November 2017 Southwestern Musician by Texas Music Educators Association

NOVEMBER 2017

You’re the Expert, Teach Your Way

Tools for Every Style of Teaching Introducing Quaver’s Song-Based Lessons – 38 new lessons using tools and techniques inspired by Kodály, Orff, and Music Learning Theory approaches to music education.

Try 8 new lessons FREE iin your classroom l ffor 30 d days!! Visit QuaverMusic.com/TMEA2017 today and download a bonus song or poster of your choice to keep!

NOVEMBER2017 8 6

I S S U E

contents

features

V O L U M E

columns

You Are a Professional—Believe in Yourself . . . . . . . 13 To be thought of as the professional, artistic music educators and conductors that Ze are, Ze must Àrst believe ourselves. BY DONALD NEUEN

It’s a Small World After All . . . . . . . . . . . . . . . . . . . . . . 23 With successful synchronous videoconferencing, you don’t have to limit your students’ exposure to only those who can walk into your classroom. BY JOHN M. DENIS

Connect, Contribute, and Heal Through Musical Outreach . . . . . . . . . . . . . . . . . . . . . 33

Support meaningful connections between your students and their community through a music outreach program. BY LISA GARNER SANTA AND PAMEL A YOUNGBLOOD

Authentically Me: Choosing the Approach That’s the Best Fit for You. . . . . . . . . . . . . . . . . . . . . . . 47

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

Discovering what general music education approach resonates best with you will ensure you are delivering an authentic experience for all students.

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

BY JULIE SCOTT

Band Notes ............................................................ 17 by Joe Muñoz

Orchestra Notes ..............................................27 by Brian Coatney by Derrick Brookins

Elementary Notes ..........................................50 by Casey Medlin

College Notes .....................................................57 by Si Millican

updates

Vocal Notes ...........................................................38 TMEA Convention Basics......................................................................... 2 Night at the Exhibits ................................................................................ 8 2018 President’s Concert: From the Top & Black Violin ...................... 9 Convention Housing Alert ......................................................................11 TMEA Clinic/Convention: The Best Place to Learn ..............................26 TMEA Clinic/Convention Performances ...............................................36 On the cover: Augusta Schubert, a senior at Midway HS and member of the 2017 All-State Philharmonic Orchestra, rehearses with the Midway HS Varsity Men’s Choir at the 2017 TMEA Clinic/Convention. Photo by Karen Cross.

Help Restore School Fine Arts Programs Affected by Hurricane Harvey ...............................................................46

Southwestern Musician | November 2017

Editor-in-Chief: Robert Floyd rÁoyd@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

2018 TMEA CLINIC/ CONVENTION BASICS

TMEA Executive Board

• February 14–17, 2018

President: Andy Sealy

• San Antonio, Henry B. Gonzalez Convention Center

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

• $60 early registration fee for active TMEA members • Discounted downtown hotel rates at www.tmea.org/housing • 300+ clinics, 100+ performances, 1,300+ exhibit booths • Full-day preconference of music technology clinics

Past-President: Dinah Menger

• Active TMEA members earn CPE credit

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

www.tmea.org/convention

Band Vice-President: Joe Muñoz 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

300+

CLINICS

Elementary Vice-President: Casey Medlin

Learn from master teachers proven methods and strategies you can use in your very next class.

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 | rÁoyd@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.

100+

PERFORMANCES

500+ EXHIBITORS

Get innovative programming ideas, conducting concepts, and inspiration for future performances.

Make hands-on comparisons before you buy. Budget dollars stretch further in our exhibit hall.

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. Subscription rates: One <ear ² 20 Single copies 3.00. Periodical postage paid at Austin, TX, and additional mailing ofÀces. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, 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 Educators Association, whose ofÀcial publication it has been since 1938. In 1954, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the 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.

