Trust: A Candid History of the College Division,” presented by Will May and “#TMEA100: The Growth of Music Education Research from 1978 to 2020,” by Jan Killian. The Research Poster Session will be on Thursday, February 13, 3:30–5:00 p.m., followed by the College Division Business Meeting at 5:15 p.m. Make Your Mark I recently attended a memorial service for my brother-in-law, Gary, who fought a three-year valiant battle with cancer before finally succumbing. The minister spoke about Gary’s life experiences, including serving in the U.S. Navy, working with mentally disabled adults, running an Abigail House for single mothers, working as an EMT, being an avid cyclist, and winning numerous awards for his wood carvings. The minister pointed out that, despite his accomplishments and achievements, his picture never appeared on the cover of Time and he never received a Pulitzer Prize. However, the chapel was filled with people whose lives he had touched, and I heard numerous testimonies about how Gary had made a mark on individual lives. Making your mark is defined as attaining recognition or distinction. The recognition Gary received was based on the impact he had on other people’s lives. As I sat in the service, I began to draw a parallel to the lives of music educators. The men and women who have devoted their lives to training future generations of musicians make their mark on each student they teach. Elementary music teachers are given the opportunity to make their mark on an entire school population for multiple years, introducing foundational music knowledge and skills and instilling a love for music. Middle school teachers make their mark on students who are navigating the challenges associated with early adolescence, teach beginning instrumentalists and vocalists, and introduce students to ensemble music performance. High school teachers make their mark by challenging students to perform increasingly difficult repertoire at a high skill level and providing leadership opportunities and enrichment courses to prepare students who might choose to major in music. At the beginning of each fall semester, students in my Introduction to Music

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Education class give a speech about their most influential educator. I have had the opportunity to hear numerous testimonials about the mark teachers have made on my students’ lives and how they inspired them to follow in their footsteps. At times, students get tearful as they recall their experiences because the teacher’s influence was so powerful and meaningful. As an educator, the finest honor I could receive would be for my students to recognize me as the driving force behind their decision to follow in my steps and be a music educator.

• Challenge to find cooperating teachers willing to commit extended time.

educators in terms of years to teaching experience, route to certification, and early-career teacher job location. They went on to explain the two-year pilot testing of the edTPA to replace the current PPR. College Division members raised the following concerns:

Members recommended the following: • Possibility of university providing video of teaching to be evaluated prior to student teaching. • Members encouraged to write letters to SBEC board members (decision makers) in opposition to edTPA.

• Only three music candidates enrolled in pilot programs. • Increased cost to the student. • Problems with student teachers with dual placements in terms of getting to redo PPR if they fail the first time.

Franklin and Wu explained that at the end of the two-year pilot, SBEC will make a decision to keep edTPA, start an additional pilot, try another assessment

College Division Fall Conference While fall may seem long gone, this month includes the minutes of our very fruitful fall conference. Thanks to those who were able to participate in this annual event of our division! See page 84 for images from the day. College Division Fall Conference Minutes Friday, October 11, 2019 College Division Vice-President Vicki Baker called the meeting to order at 10 a.m. A motion to approve the minutes of the February 14, 2019, College Division Business Meeting as printed in the April edition of Southwestern Musician was made by Brian Miller and seconded by Jan Killian. The vote to approve the minutes was unanimous. Baker encouraged members to participate in My Music Story, a project through which participant videos will be shared at the convention celebrating our centennial. She also reported on the Mentoring Network and the need for additional mentors. Amy Simmons announced upcoming deadline for research poster submissions. Baker reminded members about upcoming deadlines for scholarship applications and for nominations for the TMEA Collegiate Music Educator Award. She provided an overview of the 2020 convention, pointing to sessions designated as #TMEA100, with a special centennial focus. Baker presented a synopsis of the sessions that will be led by the College Division Featured Clinicians Ruth Brittin (University of the Pacific) and Deborah Confredo (Temple University). Robert Floyd introduced guest speakers, Ryan Franklin and Grace Wu, from the Texas Education Agency. They presented the demographics of Texas music

i i i

¡ January 25 ¡ February 29 ¡ March 28

Instrumental Vocal All-Level Certification

Concentrations in:

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Voice Brass Woodwinds Strings Percussion Piano

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Guitar Piano pedagogy Conducting Composition Music theory Music history

Organ

Southwestern Musician | January 2020 83

method, or return to PPR. PACT: Pre-Admission Content Test may be used for admission to EPP programs, but cannot be used in the place of the state content exam. The following implications of HB 3217 for university teacher preparation programs were discussed: • A major in education is now available—students do not have to major in content area. • No longer have a cap on the number of hours allowed in education courses. • Currently, most universities are only using education degree for EC–4 generalists. Robert Floyd discussed highlights of the upcoming 2020 TMEA Clinic/ Convention, including the following: • First General Session and music advocacy videos. • Second General Session and commissioned work by Frank Ticheli, premiered by All-State ensemble members and the San Antonio Children’s Chorus. • Special clinics offered in Stars at Night Ballroom with Septura Brass, Larry Livingston, U.S. Army Herald Trumpets, Susan Graham, and Mandy Harvey. Recommendations from Breakout Sessions of the College Division Committees include the following: • Research Committee: Proposed to use blind review for publication in Texas Music Education Research. • Inclusion Committee: Proposed initiative to be more inclusive in choice of repertoire by selecting more music by female and minority composers. • Music Teacher Preparation Committee: Proposed that membership be more proactive in taking a stand against edTPA by writing letters to SBEC board members. • Two-Year Colleges: Discussed ways to better prepare community college music students for transferring to a four-year university through inclusion of keyboard requirements and exclusion of hours that would not transfer. No new business was presented. The meeting was adjourned at 3 p.m. Respectfully submitted by Vicki Baker. 84 Southwestern Musician | January 2020

2019 College Division Fall Conference O CTO B ER 11 • T M E A H E A D Q UA RT ER S • AUST I N

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