January 2018 Southwestern Musician

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JANUARY 2018

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contents

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features

V O L U M E

Executive Board Candidates . . . . . . . . . . . . . . . . . . . 17 Before you vote, learn about the candidates for TMEA PresidentElect and Band Vice-President. (The number of Region nominations required to list candidates for College Vice-President was not met.)

Students Can Continue to Choose Music . . . . . . . . . . 33 Amid so many requirements, elective opportunities, and GPA pressure, students often struggle to remain in a music program WKURXJKRXW WKHLU VFKRROLQJ 6HYHUDO GLVWULFW ÀQH DUWV DGPLQLVWUDWRUV share how they are responding to these challenges.

Maximizing the School Counselor’s Impact . . . . . . . 48

columns

A strong partnership with the school counselor will help ensure their support of your program. Learn from the perspective of this former middle school band director who now works as a school counselor.

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BY SARA STRINGER

Helping Students Pursue Their Passion. . . . . . . . . . . . 67 Growing up under the pressure of parents who expected her to study medicine, this orchestra director offers her story and advice for helping support your students who want to continue studying music.

President’s Notes ............................................. 4 by Andy Sealy

BY SUNDAS MOHI

Executive Director’s Notes.................10 by Robert Floyd

Band Notes ............................................................23 by Joe Muñoz by Brian Coatney

Vocal Notes ...........................................................56 by Derrick Brookins

Elementary Notes .......................................... 74 by Casey Medlin

College Notes .....................................................83 by Si Millican

updates

Orchestra Notes ............................................. 43

Creating Your Convention CPE Record ................................................... 2

TMEA Clinic/Convention: Important Deadlines Near ..........................16

Congratulations HS String Honor Orchestra and Finalists .................45

2018 President’s Concert: From the Top & Black Violin.....................55

Night at the Exhibits ..............................................................................72

On the cover: Edric Salazar, a senior at Los Fresnos HS and member of the 2017 All-State Symphonic Band, performs during the 2017 TMEA Clinic/Convention Second General Session. Photo by Karen Cross.

College Division Fall Conference Images .............................................86

Southwestern Musician | January 2018

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Editor-in-Chief: Robert Floyd UĂ R\G@tmea.org 512-452-0710, ext. 101 Fax: 512-451-9213

Managing Editor: Karen Cross

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

Creating Your Convention CPE Record

TMEA Executive Board President: Andy Sealy sealya@lisd.net 4207 Plano Parkway, Carrollton, 75010 469-948-3011 – Hebron HS

President-Elect: Robert Horton rhorton@conroeisd.net 3205 West Davis Street, Conroe, 77304-2039 936-709-1200 – The Woodlands HS

Past-President: Dinah Menger d.menger@sbcglobal.net 1305 Westcrest Drive, Arlington, 76013 817-891-1095 – Fort Worth ISD

Band Vice-President: Joe Muùoz munozj@pearlandisd.org 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS

Orchestra Vice-President: Brian Coatney brian.coatney@pisd.edu 1313 Mossvine Drive, Plano, 75023 469-752-9396 – Plano Senior HS

Vocal Vice-President: Derrick Brookins derrick.brookins@pisd.edu 2200 Independence Parkway, Plano, 75075 469-752-9430 – Plano Senior HS

Elementary Vice-President: Casey Medlin casey.medlin@fortbendisd.com 2215 Sandy Sea Rd., Rosenberg, 77469 281-634-4634 – Brazos Bend Elementary

College Vice-President: Si Millican si.millican@utsa.edu One UTSA Circle, San Antonio, 78249 210-458-5334 – UT/San Antonio

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

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

TMEA 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. • Go to www.tmea.org/convention • Go to the Schedules page and click on Personal Schedule • Log in with your username and password Bonus! Save it by January 24, opt in, and your schedule will transfer to your convention app account!

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

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

www.tmea.org/convention

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

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Southwestern Musician | January 2018

Degree Programs Bachelor of Arts in Music Bachelor of Music in Performance Bachelor of Music (teacher certiďŹ cation)

Performance Opportunities A Cappella Chorus Big Purple Marching Band Chamber Singers Concert Band Jazz Combos Jazz Ensemble Opera Percussion Ensemble Steel Drum Band

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Audition Dates Saturday, February 10 Saturday, March 3 Saturday, April 1 Friday, April 20 (video audition deadline)

Contact Us acu.edu/music 325-674-2199 160230-0816

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PRESIDENT’S NOTES

B Y

A N D Y

S E A L Y

Recalibrating

I

have never been one to make formal New Year’s resolutions, mostly to avoid the risk of failing to keep them. However, the holiday break and the New Year do bring me a chance to push the reset button after a hectic and often chaotic marching/football season, Region auditions, and the general madness of holiday concerts throughout the cluster. Just a bit of respite goes a long way toward helping me refresh some of the things I sought to improve in my professional life as the school year began months ago. As educators, we have an obligation to model lifelong learning by continuing to grow, reevaluate, and reflect on our teaching relationships. One of the items on my self-improvement list from those carefree days in July was to be a better colleague for our fine arts department and our school staff in general. Despite the many hours we spend with our students engaged in music-making, they are not our adult colleagues. It’s easy for us to become isolated and self-absorbed in the headlong rush to get the marching season underway or the all-school musical cast or that honor orchestra program finalized. Our fine arts colleagues are the ones most likely to offer support in the face of challenges, to share our successes and failures, to lift us up when we are down, and to celebrate triumphs with us. Our fine arts colleagues help us pursue not only our individual goals but also the overall mission of the school. And while no one relishes disaggregating data, faculty meetings, or blood-borne pathogen lectures, creating and developing positive relationships with all our colleagues makes the workplace environment more enjoyable and gives us the fortitude to face the everyday pressures of being music teachers. We need a safety net for ourselves and, more importantly, we must contribute to a wider support network for others. When we are embraced by mature, professional relationships, our teaching improves and our relationships with students benefit.

Listening to our bodies and doing a better job of taking care of ourselves is one of the least VHOÀVK WKLQJV ZH FDQ GR 4

Southwestern Musician | January 2018

January 23—Last day to cancel an existing TMEA hotel reservation without penalty. January 24—Online convention personal schedules will be transferred to convention app accounts for those who opt in. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

2018 AUDITIONS

February 3: Piano, Strings, Voice February 23: Instrumental February 24: Instrumental, Voice March 2-3: Lumberjack Marching Band March 3: Piano, Strings March 24: Strings, Instrumental, Voice April 13-14: Lumberjack Marching Band

We are proud to announce the addition of these wonderful musicians to our school!

Kristin Lyman Music Education

Hsin-I Huang Collaborative Piano

Samantha Inman Music Theory

Michael Murphy Director of Choral Activities

Jacob Walburn Trumpet

music.sfasu.edu/audition | 936.468.4602

Hyun-Ji Oh Collaborative Piano

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 CTVKUVKE CPF RGTUQPCN ITQYVJ 6JG 5CTQĆ’ O 5EJQQN QH (KPG #TVU QHHGTU these students a tailored, hands-on approach, with award-winning faculty and a student-to-teacher ratio of 6:1.

SCHOLARSHIP AUDITION DATES 0QX (GD CPF /CTEJ Ţ (QT UEJQNCTUJKR QRRQTVWPKVKGU XKUKV

southwestern.edu/musicscholarship 6

Southwestern Musician | January 2018

In last month’s column I wrote about the importance of getting to know our music students beyond their immediate role in our program. Taking the time to learn about our students’ backgrounds, families, personal challenges, and dreams helps us connect with them in more meaningful ways and helps us improve the teaching-learning process. I believe educators understand this and acknowledge its importance in relationship-building. But this alone is not enough. This cannot be a one-way conversation. We must share more of ourselves with our students. Puppeteer Jim Henson wrote in It’s Not Easy Being Green, “[Kids] don’t remember what you try to teach them. They remember what you are.� As the school year began, I set out to be open and vulnerable with my students and to share defining moments from my own life. I think I was better at this when I was a young teacher. As I got older and more seasoned, I also became more stoic and less likely to interject my personal musical experiences and, more importantly, life experiences into the classroom. Communicating about our backgrounds, our challenges, and our dreams is a critical but often overlooked building block in forming positive relationships with students. Having photos of our families and pets or artifacts from our youth placed around the desk and weaving relevant personal stories into teachable moments, especially ones involving audition set backs or unfavorable contest results, are good starting points. Moving forward we need to perform on our instruments or sing with our students more and share the joy of performing music live. We need to tell more jokes and admit to more mistakes. It’s crucial for students to hear about what’s still on our dream list for ourselves and our programs. Don’t hesitate to voice what drew you to teaching music as a career in the first place and what sustains you as an educator. It’s important for us to share with our students all the things about music that continue to inspire and transform us. Finally, we all need to do a better job balancing our lives and managing our stress. I’ve never been very good at this. It’s too easy to rationalize, “I’ll sleep more next month after concert and sightreading is over.� Or, “I’ll leave school earlier and hit the gym once we get through solo and ensemble contest.� The constant pressure

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GRADUATE

PEDAGOGY VOCAL, PIANO,& INSTRUMENTAL Scholarship & Entrance Auditions: January 20, 2018 February 10, 2018 March 3, 2018 April 14, 2018 (entrance auditions only)

The TWU Music Department is excited to welcome two new members to our graduate pedagogy faculty team. Join us to develop successful instructional strategies, enhance your knowledge of repertoire, and strengthen your teaching and performing skills.

Jennifer Youngs Vocal Coordinator and Opera Director

Christopher Madden Piano Pedagogy

Graduate Assistantships and Scholarships available. For more information, visit twu.edu/music

@texaswomansuniversity @txwomans

BOLDLY GO.

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of performance, production, and professional obligation makes finding a balance very difficult. Many of us work incredibly long hours before and after school and on weekends, forgo sleep and skip meals, or make poor nutrition choices all in the name of getting the job done. The stress of teaching music isn’t going to get easier, and we know the profession has been experiencing greater and greater rates of teacher burnout for a number of years. Listening to our bodies and doing a better job of taking care of ourselves is one of the least selfish things we can do. Our lives are complicated, but making basic, smart decisions about sleep and nutrition are good opportunities for exerting some control. Sometimes we forget that skipping meals or consuming nutrientpoor snacks or drinks is detrimental to our performance as musicians and teachers. A consistent lack of restorative sleep and general lack of exercise opens the door to all kinds of health issues. Aren’t we supposed to be acting as role models for our students? Would we expect our students to sing or play their best if they were on our diet or following our sleep habits? One of the best tools for managing our stress is humor. We don’t have to be comedians, but we do have to appreciate the irony of the school music business and be able to laugh at the insanity that working with kids brings. Laughing together relaxes us, lifts our spirits, and strengthens relationships with staff and students alike. Being able to balance work demands and personal life is usually best exhibited by people who take very good care of themselves. Many districts now offer regular wellness programs, exercise sessions, and weight room availability to employees.

Take advantage of these or seek out an accountability buddy from your fine arts team. Also, be sure to take note of the personal wellness clinic offering at the TMEA Clinic/Convention next month. We may have navigated our way through half of the school year already, but it’s not too late to recalibrate our commitment to personal growth. Invite Your Administrator to the Convention Each year many upper-level school administrators learn more about music

education by attending our convention. While some are there to support their school’s performing groups, several administrators attend just to take in all that our convention has to offer and to witness the great learning opportunities you have by attending. This is a great way to showcase the rigor of music education and the many ways it benefits your students. Invite your principals, superintendent, and school board members to attend. They can register at www.tmea.org/ adminregistration and will receive complimentary convention credentials.

TMEA Balance & Burnout Survey In 2016, TMEA surveyed its active members to better understand how music teachers perceive their work load and its effects. Over 26% of active members completed the survey, and we published an article that includes the survey results in our May 2016 issue of SOUTHWESTERN MUSICIAN. Read about how TMEA members across the state have improved their work-life balance at www.tmea.org/balanceresults. Southwestern Musician | January 2018

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EXECUTIVE DIRECTOR’S NOTES

B Y

R O B E R T

F L O Y D

Focus on continued student participation

O

ver the course of a yearly magazine volume we strive to provide resourceful articles that address interests and needs of each of the five divisions as well as all grade levels taught. While this month’s dedication to the topic of addressing roadblocks for music participation throughout a student’s schooling might seem to be narrower in focus, we believe these articles are relevant to all TMEA members. I encourage you to read each article and determine how you can utilize the content to help you play a role in supporting music participation, regardless of level or division in which you teach. The content in this issue is timely in that January is a critical month in terms of students making major decisions about their middle school course of study and graduation program pursuit. Many factors impact the opportunity for students to remain a part of our programs throughout middle and high school. It is critical that we offer accurate information to students and parents about the opportunity to continue music participation while pursuing other academic interests as students move through high school. Certainly a key component of

Much of our success in building a quality program not only is about how well we teach music but also is anchored in the positive nature of relationships we build throughout our campus. 10 Southwestern Musician | January 2018

January 23—Last day to cancel an existing TMEA hotel reservation without penalty. January 24—Online convention personal schedules will be transferred to convention app accounts for those who opt in. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

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this challenge is working with the counseling department to make sure the information provided is accurate, and it is our role as music educators to be a part of the team that contributes to providing such information. As we have shared so many times, much of our success in building a quality program not only is about how well we teach music but also is anchored in the positive nature of relationships we build throughout our campus. Beyond students receiving accurate information relative to graduation plans, we face other challenges today, including local middle and high school requirements, Early College High School programs, the perceived importance of class rank in determining course selection, continuing emphasis on STEM, priority of workforce preparation through a CTE endorsement, and dual-credit course participation. With such challenges facing teachers, we reached out to members of Texas Music Administrators Conference to help identify these and other issues, and most importantly to ask for suggestions and solutions when dealing with these new potential roadblocks for student music participation. The result of their input is

SCHOLARSHIPS Majors ࠮ Minors ࠮ NON-MAJORS Continue your music at a college that is as smart as you are . . . whether you intend to major in music or not. Our ensembles are open to all students by audition. SCHOLARSHIP AUDITION DATES February 10 & 19 March 31 For information, visit austincollege.edu/music

Austin College

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evident in this expanded focus on these topics in this Southwestern Musician issue. While it is sometimes easy to point fingers at counselors as a primary cause for our problems, they should be our key partners in determining solutions. All those involved in advising ultimately want the best decisions made for each student. In a recent conversation with the Texas Counseling Association executive director, she shared those same sentiments, and we discussed how we could partner in providing relevant arts-related information for

their members at a future state convention. With the passage of HB 5 in 2013, which created the Foundation High School Program, the workload and challenges for counselors in terms of understanding state law and policy has been magnified. This challenge is ongoing given the fact that the State Board of Education continually modifies rule, often based on new law. While this provides even greater flexibility in terms of courses that meet graduation requirements, it also triggers sometimes confusing rule changes. The issue is quite complex, and at a recent State Board of

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Education meeting, hours were spent making decisions on the slightest rule changes called for by the legislature this past spring and evaluating the impact on graduation programs. Counselors must know and understand not only current graduation policy but also ongoing changes passed down by TAC rule. Enforcing local district policies must also be addressed. Such responsibilities can be daunting at times. Without question it is our responsibility as music educators to stay abreast of changing policies that affect our students and communicate those changes with our counselors. I encourage you, then, to take advantage of the information in this issue’s three feature articles on this topic, especially about the role that you may play in helping inform students and parents about the value of a music experience throughout high school. Our thanks go to all who contributed to this feature, especially Sara Stringer, a former middle school band director who currently serves in a counseling role in Arlington ISD. She has provided valuable information about building a positive working relationship with your counseling staff. Elementary Grant Program: A Huge Success Christmas came early for 1,014 of our Elementary Division members who received up to $800 grants to purchase materials and equipment for their classrooms. Every Elementary Division member who completed the grant application and met all the criteria received funding! While $750,000 was budgeted, the Executive Board approved an additional $14,500 to make sure everyone who successfully applied received funds. This is the second elementary grant program offered by the Executive Board, the first being four years ago. There is no other place we could spend our reserves and reach more students than in the elementary music classroom. Thanks and congratulations go to our members who participated and to our sustaining members who provided special offers and discounts to assure our teachers got the most value for their grant dollars.