Southwestern Musician | November 2017

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PRESIDENT’S NOTES

B Y

A N D Y

S E A L Y

Cultivating gratitude

ost of the time when we say the phrase teaching beyond the notes, we are referring to the concept that there’s much more to musicmaking than simply performing the correct note at the correct time and for the correct duration. This generally refers to dynamics, phrasing, accents, and emotional content that may or may not be notated on the page but that nonetheless propel us toward a more artistic and inspired approach to the music. In this same way most of our lasting contributions to our students’ lives occur outside the teaching of music per se. We make our greatest impact on students in the relationships we build and in the attitudes we model. Our most important role as educators is to effect positive change in our students. Music is just the vehicle. We must be the agents of change. So many of the valuable takeaways from a good music education are the very takeaways that can be gleaned from participation in good athletic programs, youth groups, and any number of service-oriented organizations. One of the most valuable life skills we can impart to our students is a sense of gratitude. This is a timely discussion not only as the Thanksgiving season draws near, but also as we as a nation strive to listen to and empathize with one another. Creating a culture of gratitude starts with each of us. Our colleagues and students need to hear “thank you” from us first. Charlie Menghini, long-time director of bands and now President Emeritus at Vandercook College of Music, reminds us that you can’t ask please until you’ve mastered the words thank you. The more that educators model gratitude in our daily lives, the more it will become a part of who we are and the more genuinely we can express it in the music classroom. It is up to us to purposefully and sincerely say “thank you” to those who support and enable our programs.

Teaching students to be grateful is every bit as critical as teaching good citizenship, civil discourse, and empathy for others. 4

Southwestern Musician | November 2017

November—Renew your TMEA membership online and preregister for the convention. November—Purchase tickets online for the 2018 President’s Concert. November 1—TMEA scholarship online application deadline. November 10—Deadline to apply to perform on From the Top at the TMEA convention. November 15—Deadline to apply online for a TMEA elementary grant. December 31—TMEA convention mail/fax preregistration deadline. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

DEPARTMENT DEP

CHOICES.

OF MUSIC M

OPPORTUNITIES. BREAKTHROUGHS. S.

UNIVERSITY OF THE INCARNATE WORD Â®

Degree Programs

Audition Dates

Bachelor of Music in Music Education

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San Antonio, TX

Expressing our gratitude for the professional efforts of secretaries, custodians, and principals not only acknowledges their contributions, but it also highlights the interdependent nature of the whole school environment. Thanking support staff, lesson teachers, and bus drivers validates their roles and improves morale across the board. Many of our programs could not function without the tireless efforts of countless parent volunteers in the roles of chaperons, set builders, bookkeepers, and more. Students also need to see and hear us thanking other students for completing the myriad tasks we assign to them, for preparing their music for rehearsal in a conscientious manner, or mentoring a younger student. Expressing appreciation publicly and privately for each of these contributions demonstrates that you’re paying attention to the details, and it sets a tone that broadens students’ understanding of how the program functions.

Getting students to be grateful can be another matter entirely. The whole concept of thankfulness and gratitude can be foreign. Adolescents are at the most self-absorbed point in their lives and may find it particularly difficult to step outside themselves and consider what they are really grateful for. Sometimes drawing younger students into simple conversations, engaging them in gratitude circles, or keeping a gratitude journal is a great way to get started. In our program we start simply by having the students go out of their way to thank trip chaperons, volunteers providing refreshments, and master class coaches and acknowledge the support and kind words from administrators. Thanking adults is one outcome, but real progress toward creating a culture of gratitude is demonstrated when students recognize and appreciate the contributions of their peers. Basic student gestures of service or gifts of kindness such as hold-

Help Restore School Fine Arts Programs Affected by Hurricane Harvey Search for programs in need at help.goarts.org. Contact the teachers directly to offer assistance. Share this through your program’s website and social media channels and ask your community to do the same.

help bring back

THE ARTS Share the word so that every need can be met! help.goarts.org 6

Southwestern Musician | November 2017

ing doors for one other, setting up risers, putting out water for outdoor rehearsals, or passing out music are immediately recognizable and easily acknowledged with a simple “thank you” and a reciprocated “you’re welcome.” Encourage students to note how someone anticipated their need and took a portion of their time and energy to fulfill this need. It’s easy to see how this can heighten awareness around the program and instill a greater sense of trust and community within your group. And students are now modeling the same attitude of appreciation for one another that we did as educators. Creating a culture of gratitude has long-term positive benefits for students as well. Findings published from the Greater Good Science Center at the University of California, Berkley by researchers Jeffrey Froh, Giacomo Bono, and Vicki Zakrzewski indicate that “gratitude improves [students’] mood, mental health, and life satisfaction, and it can jump start more purposeful engagement at a critical moment in their development, when their identity is taking shape.” Being grateful also helps insulate us from the daily stresses of teaching and can cushion the impact of major life-altering events like Hurricane Harvey. Being grateful helps us reframe loss and tragedy into opportunities for service, generosity, and compassion. We can clearly see this at work in the collective response and ongoing support efforts for those affected by Hurricane Harvey. The outpouring of support for Southeast Texas schools and communities continues. We see and hear the gratitude of students and teachers alike in their faces, in their voices, and in their commitment to making music. Teaching students to be grateful is every bit as critical as teaching good citizenship, civil discourse, and empathy for others. In those rare moments that former students thank us for what we did for them, it’s not usually about the musical moments we shared. The conversation tends to be about the memories shared, the opportunities provided, and the way we shaped their attitudes and changed their view of themselves and the world around them. Not surprisingly, we are supremely grateful for their contributions toward the positive evolution of our programs.

OFFERING DEGREES IN: • Music Education • Music Performance • Commercial Music • Graduate Studies • Theory and Composition

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

Dr. Bradley Genevro Director of Bands 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.

Dr. Elisa Fraser Wilson

Director of Choral Activities Dr. Wilson’s elite ensemble, the UTEP Chamber Singers return to England in October 2017 for a second engagement as choir-in-residence at Leeds Cathedral.

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

915-747-5606

//utepmusic

Night at the

EXHIBITS FRIDAY

5:00–8:00 P.M.

NEW at the 2018 TMEA Clinic/Convention! Explore the exhibit hall Friday evening and enjoy exhibitor specials designed speciﬁcally for this event!

Southwestern Musician | November 2017

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

Live Recording of NPR’s From the Top 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). Go to www.tmea.org/presidentsconcert to learn more about applying to perform at this event. The application deadline is November 10.

WWW.TMEA.ORG/PRESIDENTSCONCERT Purchase Advance Tickets When you register online for the TMEA convention, purchase your $15 general admission tickets (they will be sold to the public soon). If you already registered, return to your record to make this purchase.

Special Performance by BLACK VIOLIN

After the From the Top recording, the President’s Concert will continue with a featured performance by Black Violin, a duo composed of classically trained violist and violinist Wil B. and Kev Marcus. They combine their classical training and hip-hop inﬂuences to create a distinctive multi-genre sound that is often described as “classical boom.” Wil and Kev place heavy emphasis on educational outreach, and have performed for more than 100,000 students in North America and Europe in the past 12 months. Their appearance is sponsored by NAMM, the National Association of Music Merchants. Southwestern Musician | November 2017

EXECUTIVE DIRECTOR’S NOTES

B Y

R O B E R T

F L O Y D

The role of creativity in education

hrough the years TMEA has been fortunate to have amazing keynote speaker presentations during our convention general sessions. Two of the most memorable were given by noted authors Dan Pink and Sir Ken Robinson. In fact, Sir Ken has made two TMEA convention appearances. Dan Pink, author of A Whole New Mind—Why Right Brainers Will Rule the Future, is the attorney who said, “The keys to the kingdom are changing hands. The future belongs to a different kind of thinker with a different kind of mind. . . . We must educate our children for their future and not our past.” I encourage you to go to www.tmea.org/2009keynote and watch the highlights version of Pink’s TMEA keynote address. It truly validates the role the arts and creative thinkers play in preparing a future workforce. It will be time well spent. Sir Ken Robinson has written several books on reshaping educational priorities in our schools, and he holds the record for the most viewed TED Talk since the program’s inception. His latest book, Creative Schools: The Grassroots Revolution That’s Transforming Education, coauthored by Lou Aronica, is

Arts educators must always be mindful of the importance of creativity in our discipline and the role it plays in a meaningful, rigorous arts experience. 10 Southwestern Musician | November 2017

inspiring teachers, parents, and policymakers alike to rethink the real nature and purpose of education. I mentioned in a previous column that in this latest publication, Robinson praised the Texas Legislature for its passage of HB 5, which created for students the endorsement options of the Foundation High School Program. Robinson has always been a proponent of the arts being an integral part of a wellrounded education. In his definition of a balanced curriculum, he states that the arts are about the quality of human experiences. In his words, “the arts give form to our feelings and thoughts about ourselves, and are essential to human development.” He goes on to say that through the arts we gain an understanding of human culture, and engaging with the arts of others is the most vibrant way of seeing and feeling the world as they do. Sir Ken further frames the basic curriculum in terms of eight competencies that should be addressed in every subject to help students succeed in their lives. As you read the following excerpts from Creative Schools: The Grassroots Revolution That’s Transforming Education, evaluate how you support each competency in your music classroom: • Curiosity: The ability to ask questions and explore how the world works. Knowing how to nurture and guide students’ curiosity is the gift of all great teachers. • Creativity: The ability to generate new ideas and to apply them in practice. Creativity is at the heart of being human and of all cultural progress. • Criticism: The ability to analyze information and ideas and to form reasoned arguments and judgments. Critical thinking always has been important to human flourishing and should be at the heart of every discipline in school. • Communication: The ability to express thoughts and feelings clearly and confidently in a range of media and forms. Communication is not just words and numbers but sounds and images, movement and gesture in music, art, theater, and dance. • Collaboration: The ability to work constructively with others. Through group work, students can learn to cooperate with others in solving