Texas Music Educators Association

2018 Clinic/Convention

February 14–17, 2018 • Henry B. Gonzalez Convention Center • San Antonio

Important Deadlines Near! January 23

January 24

• Final day to cancel an existing hotel reservation made through the TMEA housing system without being assessed a $50 penalty. There will be no waivers for this penalty.

If you opt in to have your online personal schedule transferred to your convention app account, the schedule you have saved on January 24 will be transferred. Save your schedule by this date!

• Final day to use the housing system to make a reservation in most hotels (some may continue to be available, but the listing will be limited).

January 25

• Final day to use the housing system to modify a reservation. After that, contact the hotel directly (wait several days, as there is a delay in the hotels downloading their reservation data).

Last day to register online at the lower rate! Don’t miss this opportunity to pay less to attend the premier music educators convention in the nation!

FEBRUARY 14–17: THE BEST MUSIC EDUCATORS CONVENTION!

President’s Concert: From the Top & Black Violin

Wednesday, February 14 • 8 p.m. • Lila Cockrell Theater $15 tickets online or on-site at the Information Booth NPR’s From the Top with Host Christopher O’Riley showcases America’s best young classical musicians, celebrating their stories, talents, and character. The recording at our President’s Concert will exclusively feature young Texas musicians (and special guest performers Black Violin). After the recording, Black Violin will continue with a special performance. 16 Southwestern Musician | January 2018

Create an Online Schedule The searchable convention schedule is available online at w w w.tme a .o rg /c onve ntion. 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 24 will be transferred to your convention app account (available in early February).

SEE YOU IN SAN ANTONIO!

Executive Board Candidates President-Elect nominations close during the First General Session, Thursday, February 15, 8:30 a.m., in Lila Cockrell Theater. If there is only one candidate for this office, the vote will occur during the First General Session. If there are multiple candidates, the election will be by electronic ballot on February 15. Go to www.tmea.org/election to learn about the procedure. Divisional Vice-Presidents will be elected at their Division’s Business Meeting, Thursday, February 15, at 5:15 p.m.: Band (CC Stars at Night Ballroom 1); College (CC 304).

Candidate for President-Elect: Joe Muñoz Joe Muñoz Present Position: Director of Bands, Pearland HS (2013–Present). Previous Position: Director of Bands, Clear Lake HS (2003–2013); Director of Bands, Oak Ridge HS (1999–2003); Assistant Director of Bands, The Woodlands HS (1993–1999). Education: Bachelor of Music, University of Houston (1993). TMEA Offices and Positions Held: Band Vice-President (2016–Present); Region 17 Band Chair (2005–2016); Region 19 Band Chair (2003–2005); Area F Wind and Percussion Audition Chair (2009–2016); Area F Honor Band Chair (2009–2011, odd years). Other Offices and Positions Held: TMEA Resolutions Committee member, TMEA Clinic Presider, TMEA Agenda Committee. Professional Affiliations: TMEA, TBA, Phi Beta Mu International Bandmaster Fraternity, Kappa Kappa Psi Honorary Band Fraternity, Phi Mu Alpha Sinfonia, Honorary Member Tau Beta Sigma Honorary Band Service Sorority. Honors/Accomplishments: 2014 National Wind Band Honors National Winner (Pearland HS Wind Ensemble); 2014 UIL State Marching Band Contest; 2012 TMEA 5A Honor Band Finalist; 2012 TMEA Honor Full Orchestra (Clear Lake Orchestra); 2010 TMEA 5A Honor Band State Qualifier; 2009 Midwest Clinic performing ensemble (Clear Lake Wind Ensemble); 2008 TMEA Honor Band State Qualifier; 2003 TMEA 4A Honor Band State Qualifier; 2003 BOA National Concert Band Festival invited performer; 2003 National Band Association Citation of Excellence; 2001 TMEA 4A Honor Band State Qualifier; Who’s Who Among America’s Teachers; active adjudicator and clinician. Personal Information: Happily married to D’Juana for 25 years. Together we have three children: Alexandra, Jared, and Lindsey. All of our children have been or are active in public school band programs. Statement: I am honored and humbled to be nominated for the office of TMEA President-Elect. Through service on the Executive Board and previous service to the association, I have seen the positive effect TMEA has on its members, teachers, and students. As Band Division Vice-President, I have seen that this organization is a vital part of the legislative direction and visibility of music education and the fine arts in our state. My service on the

Executive Board has also shown me the unique contributions that each division brings to make TMEA a model association for others to emulate. Divisional collaboration and an open forum of discussion are essential qualities that I will continue to foster on the Executive Board. Input and feedback from the Region leadership are also important ways to gather information from the membership. I will continue to seek input from local membership and Region leadership on any divisional or association need or area of focus. I will also look for new ways to address our members’ needs and continue the Executive Board’s work to provide a clinic/convention that provides for new and creative techniques to be applied to the music classrooms across our state. I am grateful for all our association has provided me as a teacher and am passionate about the mission of TMEA. Seeing fellow teachers and students having positive interactions through TMEA activities has been the most rewarding part of my years of service to our association. With your support, I look forward to continuing to serve our students, parents, and membership. Thank you for your consideration as you select the next TMEA President-Elect.

Be Part of TMEA’s Future Division Business Meetings Thursday • Feb. 15, 5:15 PM Band: Stars at Night Ballroom 1 Orchestra: CC 214 AB Vocal: Grand Hyatt Texas Ballroom Elementary: Hemisfair Ballroom 1 College: CC 304

Region Meetings Friday • Feb. 16, 5:15 PM Locations in the online and printed schedule and in the convention app. Southwestern Musician | January 2018 17

Candidates for Band Vice-President: John Carroll and Shane Goforth (p. 21) John Carroll Present Position: Associate Director of Bands, Permian HS (1995–present); Adjunct teacher at Odessa College. Previous Positions: Middle School Band Director and High School Assistant Band Director at each of the following: Dalhart (1986–1995); La Feria (1983– 1986); Quanah (1981–1983); Stephenville (1979–1981); Dumas (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: Region 6 Band Chair (2012–present); Region 6 President (2002–2004); Stage Manager for Clinic/Convention (2007); All-State Band Organizer

(2003–2006); All-State Band/Orchestra Audition Judge (1996– present); Percussion Audition Panel Chair (several years); All-State Percussion Organizer (15 years); Convention Clinic Presider (2014, 2015, 2016); Honor Band Area Listening Center Chair (2017). Other Offices and Positions Held: Several Phi Beta Mu committees’ membership; Full-time WTAMU Band Camp faculty member since 1989; Member of the UIL Music Advisory Committee. Professional Affiliations: TMEA, TBA, Phi Beta Mu, TMAA. Honors/Accomplishments: Consistent UIL Sweepstakes awards; Percussion Ensemble performance at the Music for All National Percussion Festival (2011); Teacher of multiple AllState students (1993–2015); Several jazz band awards; Multiple drum line contest championships and caption awards; National Winner—National Percussion Ensemble Mark of Excellence (2011); Commended Winner-National Percussion Ensemble Mark of Excellence (2017); Who’s Who Among American Teachers; clinician at TBA Convention/Clinic; West Texas Auxiliary Championships; Recipient of the Marcia Zoffuto Hero Award (2015—awarded annually to one outstanding secondary fine arts

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18 Southwestern Musician | January 2018

director in Region 6); Outstanding Master Teacher of the Year, Permian HS, 2017. Personal Information: I consider myself a happy person who enjoys his family, friends, and job. I share my trials and joys with someone who just happens to share my last name (Beth Carrell, though spelled one letter differently). I consider myself fortunate to be from a Godly home with two most loving parents, and two wonderful siblings. Besides my job, I enjoy movies, reading, dining out, and traveling. I would not trade my career as a Texas band director for any other job in the world. Statement: I am extremely honored to be a nominee for the position of TMEA State Band Vice-President. I thank those who have nominated me on the Region level and who have encouraged me in this process. I have served my profession and TMEA for many years. There is no doubt in my mind that the Band Division of TMEA, along with UIL, has created a culture for Texas to have the high level of bands that we presently have. I am indebted to all the TMEA Band Vice-Presidents and to countless others for paving the way for where we are today. I have spent almost half my career in smaller schools (3A, 4A, and 5A), and the rest in a 6A school. I am quite cognizant of the different aspects of different sized schools, and am convinced that Texas band students from all school sizes are deserving of the best experience in band that they can possibly obtain. Additionally, I have taught beginner students on every wind and percussion instrument, and I definitely appreciate the concept of teaching in the grassroots of our honorable profession. If elected, I will eagerly accept the role of State Band VicePresident with the knowledge that it takes an inordinate amount of work and organizational abilities. I will always have an open ear to my colleagues with their TMEA concerns; I will continue the tradition of seeking out awe-inspiring educators for our annual convention to better us as teachers and to give our All-State students a life-changing experience; I will work to continue to strengthen our inner workings of TMEA. I offer all of this to you, and I offer the fact that I truly love being able to call myself a Texas band director. I seek election because I eagerly look forward to being able to give back to the profession and the association that have given me so much since I started teaching. I hope I can earn your support. Thank you for your consideration of me in the upcoming State Band Vice-President election.

Shane Goforth Present Position: Director of Bands, North Shore Senior High (2005–present). Previous Position: Director of Bands, Holliday HS (2003–2005); Director of Bands, Aubrey HS (1998–2003); Assistant Band Director, Little Elm HS (1996–1998). Education: Bachelor of Music, University of North Texas (1996). TMEA Offices and Positions Held: Region 33 Band Chair (2016–present); Region 19 Band Chair (2007–2016). Other Offices and Positions Held: UIL Music Advisory Committee, TMEA Clinician, TMEA Clinic Presider. Professional Affiliations: TMEA, TBA, TMAA, ATSSB, Phi Beta Mu Bandmaster Fraternity.

Honors/Accomplishments: 2017 Midwest Clinic selected performing ensemble; 2017 Midwest Clinician; 2016 UIL State Marching Band Finalist; 2016 UIL Area F Marching Band Champion; 2016 National Wind Band Honors Commended Winner; 2015 TMEA Area F Honor Band Qualifier; 2014, 2010, 2008 UIL State Marching Band Championships Qualifier; 2005 ATSSB Outstanding Performance Series/1st place Concert (Holliday HS); 2003 UIL State Marching Band Championship/7th place (Holliday HS); 2016–2017 North Shore Senior HS and Galena Park ISD Teacher of the Year; 2004 Holliday HS Eagle Award/ Outstanding Teacher; 1996 Little Elm ISD Rookie Teacher of the Year; Who’s Who Among America’s Teachers; Active adjudicator and clinician. Personal Information: Happily married to Lawren, a former math teacher and current registrar at North Shore Senior High, for 23 years. Together we have three children: Opal (20), Cassidy (18), and Henry (14). All of our children are musicians and have been or are currently involved in public school band and choir programs. Statement: I am honored and humbled to be nominated for the office of TMEA Band Division Vice-President. I should first thank the many people who have mentored, guided, and assisted me in the years that I have been privileged to serve TMEA as a member and an officer. It was those master educators who taught me to honor the past of our organization while caring for the present and looking to the future—band, orchestra, and choir directors from schools large and small, elementary to college, who have built and maintained the incredible organization that we call our own. It would be my goal to honor their service by continuing the legacy of outstanding leadership that has made our organization the greatest of its kind. In my 22 years of teaching in 2A, 3A, 5A, and 6A schools from northwest to southeast Texas, I have had an incredible set of experiences and opportunities that have provided me with a unique and holistic view of the Band Division and its needs. If given the opportunity I would work tirelessly to represent both you and your students when working with the TMEA Executive Board and local leadership as we continue to lead the charge for music and fine arts education in Texas schools. I will solicit and listen to the voices of all members and seek to use that perspective along with my 10 years of service as Region Band Chair to guide the Band Division on our journey of continued excellence, always operating with the understanding that together we can and will find solutions to any challenges that we might face. TMEA has played an incredibly important role in making me a continually better teacher and professional. I very much look forward to the opportunity to serve and give back to the organization that has given me so much. Thank you for your consideration as you vote for the next TMEA Band Division Vice-President.