problems and meeting common goals, to draw on each other’s strengths, and to mitigate weaknesses. • Compassion: The ability to empathize with others and to act accordingly. Practicing compassion or empathy is the truest expression of our common humanity and a deep source of happiness in ourselves and others. • Composure: The ability to connect with the inner life of feeling and develop a sense of personal harmony and balance. How we act in the world around us is deeply affected by how we see and feel about ourselves. Changing school culture in our classrooms can help students who suffer from stress, anxiety, and depression in school. • Citizenship: The ability to engage constructively with society and to participate in the processes that sustain it. The skills of citizenship need to be learned and practiced and exemplified in how they actually work in our classrooms. Sir Ken further stresses that teachers are the heart of great schools by fulfilling three essential purposes for students: • Inspiration: They inspire students to achieve at their highest levels within them. • Confidence: They help their students acquire the knowledge and skills to become confident, independent learners.

• Creativity: They enable their students to experiment, inquire, and develop the skills of original thinking. How would you score relative to the above concepts in your music classroom? For many years, fine arts educators have always believed our classrooms were the cornerstone of creativity in a child’s education, but Sir Ken believes that creativity should be imbedded throughout the curriculum. He believes there are four myths about creativity: only special people are creative, creativity is only about the arts, creativity cannot be taught, and that it is all about “uninhibited” self-expression. He asserts that “creativity is the process of having original ideas that have value.” Further, “creativity is putting your imagination to work with fresh thinking and innovation.” At the capitol there are two arts education advocacy messages that resonate with decision makers more than all others— college and career readiness and creativity. As other subject areas further expand their inclusion of creativity as a key component for delivering instruction and subject understanding, arts educators must always be mindful of the importance of creativity in our discipline and the role it plays in a meaningful, rigorous arts experience. We must never let the quest for technical perfection in performance override the importance of the role of the creative experience and the other classroom competencies detailed above.

TMEA Convention Housing Alert

ost of the TMEA hotel room blocks have sold out. You can continue to use the TMEA housing system to search for available rooms (availability will vary as individual reservations are canceled between now and the end of January when the online system closes). Alternatively, reserve directly with hotels, or use

other online discount systems to search for availability. Go to www.tmea.org/ housing for more information. Know that $10 daily parking will be available Thursday–Saturday (for entry by 5 p.m.) at the Alamodome, with free shuttle service to and from the convention center.

W W W.TMEA .ORG/HOUSING Southwestern Musician | November 2017 11

I N T E L L I G E N C E • T A L E N T • E X P R E S S I O N • C R E AT I V I T Y • S K I L L

You Are a Professional B EL I E V E I N YOU RS EL F W O R K • PA S S I O N • P R E PA R AT I O N • A R T I S T R Y • K N O W L E D G E by Donald Neuen

sychologists have asserted that we are the result of our thoughts—we are what we think we are. At early ages, children who are encouraged to be confident are confident and tend to do very well. Those who are consistently criticized and put down tend to have low self-esteem and do poorly. This same philosophy applies to our evaluation of ourselves. If we think of ourselves in a realistically positive manner, we are more likely to succeed. If we consistently degrade or devalue ourselves, we will have trouble succeeding. This concept is not only important to our own existence, but it also directly affects the way we lead others—the members of our ensembles. Positive reinforcement is crucial. Constantly build selfesteem. Never demoralize or embarrass them. Even frequent and necessary “critical correcting” can be done in a positive manner. We can create an environment in which ensemble members are securely aware that we are working hard to promote standards of excellence. These standards may often be difficult to achieve, but they will enable students to be successful and the audience to be inspired by their performance. We have been trained to be professional music educators, and if we allow our thinking to downgrade that, even slightly, we will subconsciously or subliminally be in grave danger of diminishing the quality of our teaching and conducting without even realizing it. You and I must be professional artistic music educators and conductors. We must be thought of in that manner, and we must think of ourselves in that manner. • We are professionals because we are professionally trained, and we are paid for what we do. • We are artistic only if we do our job of teaching and conducting in a manner that is considered a true art, which is the highest level of teaching and conducting. • We are musical if we are beautifully expressive and passionate—the antithesis of mechanical, meaningless, accuracyonly producers of organized sound. Accuracy unto itself is

boring and lifeless. Through beauty, expressivity, and passion, accuracy transcends into art.