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 2018 21

A U D I T I O N D AT E S

Auditions are required of all entering and transferring music majors. F R I D AY

S A T U R D AY

S A T U R D AY

F R I D AY

S A T U R D AY

January 12, 2018

January 13, 2018

January 27, 2018

February 23, 2018

February 24, 2018

(VOICE ONLY)

(BRASS, KEYBOARD, PERCUSSION, STRINGS, VOICE, WOODWINDS)

(BRASS, KEYBOARD, PERCUSSION, VOICE, WOODWINDS)

(VOICE ONLY)

(BRASS, KEYBOARD, PERCUSSION, STRINGS, VOICE, WOODWINDS)

B AY L O R S C H O O L O F M U S I C

B AY L O R P R E S E N TAT I O N S / P E R F O R M A N C E S AT T M E A 2 018 Friday, February 16 CHARLOTTE DANIEL 1:00-2:00 pm, CC 221 (with Timothy Hagen, University of Wisconsin-Madison, and Julee Kim Walker, Texas A&M University-Commerce) “Tone Up Your Flutes: A Physiological Approach”

MICHAEL ALEXANDER 3:45-5:15 pm, Stars at Night Ballroom Foyer College Division Research Poster Session: “Procedures and Consequences in Assessing String Sight-Reading Performance”

B AY L O R A L U M N I R E C E P T I O N

Friday, February 16, 9:30 pm Rio Grande Ballroom of the Hyatt-Regency

FOR MORE INFORMATION: Baylor University School of Music One Bear Place #97408 • Waco, TX 76798-7408 baylor.edu/music and click on “For Prospective Students” 254.710.7681 • Music_Admit@baylor.edu

B Y

J O E

BAND NOTES

M U Ñ O Z

In Memoriam Robert Copeland July 25, 1938–November 9, 2017

New Year resolve

H

January 13—Area Band and Vocal auditions. January 15–16—All-State housing entry. January 23—Last day to cancel an existing TMEA hotel reservation without penalty. January 24—Online convention personal schedules will be transferred to convention app accounts for those who opt in. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio. March 1—Honor Band entry deadline for classes 1C, 1A/2A, 4A, 6A.

appy New Year! It’s great to see an increased attendance at gyms and people striving to eat better. As with most resolutions, much of that energy will quickly fade. If you find yourself in a rut and want to make meaningful adjustments to yourself or your program, it would be better to move forward with resolve. Finding outlets to explore new ways to approach your craft can be one way to stay refreshed. The TMEA Clinic/Convention is a prime venue for seeking new ideas and approaches from colleagues—some of the best and brightest in our field. Talk with other successful teachers on your campus. We can learn great instructional practices from them. Of course, watching your choir or theater teacher teach their class or conduct a rehearsal can give you some direct means to incorporate into your instruction. You can also learn from teachers in other disciplines. The organization of and passion for a subject transcends the discipline. Maybe a math teacher has a great way to help their students through a difficult, complicated equation. You could find ways to help your students as they approach difficult passages in their music and help them find a process to bring them to the correct answer. Utilize available resources on your campus or district. Watching other teachers is an invaluable exercise that provides practical examples we can apply to our instruction. It also gives us an opportunity to reflect on what works and what might need renewed focus in our daily planning. Change it up. Do a swap with a high school or junior high director. I often hear of programs that don’t have the resources to invite clinicians to work with their programs. Again, use the resources available. Doing a director swap can give your students a different perspective. I know my students always perform better when the junior high school directors come and visit our program.

As we enter this new year, I hope each of us has WKH UHVROYH WR FRQWLQXH WR ÀQG ZD\V WR KHOS XV grow as teachers. Southwestern Musician | January 2018 23

CLAUDE T. SMITH: Harmony from Within The biography of his life and impact on the music of today! Written by his daughter, Pam Smith Kelly New Book!

This biography travels through Claude's lifetime, including his birth, childhood, education, life in the army, and career, concluding with the legacy of Claude's life and his impact on today's music. Tributes and stories from friends and colleagues, as well as pictures from events and major happenings in his life are included. If you want to know or learn about Claude Thomas Smith, this is the book! Phone, Email, Fax, or Mail this order form to Claude T. Smith Publications. All orders must be accompanied by pre-payment, official purchase order form, or credit card information.

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The students want those directors to see how much they have improved. I have also seen our junior high school students sit up straighter and work to sound their best when one of the high school staff or I work with them. This also helps strengthen relationships in your vertical team so they can be more unified and identify problems that may be consistent issues at both levels. The vertical team can then work to develop and approach processes to address those issues throughout the students’ growth through both levels. Hearing your ensemble, these other directors can help you address areas that need more focus. We can all start to accept certain flaws just because we hear them every day or we are more focused on other issues that are more distracting to our ears. As we enter this new year, I hope each of us has the resolve to continue to find ways to help us grow as teachers. This dedication to constant professional growth will always serve our students with a richer experience. TMEA Updates and Convention News Our TMEA Clinic/Convention is another great resource for best practices and pedagogical inspiration for what works in Texas music education. The professional development opportunities can give you the tools to be a more effective teacher. More importantly, the opportunities for affirmation and rejuvenation cannot be missed. The deadline for TMEA convention online registration at the discounted rate is January 25. After January 25, you will pay the on-site rate. A full convention schedule is now available online. If you complete an online schedule by January 24 and opt in, TMEA will transfer that schedule to your mobile app account (available the beginning of February). Also, set time aside to visit the convention exhibit hall and product showcases. Please be sure to thank our industry partners and product demonstrators for their support of TMEA and music education in Texas. We’re excited to be able to respond to attendee requests for later exhibit hours by having the exhibit hall open until 8 p.m. on Friday this year. Make sure you take advantage of this! I’m pleased to introduce our invited collegiate ensembles for the convention. Be sure to add their concerts to your convention schedule.

Texas State University Jazz Ensemble Utah Hamrick, Director The Texas State University Jazz Ensemble is the top jazz band in the School of Music. These undergraduate and graduate students perform seven con-

certs per year, showcasing a wide range of musical styles. The Jazz Ensemble also serves as the host band for Texas State’s Hill Country Jazz Festival and does a yearly collaboration with the Department of Theatre/Dance in a performance of

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26 Southwestern Musician | January 2018

the Duke Ellington and Billy Strayhorn arrangement of The Nutcracker Suite. The ensemble is under the direction of Utah Hamrick, who joined the Texas State University faculty in 2015 after 10 years on faculty at UT/San Antonio. In addition to directing the Jazz Ensemble, Hamrick leads the Jazz Lab Band (the third band in the program). He also teaches applied jazz bass at the undergraduate and graduate levels, jazz combo, jazz history, and jazz pedagogy. The jazz program at Texas State has nine faculty and offers undergraduate and graduate degrees in jazz studies. Each year, the program hosts several jazz luminaries for concerts and clinics. Recent artists include Benny Golson, Conrad Herwig, Eddie Gomez, Randy Brecker, John Fedchock, James Morrison, Peter Erskine, Joel Frahm, Dan Haerle, Steve Houghton, and Bob Mintzer. Stephen F. Austin State University Wind Ensemble Fred J. Allen, Conductor Stephen F. Austin State University, located in Nacogdoches, offers a wide array of degrees but also provides students with individual attention. The SFA School of Music maintains teacher training as its focus, placing several students each year into the profession of music education. The Wind Ensemble will make its 11th appearance at the TMEA convention. The band performed at TMEA in 1973, 1976, 1980, and 1986 under the direction of Melvin B. Montgomery, the director of bands emeritus, and under the baton of John Whitwell in 1990. Fred J. Allen conducted the group at TMEA in 1996, 2000, 2004, 2008, and 2014. In addition to the direction of Allen, Director of Bands, SFA students are under the direction of David W. Campo, Associate Director of Bands and Director of the Lumberjack Marching Band, and Tamey Anglley, Assistant Director of Bands. The SFA Wind Ensemble performs the core repertoire of the band, newly composed works, pieces featuring guest artists, and chamber music for winds. The group also plays some of the finest orchestral transcriptions for bands. The Wind Ensemble also meets the needs of students in the music education curriculum, using the literature to demonstrate teaching techniques.

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Center for Arts Entrepreneurship Led by Grammy award-winning cellist Zuill Bailey, the Center for Arts Entrepreneurship will prepare UTEP music and other creative arts students for successful careers in the 21st century starting in fall 2017.

Dr. Lowell E. Graham Director of Orchestral Activities Dr. Lowell E. Graham is an active guest conductor and clinician, appearing recently with the Mexican Army Band Directors, the United States Air Force Band, and numerous honor bands across the U.S.

• Theory and Composition Dr. Bradley Genevro Director of Bands

SCHOLARSHIP AUDITIONS: February 5 and 10, 2018 Schedule your audition at music.utep.edu

Steve Wilson, D.M.A. | Chair, Department of Music

The UTEP Symphonic Winds under Dr. Bradley Genevro will perform at the Texas Music Educators Association Conference in Feb. 2018 and the American Bandmaster’s Association Conference in Spring 2019. This will be the first time a UTEP ensemble performs at this prestigious national conference.

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UTEP Wind Symphony Bradley Genevro, Conductor The University of Texas at El Paso Wind Symphony is the top wind group in the music department at UTEP. The Wind Symphony performs a wide variety of literature for the wind band, including transcriptions as well as works from the standard and contemporary wind repertoire. The ensemble frequently tours the Southwest United States and releases recordings on the Klavier Record Label. The ensemble has been invited to perform at three TMEA conventions and the College Band Directors National Association convention twice, and recently accepted an invitation to perform at the 2019 American Bandmasters Association National Convention. The UTEP Wind Symphony is under the direction of Bradley Genevro, who recently joined the faculty at UTEP as Director of Bands, having previously taught at Messiah College, Oklahoma State University, and the University of North Texas. He maintains an active schedule as a clinician, adjudicator, guest conductor, and recording producer, having worked across the United States and in Australia, Europe, Hong Kong, and mainland China. The UTEP Wind Symphony performance at the TMEA convention will feature the UTEP Faculty Brass Quintet of Nancy Taylor, Kenny Capshaw, Rick Lambrecht, Steve Wilson, and Steve Haddad. Texas A&M University-Commerce Wind Ensemble Phillip Clements, Conductor The Wind Ensemble is Texas A&MCommerce’s premier large instrumental ensemble. Consisting almost exclusively of undergraduate and graduate music majors, the Wind Ensemble is equally dedicated to the performance of cornerstone wind literature, the finest contemporary works, and a rich and varied repertoire composed for chamber winds. Led by Phillip L. Clements, Director of Bands, the Wind Ensemble continues to be on the forefront of new music for wind band, consistently commissioning new works from the nation’s leading composers. Most recently during the spring of 2017, the Wind Ensemble presented the world premiere of Michael Daugherty’s new work, Of War and Peace. Texas A&M University-Commerce

is recognized as one of the leading producers of music educators in the state of Texas, and many former members of the Wind Ensemble have gone on to highly successful careers as performers and educators throughout Texas and the United States. The Wind Ensemble has performed at numerous conventions of the Texas Music Educators Association and College Band Directors National Association. Additional performances of note include New York’s Carnegie Hall (2012) that featured three world premieres and a ten-day concert tour of Austria (2016). Under the direction of Phillip Clements, the Wind

Ensemble has released several recordings, including Convergence (2013) and Traveler (2017). University of Texas Wind Ensemble Jerry Junkin, Conductor The University of Texas Wind Ensemble has firmly established itself as one of America’s elite wind bands. Active in the area of commissioning new music since 1988, the group has offered world premiere performances of works by composers such as John Corigliano, Michael Daugherty, Donald Grantham, David Maslanka, Adam Schoenberg, and Dan Welcher. One

Texas State University Jazz Ensemble

Stephen F. Austin State University Wind Ensemble Southwestern Musician | January 2018 29

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of the guiding principles of the ensemble is contact with the leading musical minds of the 20th and 21st centuries, resulting in residencies by such notable musicians as Samuel Alder, Robert Beaser, Daniel Godfrey, William Kraft, David Maslanka, Thea Musgrave, Stephen Stucky, Joan Tower, and Pulitzer Prize winners John Adams, William Bolcom, Michael Colgrass, John Corigliano, David Del Tredici, Jacob Druckman, John Harbison, Karel Husa, Gunther Schuller, and Joseph

Schwantner. Commercial recordings released on the Reference, Klavier, and Naxos labels have garnered many accolades. A 2009 release on the Naxos label, Circus Maximus, was featured in Diapason d’Or, France’s largest classical music publication, and received its coveted “Golden Tuning Fork,” the most prestigious award in French culture for classical music recordings. The Wind Ensemble has garnered an international reputation with two major

international tours (2008 and 2014) in addition to countless national and regional appearances. This year marks the eighth appearance of the Wind Ensemble at the TMEA Clinic/Convention. Graduates of the Wind Ensemble hold positions in each of the Washington D.C.based military bands, major international symphony orchestras, and in positions as noted educators and conductors throughout the world.

UTEP Wind Symphony Ensemble

Texas A&M University-Commerce Wind Ensemble

UT/Austin Wind Ensemble Southwestern Musician | January 2018 31

TEXAS LUTHERAN UNIVERSITY’S

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Students Can Continue to Choose Music

T

oday’s students face an increasingly complex path to graduation. While opportunities to make choices and pursue their passions are indeed positive, what results can be confusing—to say the very least. School counselors are charged with helping students establish their paths and make critical choices about course selection and scheduling. Music educators often find that some students make choices without a full understanding of their options. Given this growing complexity, it is imperative that music educators become educated and active agents of the solution.

Positive Working Relationships Go a Long Way Being part of the solution means that music educators need to establish positive and productive working relationships with the school counseling team. With ever-shifting requirements and choices, a counselor’s work has increased in its complexity and demand. The following is advice from some fine arts administrators about how to establish good rapport with counselors: Jackie deMontmollin, Denton ISD: Be aware of the need to communicate proactively about the special challenges in your courses. For example, inform the counselor if an instrumental music course requires students to handle expensive, school-owned instruments. Make an appointment in advance of course selection to review various aspects of your courses. In addition to being informative, take the opportunity to help proctor tests that often are the counselor’s responsibility. Joe Clark, Spring ISD: One way to establish an authentic and personal working relationship with the lead counselor is to visit the counselor when you don’t need something. Invite counselors and the supervising counselor to performances and thank them from the stage for all they do for the arts. Elizabeth Ortega-Ruiz, Corpus Christi ISD: Show your appreciation to counselors in a myriad of ways: invite them to performances, ask them to perform with a group, include their name in your concert program list of people being thanked, send thank-you cards when they handle an issue, give them one of your program T-shirts, invite them to your end-of-year banquet, and more. Southwestern Musician | January 2018 33

Jeff Bradford, Richardson ISD: As a high school teacher, I visited with our lead counselor every few weeks. I asked for feedback on how I could make counselors’ lives easier, and I asked to be included on meetings that might affect my students and their choices. I also educated counselors about the importance of participating in a music program, beyond the credit earned. Sometimes we need to make it more personal and about the why for the student. With the time we spend and relationships we build with our students, it’s our job to share those stories with counselors and to advocate for the students and the programs we teach. In my final years at Lake Highlands HS, I convinced our lead counselor to let me sit in on their cluster counseling staff vertical team meetings. I didn’t speak at first—I just listened. As time passed, I sought to understand the demands placed on them. I found they were often doing exactly what they were directed to do, which helped me understand how to better serve at the next level. The biggest thing I’ve noticed is there is a lack of communication about timelines for rollouts, new programs, and expectations in the cluster or district. Most counselors I’ve worked with are simply trying to do what they know is right, sometimes with inaccurate information or lack of support to properly guide students in the arts. When I stopped fighting people and sought to understand, life got much better. As an administrator, I schedule opportunities to speak with all counselors across the district every year. I thank them and work to build a sense of mutual work for the best interest of students. I outline the timeline for all arts organizations, specifically discussing assessments for our areas and how we recruit. When they have more information about how things work, they usually ask questions, and this leads to a more productive partnership. Finally, I provide them my contact information and ask them to reach out to me for support or clarity. Shawn Bell, Eagle Mountain-Saginaw ISD: Work with counselors well in advance of deadlines. Establish a reputation of being organized and strategic, rather than being a last-minute, sky-is-falling teacher. Overall, I strongly believe that the success of these challenges depends on relationships. When strong relationships exist, there tends to be a mutual respect and 34 Southwestern Musician | January 2018

A School Counselor’s Perspective The following is from Sara Stringer, a former middle school band director and now school counselor at Arlington ISD. Read more from Stringer in her article “Maximize the Counselor’s Impact on Your Program” on page 48. What is the most important thing teachers can do to improve their relationship with the school counselor? First, show that you have a stronger heart for the student than the program. Second, make your counselor feel valued and worthwhile to you and your students. Third, do your best not to make their job more difficult. Brainstorm new ideas and try new things, but don’t make the counselor do all the heavy lifting. You are partners. What information can music teachers offer counselors to support their advising of students? Treat the counselor as a parent. What information do you want parents to have? Dates of events? Information on how to select an instrument? Also, ask the counselor about the most common reasons students give for not wanting to join or continue. What information do you have that could help the counselor during that moment when the student says they don’t want to be in the music class anymore? If the reason is related to fees, your district may have a way to help students that counselors are not aware of. If the reason is related to time commitment, let the counselor know ways you can work with students to help them resolve conflicts. Starting in January, what can teachers do to help inform and support counselors as they start working to schedule students for 2018–2019? During registration season, counselors are likely placing students in your program’s various levels of ensembles. Make their job easier by supplying a preliminary list of forecasted placements for the next school year so the data for staffing is at least close to accurate. Make sure your counselor understands clearly that you will send an updated placement list in May following auditions. If you supply a good preliminary list, there should be few changes, and this will relieve some of the work demand. Also, if your counselor requests reports or documents from you, complete them on time to help make the registration process move more smoothly for you and your students. commitment to find solutions that are best for students. Michael Ouellete, Katy ISD: I worked with our counseling program to design a brochure that outlines each of the plans and endorsements (available at www.tmea.org/stayinmusic). In addition, I hold staff development with fine arts teachers so they understand how to help students use the required and elective spots to earn an endorsement while staying in their arts program all four years. James Drew, Fort Bend ISD: I created a PowerPoint presentation for a meeting with counselors. This includes several pair-share slides designed to incite productive conversations about the varying perspectives of topics that affect our students’ choices. Counselors pair up and discuss the opposing views of specific topics. The goal is to support conversation that can lead to a greater understanding of the many sides of each issue. David Jennison, Round Rock ISD: Many of our district decisions on inform-

ing students and families about course offerings are made at the campus level. Thus, we encourage educators to build strong relationships with campus administrators and counselors and get involved in the course selection process as much as appropriate. Enrichment versus foundation course options can be confusing for families, and sometimes for counselors as well. To help both, we distribute a brochure highlighting the benefits of fine arts participation. This document sets the stage for efforts by our teachers to engage and retain students (available at www.tmea.org/stayinmusic). Jenny Parry, Del Valle ISD: Each year, I try something new to help improve our working relationship. I have taken district counselors on a walking tour of active fine arts classes and then treated them to lunch in the school’s culinary arts café. During lunch, I answered questions and talked about highlights for each program. I have presented course catalog information on all fine arts programs during a counselors’

Play now. Play for life.

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SANDY LANTZ & GRETCHEN WAHLBERG

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Strum It Up – New Ukuleles, Now What? Friday, 10 – 11 a.m.

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meeting. I explained our recruiting plan and our unique master scheduling issues. I collaborated with the Student Support Services Department to create a chart that identifies the extracurricular activities students are able to participate in while enrolled in ECHS. I also have distributed copies of “The Benefits of Music Education” advocacy piece (available at www.tmea.org/advocacymaterials). Abby Crawford, Castleberry ISD: The most challenging time of year for counselors is the last two weeks of July through the first two weeks of school. They are pulled many directions and aren’t told enough how much they are valued. Offer your help, bring them a treat, and recognize them during National School Counseling Week (February 5–9 this year). When you need something, offer a solution; don’t just present the problem. Above all, counselors enjoy building work relationships as much as directors do—spend the rest of the year developing this camaraderie. Helping Students Do It All Many schools have sample graduation plans to show students how they can pursue various endorsements while staying in a music program all four years and how they can participate in athletics and fine arts all four years (go to www.tmea.org/stayinmusic to download samples provided by the fine arts administrators who participated in this article). Some schools have established flexibility in their schedule so that diverse interests can be supported. The following are how some districts ensure students and counselors understand the options: Pat Leaverton, Fort Worth ISD: I have found one of the keys is to talk with the eighth-grade instrumental students before the high school counselors visit them to ensure they understand how the sequence of music classes fits into their four-year plan. I tell the eighth graders about graduation plans, credits, endorsements, and the importance that college admittance staff places on continued participation in arts. Danny White, McKinney ISD: Probably the most important talking point with parents, students, and counselors related to the endorsements is that electives are open to student choice, regardless of the declared endorsement. No one should dictate to students what elective courses are best for them to take.

Elizabeth Ortega-Ruiz, Corpus Christi ISD: Create a brochure for counselors to give students about participating in fine arts all four years (make it a fine arts department group effort). Ask to attend parent/student meetings at the middle school when counselors are going to speak about the endorsement options, and offer the counselors a digital presentation about sequential fine arts course participation. Joe Clark, Spring ISD: The information that we will ultimately provide all counselors we first share with just a few counselors to gain their feedback. This helps us

gain buy-in from that small group while helping ensure our information is easy to understand. Once we have a common understanding of how this information will look in our district, we collaborate with the counselors at all levels (district and campus) so that everyone is speaking the same language and using the same district materials in communication with students. Sara Stringer, Arlington ISD School Counselor: We personalize every graduation plan to address student interests and goals. I meet with students individually

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Southwestern Musician | January 2018 37

University Admission Is About More Than Your GPA The following story is from Westlake HS Director of Bands Kerry Taylor: About 10 years ago, Westlake had two drum majors who were very strong musicians and high achievers in their other academic courses. As juniors, one had his heart set on attending an Ivy League school and the other was destined to follow her family’s legacy at the University of Texas. Daniel received a lot of pressure from his parents to drop band because they believed it limited his study time for “more serious courses” and was bringing down his GPA (seemingly putting him at a disadvantage when compared to other students). Daniel continued in music and ultimately became our head drum major. When acceptance letters came out, Daniel was excited to turn down his offers from several Ivy League schools and accept an offer from Stanford. His parents were very pleased. Several days later the news hit that our valedictorian wasn’t accepted to his numberone choice—Stanford University. Perplexed, our College and Career Counselor called the Stanford admissions office to find out why the valedictorian of an academically recognized high school wasn’t admitted. Our counselor later told me that the admissions office said they limit the number of offers per out-of-state high schools, and Westlake’s limit was two. One went to an outstanding athlete whom their swim coach wanted; the other offer went to the other most promising and outstanding student—the drum major of the band. I have repeated this story to my high-achieving students over the years, and I have heard our counseling staff share it with the freshman class. That Senior Counselor became one of my best recruiters! As I’ve watched our students gain admission, I’ve learned the following: • Many of our students do not go to in-state schools, and most out-of-state schools do not use high school ranking to determine admission. • Almost all out-of-state institutions use their own system to determine GPA or academic rigor. Weighting systems and Texas GPAs are often ignored. This is plainly stated on their admission websites. • More universities are interested in student portfolios (cumulative work product) and essays (communication skills) to determine admission rather than GPA, high school rank, and standardized test scores. • Even the University of Texas recognizes that work product and performance are better indicators of success in certain areas, such as fine arts, than class rank or standardized test scores. Be sure to read the article “Helping Students Pursue Their Passion” by Sundas Mohi on page 67. Her personal story underscores these points and is another valuable story to share with students struggling with these GPA/class rank issues. throughout their high school careers to establish an initial game plan for meeting graduation requirements and to adjust it along the way. When students present requests that exceed our eight-period capacity, I inform them of a variety of options so that they can take what they want. I always take them back to the basics: high school students must graduate with 26 credits and an endorsement if they want to apply to four-year universities. While 38 Southwestern Musician | January 2018

students may be interested in more than one endorsement, the state requires completion of only one. With four credits of a music course, they can earn the Arts & Humanities Endorsement. While many students will have room in their schedules for another endorsement, they should never feel pressured to complete more than one. Our school district supports all the available endorsements; however, some districts focus only on one—Multidisciplinary.

This endorsement is closest to the former “4×4” plan. In the Multidisciplinary Endorsement, fine arts play an expanded role to the one credit required to graduate. In addition to completing the 22 credits of the basic graduation plan, students may earn the Multidisciplinary Endorsement by completing four credits in AP, IB, or dual-credit courses selected from the following: English, Math, Social Studies, Languages other than English, or Fine Arts. In some metropolitan school districts, fine arts departments are already looking for ways to bring in more AP, IB, and dual-credit fine arts courses to support students wanting to stay in their fine arts elective. Managing the GPA and Class Rank Race Many students feel pressure to be at the top of their class, with a GPA that reflects this position. In some cases, this leads students to drop out of a music program because the course doesn’t offer a weighted grade. Many music educators struggle with this since their best musicians also often have a goal to be at the top of the class, believing this will help them gain admission to their top university choice. Districts have responded to this quandary in a variety of ways, including the following: Joe Clark, Spring ISD: We have a weighted-credit option (as well as an unweighted option) for several of our fine arts courses for juniors and seniors in advanced ensembles. The weighted option includes additional requirements that are intended to match the rigor of AP and pre-AP courses and prepare students for college-level courses. We borrowed this model with permission from Allen ISD and presented the plan to the school board for approval. Shawn Bell, Eagle Mountain-Saginaw ISD: Although this is a continuing struggle, our district offers a pass/fail option in music classes for juniors and seniors who are competing for class rank. Danny White, McKinney ISD: We currently have a program in place where students in their junior and senior years can opt to take fine arts courses on a GPAexempt basis. We have debated about whether to move toward providing honors credit in our top ensembles. (Go to www.tmea.org/stayinmusic for their GPAexempt option brochure.)

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Kerry Taylor, Westlake HS, Eanes ISD: Westlake HS has implemented two rules that, in my opinion, have done much to alleviate some of the pressures on high achieving students as they try to balance their love for fine arts subjects and an overt emphasis on GPA in the college admission race. The first is that every student is required to have a minimum of four regular-level credits, three of which must be completed prior to their senior year, averaged into their GPA. This allows students in fouryear programs to be on a more level playing field with those who are trying to play the GPA game. For our most serious music students, at least one of their music courses not receiving a weighted GPA multiplier per year will not hurt their GPA when compared with others. Our administration is in the process of exploring the future

possibility of expanding the requirement of regular credit courses to six, and possibly eight. The second change that has proven helpful to fine arts students and the student body at large is that we publish only the top 10% when ranking a graduating class. This has lessened the importance of a class ranking beyond the top 10% and raised the value of a student’s body of work or portfolio. As a result, more of our students are being accepted into highly respected Texas schools that may have some sort of limiting admission policy based on high school GPAs. Sara Stringer, Arlington ISD School Counselor: Arlington ISD has an Advanced Honors Credit grade point scale for students who participate in fine arts. It gives students an opportunity for a more rigorous curriculum in fine arts

EXPERIENCE

THE SOUND

OF TARLETON

programs for college readiness and provides advanced credit for the higher-level fine arts achievement within a curriculum structure. Advanced credit is available to all students in grades 10–12 in sections of band, choir, orchestra, and theatre. Advanced points are earned with the completion of Advanced Honors course requirements, designed to allow students the opportunity to extend their education in an enriched, independent curriculum for college readiness. All assignments are completed independently with a time line provided by the instructor. TMEA thanks these contributors for sharLQJ VWUDWHJLHV 'RZQORDG EURFKXUHV DQG VDPSOH JUDGXDWLRQ SODQV WKHVH GLVWULFWV use, at www.tmea.org/stayinmusic.

Strike a Note with Your Students December 28-29, 2017 AREA CHOIR WORKSHOP Contact: Dr. Troy Robertson (254) 968-9240 | robertson@tarleton.edu

January 26-27, 2018 LET ALL MEN SING featuring clinician Tucker Biddlecombe Contact: Dr. Troy Robertson (254) 968-9240 | robertson@tarleton.edu

February 3, 2018 TARLETON BRASS DAY with Brass Faculty from Oklahoma State University Contact: Dr. Brian Walker (254) 968-9828 | walker@tarleton.edu

AND TARLETON DAY OF PERCUSSION with Dr. Matt Jacklin Contact: Dr. Benjamin Charles (254) 968-1784 | bcharles@tarleton.edu

February 24, 2018 TARLETON SINGLE REED DAY Contact: Dr. Dmytro Perevertailenko (254) 968-1712 | perevertailenko@tarleton.edu

March 6-7, 2018 TARLETON INVITATIONAL BAND FESTIVAL with Robert W. Smith Contact: Dr. Gary Westbrook (254) 968-9439 | gwestbrook@tarleton.edu

DISCOVER MORE

March 24, 2018 TARLETON JAZZ FESTIVAL with Terrell Stafford

www tarlleton www.tarleton.edu/music t ed du//musiic

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40 Southwestern Musician | January 2018

B Y

B R I A N

ORCHESTRA NOTES

C O A T N E Y

In Memoriam Phyllis Young October 20, 1925– November 8, 2017

The 4 disciplines of execution – Part II

I

n my last column, I introduced some concepts from the 4 Disciplines of Execution authored by Chris McChesney, Sean Covey, and Jim Huling. Although this book was written for business owners and managers, we can easily apply these same principles to our music programs. As program leaders, we often formalize ideas or changes that we believe will revolutionize and revitalize our programs. We try to initiate these new ideas and changes with vigor and energy, but before long, the team starts resisting the changes, the daily whirlwind of activities begins to take over, and the new ideas or changes die a slow death. Luckily, I was led to this book and I now have a better idea of how to effectively institute change. This month’s article will focus on the first discipline: “Focus on the wildly important.�

January 15–16—All-State housing entry. January 23—Last day to cancel an existing TMEA hotel reservation without penalty. January 24—Online convention personal schedules will be transferred to convention app accounts for those who opt in. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

Discipline #1: Focus on the Wildly Important The authors explain that one of our most difficult challenges as managers or team leaders is maintaining a healthy focus on goals. We typically have many great ideas or have heard ideas from colleagues that we want to implement to improve our programs. Yet we often struggle to narrow these ideas into one or two attainable goals that the team (students and teachers) can accomplish with a high level of success. As teachers, we can quickly pull our students in too many directions, leading them to feel overwhelmed and give up. Additionally, we must respect that our goals have to be achieved within our whirlwind—our day-to-day operations that keep the program running. This includes the standard curriculum that we teach our students, preparing concerts, and maintaining all our administrative duties. I think it is usually easy for us to see many areas needing improvement, and we tend to want to fix all of them immediately. Our efforts to fix everything

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usually results in experiencing the law of diminishing returns where very little or no improvement is accomplished. If we could focus on only one or two wildly important goals beyond the demands of our whirlwind, then our students will most likely be able to accomplish them. Human beings are hardwired to do one thing at a time with excellence. I have heard several students and colleagues say they are great at multitasking, when in truth, science tells us the human brain can only give full focus to a single object at a time. I think we often experience this phenomenon teaching our students. On more than one occasion, I struggled teaching a difficult passage in music until I realized I needed to break that passage down into smaller and more attainable goals. I was trying to multitask by teaching the rhythm, notes, dynamics, and articulations at once. The students did not master the passage until we started focusing on only one or two concepts at a time. This same rule applies when we set goals for our programs. If you set four to ten goals beyond your daily whirlwind, the result will typically be one or two goals achieved at a mediocre level with the rest of the

goals abandoned. Therefore, the secret becomes narrowing your focus to one or two wildly important goals in the midst of your whirlwind. The first thing we have to do is decide what our wildly important goals are. A common pitfall is trying to turn your entire whirlwind into wildly important goals. The authors explain that we often have several great ideas, but the hard part is deciding what goal is the most important. This means that we have to say no or postpone several great ideas. Sometimes, your wildly important goals will be obvious and easy to determine. But if you are having difficulty pinpointing them, ask yourself if every other area of your program remained at its current level of performance, what would the one area be where change would have the greatest impact? I recently had a discussion with a colleague about the sound of his ensembles. He is a master teacher and his students play exceptionally well, but he wasn’t happy with the overall sound they created as an ensemble. After discussion, we came to the conclusion that the ensemble played too much as individuals and did not produce a collectively balanced sound

within and between sections. Therefore, raising the students’ awareness to listening to their fellow ensemble members and blending their individual tone became this director’s wildly important goal. He still taught his classes with the same routines and fulfilled all the whirlwind obligations, but he made sure to spend a little time every day on improving students’ listening and blending. The authors explain that a healthy balance is spending 80% of your energy managing the whirlwind and 20% on your wildly important goals. Ultimately, your real aim is not only to achieve the wildly important goal, but also to make the new level of performance or skill a natural part of your group’s playing ability. Once the goal is achieved, it becomes a natural part of the everyday whirlwind. The final component of this first discipline is that all wildly important goals must have a finish line in the form of “from x to y by when.” We often struggle translating for students what we see as our biggest deficiency and the goal for remedying it. Using the form “x to y by when” gives us a good model by which we can clearly relay our wildly important goals to

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our students. For instance, it is easy to tell students they have deficiencies in rhythm and pulse. And with that, we are going to start working on rhythm exercises every day until the end of time. The students will most likely buy into the work for a few weeks and then start to resist the exercises. A better approach would be to expose the deficiency in pulse and rhythm and relay that our goal is for the class (x) to be able to perform rhythm exercises 1–10 with 100% accuracy (y) by December 19 (when). Once you have decided your wildly important goals and your students have a clear idea of these goals, you then have to focus on lead and lag measures and creating a compelling scoreboard that holds the team accountable for achieving the wildly important goals. I will discuss lead and lag measures as well as creating compelling scoreboards in next month’s article. In the meantime, decide on one or two wildly important goals you would like your program to accomplish this semester so that you can begin to put these ideas into practice. TMEA Clinic/Convention Update You can now view the full 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 24 will be transferred). This month, I’m pleased to feature our HS String Honor Orchestra. Congratulations to all participating orchestras and their directors. Our other three Honor Orchestras were included in our November issue. Be sure to add the performances by these incredible organizations to your convention schedule. Tompkins HS Sinfonia Orchestra Matthew Porter, Director Obra D. Tompkins HS, located in Southwest Katy, opened its doors to 865 students in 2013. The building is named after a legendary educator who dedicated 35 years of service to Katy ISD and is one of nine high schools in the district. Tompkins HS is one of the most culturally diverse schools in the nation, currently educating 3,378 students from around the world. In 2013, the orchestra program served 57 students in grades 9–10 under the direction of Matthew Porter. Since that time the orchestra program has grown to

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

ISD

Director

1

Tompkins HS

Katy ISD

Matthew Porter

2

Clear Lake HS

Clear Creek ISD

Bryan Buffaloe, Kevin Black

3

Seven Lakes HS

Katy ISD

Desiree Overree

4

Plano East Senior HS

Plano ISD

Ann Smith, Jeremy Pillow

5

Taylor HS

Katy ISD

Clinton Capshaw, Tiffany Webb

6

Westwood HS

Round Rock ISD

Joshua Thompson

7

Jasper HS

Plano ISD

Matthew Moreno

8

Marcus HS

Lewisville ISD

Allison Washler

9

Hebron HS

Lewisville ISD

Matthew Cautivar

10

Rockwall HS

Rockwall ISD

Charlsie Griffiths

11

Liberty HS

Frisco ISD

Julie Blackstock

over 240 student musicians from grades 9–12 thanks in part to the success of its feeder programs at Tays, WoodCreek, and Seven Lakes Junior Highs. In 2015, Sundas Mohi was hired as assistant director of orchestras. Since the school’s opening, all orchestras have earned UIL Sweepstakes awards. OTHS orchestras have earned top honors and awards at festivals around the state. In 2016, the Sinfonia Orchestra was a

2017 TMEA Honor Orchestra finalist and shared the Tommy Tune Best Orchestra Award with Klein Oak HS. The OTHS orchestras often enjoy collaborating with all other fine art departments to provide a multifaceted experience for all students. The Tompkins HS Sinfonia is the first high school orchestra in Katy ISD to be named TMEA HS Honor String Orchestra and the sixth group from Katy ISD to earn a TMEA Honor Orchestra distinction.

Tomkins HS Sinfonia Orchestra Southwestern Musician | January 2018 45

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Maximizing the School Counselor’s Impact by Sara Stringer

T

he secretary. The custodian. The counselor. These people in your building play an often behind-the-scenes—yet vitally important—role in your program’s success. Of these three, however, the counselor is often the most underutilized. It was not until I became a school counselor after 10 years of teaching band that I realized the many ways counselors affected my band program and wished I had known then what I know now. What follows only scratches the surface of how school counselors can help music programs. As a teacher, think of the school counselor as a partner, supporting students so they can have positive experiences at school—the Alfred to your Batman. Understanding what school counselors can do will help you identify ways to maximize their impact on your program. Understand their role. School counselors first serve as advocates for student academic and social-emotional well-being. Moving from the band hall to the counselor’s office, I gained a wider perspective. I realized my music class was just one positive part of our students’ school experience. The school counselor sees this big picture of student interests and goals, as well as what helps or hinders their progress toward achieving them. Ultimately, an effective school counselor has the heart of a helper. They work to help students as well as the family and school staff who support them. Scratch my back and I’ll scratch yours. A happy counselor is a helpful counselor. With the rollout of House Bill 5 a few years ago, demands on school counselors increased dramatically. In response, school districts across the state hired more counselors to

48 Southwestern Musician | January 2018

handle the load. I encourage you to gain a better understanding of how the school counselor position has evolved. Ask your counselor how you can make their job more efficient or more pleasant. Be available and helpful on test days, submit documents on time and completed accurately, and respond to communications in a timely fashion. Any counselor will be more willing to help you when you are willing to help them. Value your counselor and they will value your program. Find ways to make your counselor feel appreciated. Get creative! At concerts, recognize them on the mic or in the printed program; ask them to guest conduct, perform, narrate, or be the master of ceremonies. Provide comp tickets to events where you charge admission, and invite them to chaperon field trips. Take every opportunity to amaze the counselor with what the students can do! A thank-you note from you or the students always serves as a reminder of why the counselor loves his or her job. Even playing “Happy Birthday” or caroling at the counseling office for the holidays is a memorable treat. Knowing your counselor’s favorite treat goes a long way, too. While the suggestions presented here are ideas for showing gratitude, they are also strategies for involving your counselor a little more in your program. If the counselor has a positive experience with your program, the memory will be with them as they work with students and parents in deciding whether to join or remain in your program. If the school counselor posts a review about your program, will it be positive? Will the review even be accurate? Don’t assume they know. When I help students choose classes, they always have questions. Find out what the counselor knows,

The counselor’s goal is always student success, not the success of any single program. As you work with a counselor, asking questions and brainstorming new ideas, always keep the best interests of the student in mind. correct misinformation, and provide answers to the most frequently asked questions. Providing this support will be worth its weight in recruitment and retention gold. Also, train your counselor to contact you immediately when there is a question for which they are unsure of the answer (and respond to them quickly). While general guidelines help with most students, sometimes you and the counselor need to work with students on an individual basis. Your availability and efficiency in such cases raises the likelihood of a positive outcome for you and the student. Know the state’s requirements. School counselors are tasked with ensuring stu-

dents meet the state’s academic requirements. In the middle-grade levels, students are required to have one language arts, one math, one science, and one social studies course per year. These middle schoolers are also required to complete one fine arts course, one year of P.E., and at least one class that involves the study of careers and utilizes technology. Students in grades 9–12 are bound by the Foundation Graduation Plan as outlined by Texas House Bill 5. The state will graduate its first senior class on this newer graduation plan this spring. For an excellent start to understanding the requirements of this graduation plan, read “Understanding Graduation

Plans” written by Fort Worth ISD Fine Arts Administrator Patrick Leaverton, published in the November 2015 issue of Southwestern Musician (available online at www.tmea.org/emagazine). Once you’ve read this article, take your questions to your school counselor to gain clarity and to brainstorm ideas on how your music program will help students satisfy the new graduation requirements. Plan registration together. Knowing the school counselor’s registration timeline will help your recruitment and retention. In most districts, registration for the following year is completed around spring break so the district can use the data to see what classes students are requesting and how staffing should be adjusted. If your school counselor plans to register potential beginners for next year’s classes or conduct a future freshman orientation in February, plan recruitment activities to precede that. Registration timelines can change each year, so meet with the counselor annually to confirm them. You should leave this meeting with a list of important registration dates, and the counselor should leave it with a list of dates and descriptions of the music program’s

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CHOICES.

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• Saturday, January 27, 2018 (beginning at 9 a.m.) entering FALL 2018 • Saturday, February 24, 2018 (beginning at 9 a.m.) entering FALL 2018 To request an audition date, visit www.uiw.edu/music and click on auditions and scholarship information

recruitment events. Also, when registration is completed in mid spring, students still have the option to change their minds on initial course choices. When the district works with staffing based on registration data, you can request data, too. Ask

your counselor for a list of students who requested each of your courses. Between spring break and the end of school, you can analyze retention and work with students as needed. Speak counselor-ese. While there are a

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Scholarship Auditions June 5, 2018 August 7, 2018

www.AlvinCollege.edu/Music For more information, contact: Dr. Kevin Moody, 281.756.3587 or kmoody@alvincollege.edu

few counselors with music education experience, many simply do not have enough musical background to understand the difference between concert band and wind ensemble, or philharmonic orchestra and symphony orchestra, or choraliers and chamber singers. While your ensemble names hold meaning for the teacher and students, they mean nothing to the person who deals with registration of students in the course. When it comes to classes, school counselors think in course codes. It’s a little thing, but using course codes in your discussions, correspondence, and enrollment lists will prevent confusion and help the counselor perform registration more accurately and efficiently for you. Don’t know your course codes? Ask! Plan ahead. If a student tells the counselor they can’t participate in your program because they can’t afford the fees, how will the counselor respond? If a student says they don’t want to take the class again next year, what process does the counselor follow to exit the student from your program? If a new student enrolls in the middle of October, in what level ensemble will the counselor schedule them? If a student

EOI

Music scholarships available to non-music majors I Faculty who focus on UNDERGRADUATES I National and international ENSEMBLE TOURING I DEGREES in music education, performance,

and composition I MASTER of Arts in Teaching, a 5th year program

with a full year of student teaching and 100% job placement (20 consecutive years) I Located in CULTURALLY VIBRANT San Antonio I STUDY ABROAD opportunities I 16 ensembles

trinity.edu/music

think. perform. explore. 52 Southwestern Musician | January 2018

June 2014, the Trinity University Music Department was recognized as an ALL-STEINWAY SCHOOL by Steinway and Sons, for its commitment to excellence and purchase of 32 Steinway pianos.

DEPARTMENT OF MUSIC Admissions and Scholarship

AUDITION

DATES

Auditions 2018

INSTRUMENTAL February 24 March 10 March 24

VOCAL February 24 March 03 April 07

Bachelor’s and Master’s degrees in Music emphasizing music education or performance *Additional dates upon request. Auditions are required of all entering and transferring music majors.

TAMUCMUSIC

TAMUCBANDS

TAMUCCHORALE

tamuc.edu/music | 903.886.5303

shares information with you that causes concern, what step do you take next? These are just a few examples of situations that occur often enough that they will benefit from planning sessions between you and the counselor. And if there is no plan, both parties should know how to reach the other quickly. Collaborate creatively. Two of the most common obstacles to participation in your program are related to master scheduling (grades 6–12) and GPA (grades 9–12). While the counselor may not be the official

master scheduler, they will have a strong understanding of the master schedule needs and know what to look for and what questions to ask. Are there enough periods to allow students to take required courses and your class? At the middle-grade levels, students may need to take supplemental reading or STAAR-preparation courses, or they may be encouraged to take high school credit courses. To allow students to take advantage of these extra options and continue taking their required courses and chosen elective, some campuses have

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adopted a “zero hour” before school or an afterschool “bonus hour.” Additionally, some secondary campuses on a block schedule have found a way for students to double-block their athletic and fine arts courses so students can have daily practice. GPA and Class Rank Regarding GPA, some of your students may be in the top for their class ranks, and even earning a 100 in your class would bring their GPA down and move them lower in the ranks. High-performing students have dropped their athletics and fine arts courses for these reasons. A few districts have responded by developing a process for this type of student to earn honors-level GPA points in your class. To develop district-wide programs like this takes effort and coordination between the fine arts director and other district administrators. Ultimately, the counselor and you will work together on the campus level to implement it. The Student, Not the Program The counselor’s goal is always student success, not the success of any single program. The last decade has seen the introduction of more educational opportunities. With so many choices, counselors must work with students and their families throughout the decision-making process. I have had the pleasure of working with student-minded fine arts teachers who have made themselves available as a resource and who have been willing to help a student stay in their program while still taking advantage of other academic opportunities. As you work with a counselor, asking questions and brainstorming new ideas, always keep the best interests of the student in mind. In all the work you do together, ultimately, you and the school counselor are partners in helping students have a positive experience at school. Sara Stringer is a high school counselor in Arlington ISD and will present a clinic on this topic at the 2018 TMEA Clinic/ Convention.

2018 TMEA President’s Concert WEDNESDAY, FEBRUARY 14 • 8 P.M. • LILA COCKRELL THEATER • $15

TICKETS Purchase general admission tickets ($15) here: • at tmea.org/presidentsconcert • at the Information Booth in Convention Registration • after 7 p.m. on Wednesday in the Lila Cockrell lobby Pick up purchased tickets at the Information Booth. (After 7 p.m., go to Lila Cockrell Theater lobby.)

From the Top with Host Christopher O’Riley showcases America’s best young classical musicians, celebrating their stories, talents, and character. The recording at our President’s Concert will exclusively feature young Texas musicians (and special guest performers Black Violin).

Black Violin, classically trained violist and violinist Wil B. and Kev Marcus, will be guest performers during the recording of From the Top and featured performers following the recording. Black Violin combines their classical training and hip-hop influences to create a distinctive multigenre sound that is often described as “classical boom.” Their appearance is sponsored by the NAMM Foundation. Southwestern Musician | January 2018 55

VOCAL NOTES

B Y

D E R R I C K

B R O O K I N S

One voice, one heart— Texas united

O

n occasion, I’ve been stunned (and slightly brokenhearted) to hear a Texas All-State Choir member express disappointment for not making the All-State Choir they aimed for or didn’t place where they envisioned themselves. I do realize that as teenagers, not fully developed (physically or emotionally), learning how to handle disappointments in life can be a major lesson. Life Lesson #113: What do you do when you’ve done everything right and given your all toward an endeavor, yet the results are somewhat less than what you had predicted? If you’ve never had to ask yourself this question, my advice would be to just keep living. You’ll eventually be face-to-face with this question and the inevitable search for an answer, if one exists. I can recall a time, about 12 years ago, when my students and I were traveling on a bus home from TMEA Area auditions, and each of the students on the bus successfully qualified to an All-State Choir—except for one. This singer (a senior and a former All-Stater) missed the cutoff for a choir and missed becoming an alternate by one point! This event became the longest bus ride home ever. Attempting to console the student, I pointed out that there were thousands of singers who didn’t even make it this far in the audition process, and that they should be proud of the level they had reached and the musical achievement they’d attained.

We teach so much more than just choral music to our students. At times, we must help our students understand what has happened and help them put things in perspective 56 Southwestern Musician | January 2018

January 13—Area Band and Vocal auditions. January 15–16—All-State housing entry. January 23—Last day to cancel an existing TMEA hotel reservation without penalty. January 24—Online convention personal schedules will be transferred to convention app accounts for those who opt in. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

As choral educators, and thus leaders in our state, I believe we can all agree that we teach so much more than just choral music to our students. At times, we must help our students understand what has happened and help them put things in perspective— that the results of one audition on one day don’t define who they are as human beings, nor as musicians. While students may be disappointed (understandably), I encourage you, in time, to highlight the obvious—how incredibly competitive the auditions are and how through the hard work preparing for auditions, they develop skills and tools they will use the rest of their lives. Becoming a member of any Texas AllState Choir is the highest honor earned by choral students in our state, dare I say in the nation? When you become a member of a Texas All-State ensemble, you are joining an auspicious body with a long history of excellence, carved from hard work and structured in dedication to providing the best musical experience. I love the fact that our membership constantly works to make the organization better. Is the TMEA audition process perfect? Of course not. Are we striving to give our students the best music

education experience? Most definitely. To be selected for the All-State Mixed, Small School Mixed, Tenor-Bass, or Treble Choir is a thrilling moment in the lives of our students. Never take it for granted. No one choir is greater than another. We are all

one voice, with one heart. We are All-State and we are Texas united. TMEA Clinic/Convention Update It’s down to just days until the online early registration deadline of January 25!

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www.sightreadingforband.com Southwestern Musician | January 2018 57

Choral Department 2 0 1 8 T E X A S S TAT E U N I V E R S I T Y

Master of Music

Choral Conducting

CHOIR CAMP

Senior Lecturer, Choral Music

Maroon Camp Gold Camp

Craig Hella Johnson, D.M.A.

Limited to 250 campers per camp.

Craig Aamot, M.M.

Artist-in-Residence

July 4-7 July 9-12

Perform in the state-of-the-art Performing Arts Center.

Lynn Brinckmeyer, Ph.D. Director of Choral Music Education

Joey M. Martin, D.M.A.

Camp sectionals, rehearsals and electives will feature the award-winning Texas State University faculty and staff.

Director of Choral Activities

Jonathan Babcock, D.M.A. Associate Director of Choral Activities

$330 — includes tuition, room and board $30 early registration discount before March 1 Podium time with all four large ensembles Two candidates accepted each year Highly competitive scholarships and assistantships Option for summers only (limited enrollment)

THE TEXAS STATE

CHORALE

Friday, February 16, 6:30 p.m. The TMEA Convention Grand Hyatt Texas Ballroom, San Antonio

Friday, March 9, 5 p.m. The SWACDA Convention Civic Center Music Hall, Oklahoma City

For more program information and camp registration, visit choirs.music.txstate.edu Texas State University, to the extent not in conflict with federal or state law, prohibits discrimination or harassment on the basis of race, color, national origin, age, sex, religion, disability, veterans’ status, sexual orientation, gender identity or expression. If you require accommodations due to a disability in order to participate, please contact 512.245.3830 at least 72 hours in advance of the event. Texas State University is a tobacco-free campus. 17‐501 11‐17

If you aren’t yet registered for the convention, be sure to take advantage of the discounted rate. When you register (or return to the online registration pages if you already registered), be sure to purchase family badges, access to clinic audio files, and tickets to the amazing President’s Concert, which will feature a live recording of NPR’s From the Top and special guests Black Violin. If you’ll be in San Antonio on Wednesday at 8 p.m., you should be at this amazing event! At only $15/ticket, witnessing these top young Texas performers and the inspiring Black Violin duo will be an especially exciting way to start your convention experience. This month, I’m pleased to share with you highlights of six 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! Permian HS Kantorei Aaron Hawley, Director Located in Odessa, Permian HS is the largest school in the Ector County ISD,

serving approximately 3,800 students in grades 9–12. Under the leadership of Executive Fine Arts Director Mark Lyon, ECISD has been nationally recognized as a “Best Community for Music Education” for the past two years. In addition to fine arts, Permian HS has a strong tradition of excellence in athletics and is the setting for the best-selling novel and movie Friday Night Lights. The Permian Choir program consists of approximately 350 students in seven performing ensembles. Kantorei, the premier varsity mixed choir, comprises 60 students chosen by audition. These students hold leadership positions in numerous activities outside of choir, including band, cheer, dance, theater, art, UIL academics, student government, NHS, and athletics. Every member is expected to participate in the All-State audition process. Permian HS has a long-standing tradition of placing All-State Choir members each year. Kantorei is directed by Aaron Hawley, who is in his ninth year at Permian HS. He attributes much of their success to the amazing team of associate directors: Suvanna Lyon, Kenneth Sieloff, and Ginger Storey. The Permian choir program is also

grateful for the many wonderful voice teachers and incredibly talented middle school directors. This will be the 10th appearance at a TMEA convention for a Permian Choir, and the first for Kantorei under Hawley’s direction. Rice MS Tenor-Bass Choir Chelsea Farmer and Mande Young, Directors Located in Northwest Plano, Rice MS serves approximately 1,100 students in grades 6–8. Rice has a long tradition of excellence in academics, including fine arts. Since the school opened in 1999, the Rice MS choir, band, and orchestra programs have been consistently recognized as outstanding at the state and national levels. The Rice Choir program has 260 students, 115 of whom are enrolled in private voice lessons. All choirs consistently earn UIL Sweepstakes awards. Rice is fortunate to have feeder elementary schools with outstanding music specialists who instill a love of music and strong fundamentals into young students. The Tenor-Bass Choir is a nonauditioned group of 58 seventh- and

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Southwestern Musician | January 2018 59

eighth-grade young men, representative of Rice’s celebrated diverse student population. Sixty percent of the group is bilingual, with a total of 13 languages represented. This choir has experienced significant growth, nearly tripling in size over the past five years. In 2016, they were chosen as a Mark of Excellence National Winner by the Foundation for Music Education. Tenor-Bass members are active in many additional activities, including sports, speech and debate, NJHS, FCA, and AVID. These well-rounded students are honored and excited to share this special TMEA performance. Director Chelsea Farmer is in her 12th year of teaching and her 5th at Rice. She is a graduate of Abilene Christian University. Associate Director Mande Young is excited to return to the classroom this year. She has been a voice teacher and accompanist at Rice for the past eight years. North Richland MS Varsity Treble Choir Lorelai Cole, Director North Richland MS is a 2C campus consisting of a diverse population of approximately 900 students with 14 languages spoken. Named the first nationally certified STEM campus, North Richland received six out of the seven distinctions on the 2017 STAAR accountability. NRMS was also named the 25th best middle school in the Dallas/Fort Worth area in 2017. The NRMS choir program has 220 sixth through eighth graders who participate in one or more performing groups. The Varsity Treble Choir has 38 select singers, with many enrolled in private voice lessons. Several have also been selected to the Region 31 All-Region Choir. Members are involved in numerous activities such as athletics, theater, band, National Junior Honor Society, student council, competitive sports leagues, and church activities. These young women are elated for the opportunity to represent North Richland Middle School and Birdville ISD at the TMEA and SWACDA conventions in 2018. Under the direction of Lorelai Cole, they have received consecutive UIL Sweepstakes awards and have won bestin-class and grand champion awards in choral festivals. Cole is in her 18th year of teaching middle school/junior high, and her sixth year as head choral director at North Richland MS. She previously led the Varsity Treble Choir from Central Junior High (HEBISD) in their performance at 60 Southwestern Musician | January 2018

North Richland MS Varsity Treble Choir

Colleyville Heritage Panther Chorale

the SWACDA convention in 2012. Leslie Detrick is the Associate Director. She is in her 16th year of teaching and her sixth year in secondary choral music. Colleyville Heritage Panther Chorale Thomas Rinn, Director The Colleyville Heritage Panther Chorale is the premier ensemble of a comprehensive choral program of eight ensembles and approximately 185 students that make up the CHHS Panther Choirs. The Panther Choir seeks to provide a rich music education for students with

an emphasis on building strong character through music participation. These 68 students represent not only our best musicians but also the diversity of activities offered on our campus through involvement in other fine arts and rigorous academics, athletics, student leadership, and service organizations. Under the direction of Thomas Rinn since 2014, the Panther Chorale has quickly established a reputation for high level choral performance, receiving consistent UIL Sweepstakes awards and accolades at festivals across the United States. Students in the Panther

Chorale maintain active performance schedules both as ensemble members and as soloists performing in our community, across the state, nation, and on international performance tours. The Panther Chorale is honored to perform for both the Texas Music Educators Association and the Southwestern American Choral Directors Association conventions in 2018. Cypress Falls HS A cappella Choir Deidre Douglas, Director The Cypress Falls A cappella Choir includes a dynamic group of students. They have a reputation of being hard workers, eager to take on challenges, and quick to share their passion and love of music. Diversity, creativity, fun personalities, and spirit are infused in the character of this fine group of young men and women. The A cappella Choir has historically consisted of National Merit Scholars, members of Honor Society and District, Region, and All-State Choirs, and talented athletes, and has consistently offered award-winning choral performances. Adding their spirit and passion to each performance is a long-standing tradition of this varsity group. Their continual goal is to dedicate themselves to a

high standard of musical excellence. Deidre Douglas has been teaching at Cypress Falls for 12 years, and 29 years in the Cypress Fairbanks ISD. Watching music come alive in the faces and hearts of students continues to provide her the joy and rewards of being a music educator. Texas State University Chorale Joey Martin, Director Texas State Chorale is the premier choral ensemble at Texas State University. With a broad repertoire ranging from chant to commissions of 21st-century leading composers, this ensemble of 28–36 voices offers pieces from the vast choral

canon, enriching the musical experience of both the musicians and audience members. Texas State Chorale has performed through refereed selection for association conferences including TMEA, Southwest Division of the American Choral Directors Association (ACDA), national ACDA, and the International Kodály Festival. This ensemble tours frequently and has performed in prestigious venues in Austria, the Czech Republic, Hungary, the Garden Route of South Africa, and China. Joey Martin is professor of music at Texas State, where he serves as the Associate Dean for the College of Fine Arts & Communication and Director of Choral Activities.

Registered for the TMEA Convention? Don’t Wait—Early Registration Ends January 25 W W W.TMEA .ORG/CONVENTION

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“ “Quaver is really helping me teach my students more efficiently this year and with better engagement. As good as my instruction was, this catapults our learning to a new level. TThanks, Quaver!” Karen Juarez Brown Elementary, Irving, TX

““Quaver Curriculum has allowed us to take our elementary music programs to another level of success by giving us both depth and rigor in the curriculum, the ability to integrate technology into all our lessons, and aligning our instruction across several campuses.” David Zahrndt Fine Arts Director, Red Oak ISD

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62 Southwestern Musician | January 2018

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— Th urs day , February 15 — Is UIL Enough? Documenting Student Musical Growth Dr. Keith Dye - 10:00am, 302 AB

Clarinet Fundamentals Tool Kit - Fix Your Clarinet Section Dr. David Shea, TTU Clarinet Choir - 11:30am, Stars at Night I

Proactive & Healthy Approaches to Choral Vocal Technique Dr. Alan Zabriskie - 1:00pm, GH Lone Star ABC

Music Showcase: TTU Clarinet Choir directed by Dr. David Shea - 2:00pm, CC West Reg.

College Student to Music Educator: The Transition Begins Now! Dr. Keith Dye, Rodney Klett, & Jerry Babbitt

College Research Poster Session Multiple faculty & students - 3:45pm, Stars at Night Lobby

2:30pm, 302 AB

Beginning Brass Instruction: New Ideas & Fresh Approaaches Dr. Keith Dye - 6:30pm, CC 205 — Friday , February 16 — 45 Minutes of Four-year-olds? Help! Jenny Dees - 11:30am, CC Hemisphere Ballroom 3

Improve Bands, Choirs, Orchestras Through Technology Dr. Keith Dye - 1:00pm, CC 212

Music Showcase: Mariachi Los Matadores directed by Dr. Lauryn Salazar - 2:00pm, Bridge Hall

The Fabulous Front-Row: Optimizing Your Flute Section Dr. Lisa Garner Santa & Dr. Eric Allen - 2:30pm, CC 225

Unlocking the Teaching & Recruiting Power of Social Media Dr. Andrew Stetson - 2:30pm, CC 303

Music Showcase: Texas Tech Double Reeds directed by Richard Meek - 3:30pm, CC West Reg.

— Saturday , February 17 — Why Would YOU Hire YOU? Preparing for a Successful Interview Dr. Blair Williams - 9:30am, CC 303

Is Grad School for You? Reflective Skills Form Community Dr. Janice Killian, Dr. Keith Dye, Patrick Antinone, & Branco Sekalegga - 11:00am, 302 AB

Music Showcase: Too Many Basses Bass Ensemble directed by Dr. Mark Morton - 12:00pm, CC West Reg

How a Tuba-Euphonium Ensemble Can Benefit Your Program TTU & Lake Travis HS Tuba-Euphonium Ensembles Dr. Kevin Wass & David Hummel - 12:30pm, CC 214 CD

Permian HS Kantorei

Rice MS Tenor-Bass Choir

Cypress Falls HS A cappella Choir

Texas State University Chorale 64 Southwestern Musician | January 2018

music therapy Music Therapy Ŕ 5IF ţSTU POHPJOH QSPHSBN JO 5FYBT BOE BNPOH UIF PMEFTU JO UIF DPVOUSZ Ŕ ".5" DFSUJţFE Ŕ -BSHF BOE BDUJvF 4UVEFOU "TTPDJBUJPO fPS .VTJD 5IFSBpZ DIBQUFS Ŕ /BUJPOXJEF JOUFSOTIJQ QMBDFNFOU Ŕ #PBSE DFSUJţDBUJPO FYBN QSFQBSBUJPO Degrees OŢFred: #BDIFMPS PG 4DJFODF JO .VTJD 5IFSBpy .BTUFS PG "SU‫ ێ‬JO .VTJD 5IFSBpy %VBM EFHSFF PG .BTUFS PG 4DJFODF JO $PVOTFMJOH BOE .BTUFS PG "SU‫ٻێ‬JO .VTJD 5IFSBpy

SCHOLARSHIP AND ENTRANCE AUDITIONS: JANURARY 20, 2018, FEBRUARY 10, 2018, MARCH 3, 2018 and APRIL 14, 2018 (entrance auditions only)

WAYLAND BAPTIST UNIVERSITY

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Helping Students Pursue Their Passion by Sundas Mohi

W

hen a student wants to be in our music program but their family doesn’t understand its value and wants them to drop out, I often share my personal story to help them understand how music education can benefit their child’s future. If you have students in this situation, I hope that offering the following information can help them remain in your program and continue to benefit from your instruction. In their twenties, my parents immigrated to the United States from Pakistan. I grew up in a largely South Asian cultural environment, but I was also obviously influenced by the American culture I experienced in school and in my daily life. I have found that in South Asian culture, there is great social pressure to impress those around you in every possible way—what others think of you is quite important. I believe this is a big reason why there is so much pressure to pursue careers in “prestigious” fields, such as medicine, engineering, or law. When I was in school, I never thought about what I would do when I grew up, and no one asked me what I wanted. I assumed I would be a doctor because that is what I was told to do. By the time I began discovering a love for music, it was already time to apply to college, so I stuck with my original plan. I majored in biology and viola performance because I heard that music majors were

accepted into medical school at a higher rate than other majors. It wasn’t until my sophomore year of college that I really started to ponder why I enjoyed music so much, and it didn’t take long to realize that my love for music went beyond performing for fun. My family was shocked when I told them I wanted to switch majors to music education and pursue a career in teaching. They worried about my financial security and thought I was making the wrong decision. Several times I heard, “What will so-and-so think of you?” It took me a long time to understand that in Pakistan, being a teacher is not a well-respected career because there is no formal education required to teach in a school. Quite often, I also heard, “Why don’t you want to be a doctor? Don’t you want to help people?” I found it difficult to convince them that while I may not be helping people in the way doctors do, I still help people every day and am very passionate about it. I love supporting students as they discover who they are, and I love helping them through their daily struggles. I believe this is the best way I can help people. Another frequent comment from my community was, “You’re so smart! Why would you want to be a teacher?” This always led me to respond with the perplexed question of why anyone wouldn’t want their child’s teacher to be smart. Finding a balance between defending what I wanted to do while maintaining respectful relationships with my parents and Southwestern Musician | January 2018 67

my circle of involved family, friends, and acquaintances was probably the most difficult part of this time in my life. I experienced a great amount of pressure. I didn’t want to disappoint anyone, but I also knew what I wanted to do with my life, and I

decided that was my choice to make. The best thing that happened during this struggle was that my teachers and professors went out of their way to advise, encourage, and support me. They educated me about a career in music education by

2018

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HOU

SPRINGS 2018

doing things like guiding me around my first TMEA convention, taking time out of their day to speak with my parents, helping me establish connections by introducing me to other teachers, and, of course, offering teaching advice. They frequently checked in on me, and I developed a close relationship with many of them. I felt comfortable speaking to them in times of frustration, and it was wonderful to have their support. Likewise, I believe the most helpful thing you can do as an educator for students in this situation is to be there for them and encourage them to keep doing their best. Tell them you are proud of them and tell them specific things they are doing well. They may not be hearing this type of encouragement about their musical accomplishments at home, so it is important for them to hear it from you. Helping My Parents Understand I had a perfect GPA in college and had finished almost all my premed classes when I decided to depart that path and follow my heart into the field of music education. We had already invested time and money in MCAT preparation classes,

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THEY SAY LIFE IS A REHEARSAL. LET’S GET STARTED. 68 Southwestern Musician | January 2018

TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

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Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

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and I was about to start narrowing down which medical schools I would apply to. My parents and I had a strained relationship during this time, and this was very hard. To help them understand more about careers in music, I did a lot of research about teacher salaries, managing finances, and budgeting to show them that it was possible to live comfortably. Because I did all of this at a young age, I believe I was much more prepared to start my life as a music teacher. Though I did not need to work to pay for school and did not leave college with student debt, I still worked three jobs because I wanted to start saving money as soon as possible. When I began teaching with the UTSA String Project, I invited my parents to our concerts. As a high school teacher, I still invite them to our concerts, and I often share stories about my teaching with them. As time passes, their perspective is changing. They are starting to see that it is possible for me to be financially stable and independent and truly love every day I get to spend with students. At the end of the day, I think every parent just wants their child to be safe and happy. Sharing the Value of Music Study Parents who are unsupportive are often this way simply because they do not know the benefits of fine arts, or they may not know their child’s potential for success in fine arts (even if it is obvious to you). When I teach a student whose parents seem unsupportive, I send a positive email about the student’s progress or accomplishments, and I explain that success in fine arts is not something that comes easily to every fine arts student—that their child is special and gifted and has potential to be amazing. I also regularly check in with the student (as my teachers did for me), even after they graduate. We are all busy, but we must understand the impact that even having a short conversation or email or text exchange can have on their lives. I am a music educator now because my teachers did this for me.

University Admissions Value Music Study Some parents have the notion that studying music is a hobby and that it simply takes up too much time. At our school’s annual orchestra parent meeting, I share a presentation that includes data from current research about the emotional and developmental benefits of music study. I highlight information from top-tier universities about what they look for in prospective students, as well as testimonials from alumni about the impact participation in music has had on their lives. Colleges look beyond GPA, grades, and SAT scores. If a student already has good grades, involvement in a fine art further benefits their application. When I speak with admissions officers about their selection process, they often say that anything that differentiates one student from another is going to help them have a chance of being admitted. Including their experience in fine arts as part of their application is a great way to help them stand out. Additionally, music study can lead to scholarship opportunities even for students who don’t pursue a career in music. I include the following quotes from university admissions officers in this presentation. These regional admissions officers are the ones who review applications for our region of the state, and it has been very helpful to share their words with our community. Even though the ideas are obvious to us, it is much more credible for parents when it comes directly from the source. • We are looking beyond the academic profile, for students who make an impact in some way and who are following their passion when possible. —Rachel Brown, Harvard University • It is too competitive to take students who just have good grades. It’s not enough to be good at school; there’s gotta be something else. —Rachel Brown, Harvard University • All students who apply here have generally excelled in their academic career. What distinguishes students in the application pool are the experiences outside of their academic career. High school should be fun and enjoyable. —Kate Noonan, Rice University

COLORING BOOKS & MUSIC LESSON PLANNERS Coloring Books

Sundas Mohi is the Assistant Orchestra Director at Tompkins High School in Katy ISD.

Southwestern Musician | January 2018 71

Night at the

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Meet representatives from all participating institutions at College Night, Friday, 5–8 p.m. 72 Southwestern Musician | January 2018

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ELEMENTARY NOTES

B Y

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M E D L I N

In Memoriam Mary Ann Potts April 5, 1937–November 22, 2017

Get ready for the convention

T

he convention is quickly approaching, and I can’t wait! This year’s Elementary Division Featured Clinicians, Artie Almeida and Jill Trinka, are sure to be amazing, offering 12 clinics Thursday– Saturday. Additionally, you have 36 other clinics hosted by our division as well as 78 other sessions that apply to us (clinics hosted by the College Division, Technology clinics, and Product Showcases). And we all look forward to witnessing the amazing skills of our invited performing groups and spending time in the exhibit hall looking for the latest music, supplies, and much more. Take advantage of the opportunity to create a personal convention schedule online at www.tmea.org/conventionschedule. If you plan to use the convention app while at the event, be sure to complete your online personal schedule by January 24 and opt in to have that schedule transferred to your mobile app account. The convention app will be available in February, and when you sign in, the schedule you create via your TMEA login on the website will be transferred to your mobile app personal schedule (where you can still update, add, and delete). Get Your Purchase Order Now Now is the time to request an open purchase order for use in the convention exhibit hall. POs can be used in lieu of cash or credit and are usually easy to obtain! Your secretary or business office can create an open purchase order with a specific vendor for any amount. You can spend up to that amount with that vendor in the TMEA exhibit hall. Any money you don’t spend will stay in your account at school. You’ll get discounted prices and you don’t have to wait for your products to ship. It’s a win-win!

Our convention is one month away. Get prepared now to have your best convention ever! 74 Southwestern Musician | January 2018

January 23—Last day to cancel an existing TMEA hotel reservation without penalty. January 24—Online convention personal schedules will be transferred to convention app accounts for those who opt in. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

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Saturday Clinics in the Grand Hyatt Be prepared for a big change this year on Saturday. All Elementary Division clinics on Saturday will be in the Grand Hyatt second- and fourth-floor ballrooms. The Grand Hyatt is the hotel adjacent to the

convention center, with doors on the north facing Market Street and on the west near the doors that lead to Lila Cockrell Theater. You can find these room locations on the floor plans at www.tmea.org/floorplans, and these maps will be in the conven-

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76 Southwestern Musician | January 2018

tion app. Stop by the Elementary Office in CC 215 if you have any questions while at the convention. Volunteers Still Needed Lastly, a convention as big as ours needs many volunteers. Please go to www.tmea.org/elementaryvolunteer if you’re willing to help. You can set preferred days/times and jobs to ensure you only work when you’re available. Elementary Invited Performing Groups It’s time to announce the remaining four performing groups who will be representing Texas during our convention in February! Our congratulations go to these groups and their directors, as well as those featured in the November issue. Be sure to include their performances in your online personal convention schedule. These performances are great opportunities for you to support these directors and students, gain programming ideas, and get inspired. Benignus Choir Kristin Norris, Director The Benignus Choir is a non-auditioned choir of fourth and fifth graders. In Klein ISD, elementary students attend general music twice a week for 45 minutes each. Klein’s curriculum is Kodály-based and integrates the Eastman counting system as well as Music Memory listening pieces. The Benignus Choir was formed when the school opened in 2006. They have performed at the 2011 TMEA convention, the Aldine Children’s Music Festival, and the Greater North Houston Music Festival. The choir performs in various community events around Houston. Benignus students have the opportunity to participate in choir, Rapid Paws Percussion Group, and Fifth Grade Strings. Roosevelt Alexander Elementary SingRAE Choir Alyssa Plumb and Michael Marker, Directors Students at Roosevelt Alexander Elementary in Katy ISD enjoy a wellrounded fine arts program. With an involved community, the program is built on a strong foundation in the choral arts. In other academics, RAE is a consistently high-performing campus on the state and district levels. Many of our students also participate in arts programs outside of school. The campus has a diverse,

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multicultural student population, which creates a unique perspective among our students. The SingRAE Choir has consistently been composed of 75–85 fifth graders. Since it is a non-auditioned choir, all fifth graders are invited and encouraged to join. The SingRAEs rehearse two mornings a week before school. They perform in campus concerts and service trips to sing for the community and collaborate with the junior highs and high school in their feeder pattern for concerts and events. Teaching music for 14 years, Michael Marker is currently in his second year as music teacher and choir director at RAE. He graduated with a degree in music education from the University of Houston. He also teaches guitar lessons and cantors at St. John Vianney Church. Currently serving her fourth year as music teacher and choir director at RAE, Alyssa Plumb has taught music in

Katy ISD for nine years. After graduating from Baylor University with a degree in music, she earned a master’s in music from the University of Houston. In addition to teaching at Alexander, Plumb also teaches horn and plays with the Houston Sinfonietta. Passmore Percussion Lauren Summa, Director Passmore Percussion is an ensemble of fourth- and fifth-grade students representing Melba Passmore Elementary in Alvin ISD. Passmore is a Title I campus with an outstanding staff dedicated to developing students’ emotional well-being and academic skills. Students in the percussion ensemble show outstanding musicianship and are dedicated to building their musical skills. During afterschool rehearsals, musical learning takes place using the Orff approach—using language, movement, exploration, and laughter! This will be

Passmore Percussion

T h Teach iinteractively i l w this interdisciplinary curriculum. with Incorporate tech devices in music class with

ZZZ 78 Southwestern Musician | January 2018

Passmore Percussion’s first performance at a TMEA convention. Lauren Summa has been the music teacher at Passmore since 2004. In 2008, she was chosen as campus teacher of the year and honored as Alvin ISD’s Elementary Teacher of the Year. She has served as a Lead Elementary Music Teacher for AISD for nine years. During that time, she has worked to bring collaborative opportunities to elementary music teachers and students with programs like the AISD District Musical and Elementary Music Festival. Summa has presented sessions for TMEA, TCDA, TETA, and TI:ME. The Big Bang Jennifer Olges, Director Oak Forest Elementary serves approximately 725 students in grades K–5 in Humble ISD. The school’s mission is to partner with families, community members, and school personnel in a team effort to prepare each child to become a lifelong learner. Oak Forest Elementary has a tradition of excellence in its performing ensembles that include the Oak Forest Honor Choir and the Big Bang. The Big Bang is an auditioned percussion ensemble of fourth and fifth graders. The group was formed in the spring of 2015 with eleven fifth graders and has developed into an elite ensemble that performs for the school and the community. The group meets for rehearsal three mornings each week for 25 minutes and performs a varied repertoire of music. Students selected for membership in the Big Bang participate in a rigorous audition process that includes an assessment of skill and work ethic, along with a teacher recommendation. The Big Bang is honored and excited to be invited to perform at the 2018 TMEA Clinic/Convention. Jenni Olges is in her ninth year at Oak Forest Elementary and her sixth year as the Elementary Music Facilitator for Humble ISD. She is a proud graduate of Indiana University.

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Music is your passion TCU is your school SCHOLARSHIP OPPORTUNITIES AVAILABLE FOR YOU At TCU, you can receive both music and academic scholarships that make attendance more affordable. NORDAN SCHOLARSHIP The NORDAN Scholarship* is an exclusive award, open to entering freshmen vocalists, instrumentalists, and composers of superior talent, who have chosen to major in music. NORDAN winners receive a four-year, FULL TUITION AWARD. NORDAN Live Auditions are held on January 13, 2018 by special invitation. More information is available online at www.music.tcu.edu. AUDITION DATES FOR SPRING 2018 January 27, 2018, February 10, 2018, and February 24, 2018 GRADUATE PROGRAMS AVAILABLE FOR YOU TCU offers Master of Music and Doctor of Musical Arts degrees in different disciplines. Graduate Assistantships are available. For more information on undergraduate and graduate admission requirements and application deadlines, please visit our website or call the School of Music at 817-257-7232.

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SCHOOL OF MUSIC

Benignus Choir

Roosevelt Alexander Elementary SingRAE Choir

The Big Bang, Oak Forest Elementary

80 Southwestern Musician | January 2018

Audition Days

Saturday, November 18, 2017 Saturday, February 17, 2018 Saturday, March 31, 2018

To schedule an audition please visit:

music.uco.edu/auditions or call 405-974-5004

UNDERGRADUATE PROGRAMS: Jazz Performance Music Education – Instrumental Music Education – Vocal Musical Theatre

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March 24

March 10

April 7

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Mary Morgan Moore Department of Music

B Y

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COLLEGE NOTES

M I L L I C A N

Clinical supervision: What the law says

T

January 23—Last day to cancel an existing TMEA hotel reservation without penalty. January 24—Online convention personal schedules will be transferred to convention app accounts for those who opt in. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

he State Board for Educator Certification (SBEC) was created to oversee the preparation and certification of public school educators. Recently, the Board has been charged with clarifying aspects of the observation of clinical teachers to provide a more consistent experience for individuals going through a wide variety of traditional and alternative programs. Each month I receive questions from colleagues asking for clarification on how these rules work. Here are a few of the questions I get most frequently, the relevant sections from the Texas Administrative Code (TAC), and some of the ways different institutions have chosen to satisfy the requirements of the law. Of course, each educator preparation program (EPP) may have different interpretations or methods for satisfying these requirements, and members are encouraged to work closely with certification officers at their institutions. Most of the rules regulating observations of clinical teachers are in Texas Administrative Code Chapter 228, linked from www.tmea.org/observe. Note that the parts of the regulations quoted here apply to a traditional 14-week placement. Direct quotes from the statute are in italics below. Who can observe clinical teachers? A university supervisor must be . . . a currently certified educator, hired by the educator preparation program, who preferably has advanced credentials, to observe candidates, monitor their performance, and provide constructive feedback to improve their effectiveness as educators. A field supervisor shall have at least three years of experience and current certification in the class in which supervision is provided. —TAC 228.2(16)

Be in the know about Texas Administrative Code regulations that guide clinician supervision. Southwestern Musician | January 2018 83

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In addition, this supervision must be provided by a field supervisor who has completed TEA-approved observation training. —TAC 228.35 (g) What if the university supervisor isn’t currently certified? . . . If an individual is not currently certified, an individual must hold at least a master’s degree in the academic area or field related to the certification class for which supervision is being provided and comply with the same number, content, and type of continuing professional education requirements described in §232.11 of this title (relating to Number and Content of Required Continuing Professional Education Hours), §232.13 of this title (relating to Number of Required Continuing Professional Education Hours by Classes of Certificates), and §232.15 of this title (relating to Types of Acceptable Continuing Professional Education Activities) . . . —TAC 228.2 (16) How can faculty document continuing professional education if they are not currently certified? Many of our members hold teaching credentials that have expired or will expire at some point. The TAC allows faculty with advanced degrees to continue to observe clinical teachers as

long as they document their continuing professional education through a variety of activities. Some institutions allow faculty to submit a report of teaching, research, and service activities, like the ones commonly required for an annual report, to satisfy this requirement. Some of the activities that TEA allows to serve as continuing professional education include: participating in institutes, workshops, seminars, conferences, interactive distance learning, video conferencing, online activities, and in-service or staff development activities . . . developing curriculum . . . authoring a published work . . . teaching or presenting a CPE activity . . . providing professional guidance as a mentor to another educator . . . —TAC 232.15 (a). How long should the observations be, and does the faculty member need to be physically present? Each formal observation must be at least 45 minutes in duration, must be conducted by the field supervisor, and must be on the candidate’s site in a face-to-face setting. —TAC 228.35 (g)(1) How many observations should be provided, and when should they take place? TAC 228.35 (g) outlines specifics

for observing students in a traditional 14-week clinical teaching setting: The initial contact, which may be made by telephone, email, or other electronic communication, with the assigned candidate must occur within the first three weeks of assignment. —TAC 228.35 (g) An EPP must provide the first formal observation within the first third of all clinical teaching assignments . . . —TAC 228.35 (g)(2) Most assignments in music involve dual placement in different grade levels in multiple schools. The TAC takes these multiple-site placements into account in the scheduling of observations: For an all-level clinical teaching assignment in more than one location, a minimum of two formal observations must be provided during the first half of the assignment and a minimum of one formal observation must be provided during the second half of the assignment. —TAC 228.35 (g)(7) There is sometimes confusion when colleges of education misapply the observation requirements for first-year internships or 28-week clinical teaching placements instead of following the guidelines for traditional 14-week placements.

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Southwestern Musician | January 2018 85

10.13.2017

College Fall Conference

86 Southwestern Musician | January 2018

Are pre- and post-observation conferences required? For each formal observation, the field supervisor shall participate in an individualized pre-observation conference with the candidate, document educational practices observed; provide written feedback through an individualized, synchronous, and interactive post-observation conference with the candidate; and provide a copy of the written feedback to the candidate’s cooperating teacher or mentor. Neither the pre-observation conference nor the post-observation conference need to be onsite . . . —TAC 228.(g) How long is a standard clinical teaching placement? For initial certification in the classroom teacher certification class, each EPP shall also provide . . . clinical teaching for a minimum of 14 weeks (no less than 65 full days), with a full day being 100% of the school day . . . —TAC 228.35 (e)(2) Are clinical teachers required to be in schools during the first weeks of classes? Candidates need to experience a full range of professional responsibilities that shall include the start of the school year. The start of the school year is defined as the first 15 instructional days of the school year. If these experiences cannot be provided through

clinical teaching, they must be provided through field-based experiences. —TAC 228.35 (e)(2)(F) The requirement for clinical teachers to be in classrooms at the start of the school year often works fine for clinical teachers placed in the fall semester, but how would this work for clinical teachers planning to complete their experience in the spring? At our institution, students who plan to complete clinical teaching in the spring are sent to schools at the start of the year for a daylong observation in selected classrooms, document their experience, and then write a short, structured reflection on the visit. Many thanks to previous College Division Vice-President Michele Henry from Baylor University for her tireless work alongside representatives from the Texas Education Agency to modify language in these sections to best benefit our students and university supervisors. College Division Fall Conference College Division members met in October at the TMEA headquarters in Austin for our annual Fall Conference. I am always reminded what a great group

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of colleagues we have from different types and sizes of schools across the state. Future teachers are truly blessed to have so many diverse options from which to choose. See event images on the adjacent page. College Division Fall Conference Minutes Friday, October 13, 2017 TMEA Headquarters – Austin, Texas College Division Vice-President Si Millican called the meeting to order at 10:10 a.m. Robert Floyd, TMEA Executive Director, offered his greetings. Vice-President Millican recognized prior College Division Vice-Presidents in attendance, including Hunter March (UT/Austin), Sheri Neill (Texas Christian Univ), Janice Killian (Texas Tech Univ), Brian Miller (Sam Houston State Univ), Caia McCullar (Dallas Baptist Univ), and Michele Henry (Baylor Univ). A motion to accept the minutes of the February 9, 2017, College Division Business meeting printed in the April edition of Southwestern Musician was offered by Brent Colwell (Temple College) and was seconded by Michele Henry (Baylor Univ). The minutes were approved unanimously.

AUDITION DATES DATES: JAN. 20, 2018 FEB. 24, 2018 MARCH 24, 2018 TO SCHEDULE AN AUDITION OR INFORMATION SESSION, CONTACT:

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TXWES.EDU/MUSIC Southwestern Musician | January 2018 87

Amy Simmons (UT/Austin) reminded members about the online proposal submission process and deadline for the Research Poster Session. Vice-President Millican announced the upcoming scholarship deadlines and gave an update on the second group of inductees receiving the TMEA Collegiate Music Educator Award. Vice-President Millican recapped the 2017 Clinic/Convention and gave a preview of the 2018 sessions. Millican highlighted enhanced efforts by TMEA to publicize the College Night event and strategies for building on the event’s suc-

cess. College Division Featured Clinicians will be Donald Hodges from the University of North Carolina at Greensboro and Alice Hammel from James Madison and Virginia Commonwealth Universities. Julie Scott (Southern Methodist Univ) provided an update from the Article Review Committee and asked members to contribute articles of general interest for publication consideration in Southwestern Musician. Deputy Director Frank Coachman updated the members on hurricane relief efforts that are being coordinated through

2018

AUDITIONS

NOVEMBER 18, 2017 all instruments (no guitar) FEBRUARY 10, 2018 all instruments (no piano/no percussion/no guitar)

FEBRUARY 24, 2018 all instruments (no guitar) MARCH 3, 2018 all instruments

WWW.SHSU.EDU/ACADEMICS/MUSIC SCHOOL OF MUSIC

SAM HOUSTON STATE UNIVERSITY

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

88 Southwestern Musician | January 2018

the Help.GoArts.org website. Michelle Smith from Hillco Partners presented an update on the 85th Texas Legislative Session. Hillco worked closely with TMEA staff to track 80 bills that moved through the Texas Legislature that could have directly impacted music teachers in the state. Kathy Mayer (Northeast Lakeview College) gave a report from the Two-Year College Committee, including an update on the Music Field of Study. The committee expressed concern about potential negative funding impact from private lesson and ensemble credit loading and concerns related to the proliferation of dual-credit and early-college high school programs. Amy Simmons (UT/Austin) reported that the Research Committee is working under the new timeline for publications and is successfully catching up with a backlog of articles. Elizabeth Chappell (Univ of North Texas) provided written remarks from the Inclusion Committee recapping last year’s well-attended sessions at the 2017 Clinic/ Convention, suggesting high interest in inclusion among secondary ensemble directors. A breakout session led by Caia McCullar (Dallas Baptist Univ) began looking at review materials for the EC–12 Music TExES as currently listed on the TMEA website. The committee recommended that the website be updated to provide new and more recent editions of publications and that more score identification and score analysis be added to the practice test to reflect the format of the most recent version of the exam. Michele Henry (Baylor Univ) led a breakout session looking at clinical teaching issues. The committee expressed concern over the increasing amount of documentation, paperwork, and training being required of field supervisors and cooperating teachers. There was also concern expressed over the increase of the clinical teaching semester to 14 weeks and how schools would address the new requirement that each clinical teacher have experience during the first 15 days of school. TMEA Administrative Director Kay Vanlandingham gave an update on the TMEA Mentor Network. The meeting was adjourned at 2:15 p.m. Respectfully submitted by Si Millican.

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Dates, locations and pricing are all on our website. musicintheparks.com | 1-800-323-0974 | info@edprog.com

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