Being a Professional In addition to being professionally trained and being paid for what we do, a true professional never stops learning and seeking to improve. Professionals are better at what they do every year they do it. They find that expanding their knowledge and gaining greater abilities in every area of their work to be stimulating and exciting! They attend workshops, get advanced degrees, and study privately with more experienced, successful mentors and musicologists. Being Artistic To be artistic simply means that what we do is done at the level that would be described by our ensemble and colleagues as an art—the highest level of musical accomplishment for those whom we conduct—at any age. The characteristics of professional artists are within our reach: • Intelligence: we have it. • Talent: we have it. • Knowledge: we can get it. • Creative imagination: we can develop and expand it. • Skill: we can develop it. • Hard work: we can do it. • Passion: we can become aware of it and nurture and expand it. We must always consider ourselves and those in our ensembles as potential artists. Remember two very important truths. First, we can achieve anything if we know it is a possibility and are willing to work hard for it. Second, we have no limitations other than those we impose upon ourselves. Southwestern Musician | November 2017 13

Being Musical To be musical is to be expressive and passionate and comfortable allowing our feelings to shine through the music. Consecutive notes, words, or syllables should seldom be performed with equal emphasis. Notes, words, or syllables are usually either: • progressing toward a main, emphasized note, word, or syllable (necessitating a slight forward-motion feeling or crescendo during that process), • the main note, word, or syllable to be

emphasized, or • the notes, words, or syllables leading away from that which was emphasized (tending to be more relaxed, with a possible diminuendo). This musically expressive rise and fall (either melodically, textually, or both) should be thought of as ongoing throughout the composition. Remember that this musically expressive concept applies to both choral and instrumental music. Through the arts, we express innermost feelings. Artists express these feelings from the heart as they create or perform.

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Their audience should feel that expression while listening or observing. If feelings are not expressed or perceived, there is no art! Therefore, it is the responsibility of the conductor to: • Select music for the ensemble to perform in a manner that is expressive and impactful to the audience. Remember that performing accurately is simply the solid foundation for expression and passion to follow. Accuracy is only the beginning. Emotional impact comes next. • Perform music that your audience will appreciate and enjoy. They come to have a great time with wonderful music performed well. In that process, however, they may often be educated as well. • Prepare, interpret, teach, and conduct in a manner that makes the music an inspiration to the performers. Be far more exhilarating than a simple human metronome. • Select music to which you can fully relate and that has the potential for expressive communication—upon the first hearing. If that potential isn’t there, don’t perform it.

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^ƚĂƌƚĞĚ ^ĞůůŝŶŐ EĞǁ͕ WWK͕ ĂŶĚ hƐĞĚ ^ƚĞŝŶǁĂǇ 'ƌĂŶĚƐ ŝŶ ϭϵϳϰ 14 Southwestern Musician | November 2017

It is important to mention here that as professionals, we must know enough about the style of a composition to fully express it appropriately, thereby fully honoring the composer. We must never take for granted that we know enough about a particular composer’s style—unless we have studied that style with a mentor or musicologist. As we continue in this work as music educators and conductors, we must remember: (1) to think of ourselves as professionals, (2) that what we do is an art, and (3) that we and our ensembles are potential artists. Be aware that without expression and passion, there is no art, and that expressive musicality transforms the math of accuracy into art. Select music for performance based on its potential to evoke feelings within both performers and listeners. Take advantage of musicologists and successful mentors to always continue to grow in your profession. Donald Neuen is Distinguished Professor of Music/Conducting Emeritus at UCLA and is the 2018 Vocal Division Featured Clinician.

We Take Full

Responsibility — For Music Education — Music education is a cornerstone of the Yamaha philosophy. We advocate at national, state and local levels for every child’s right to music education. We also sponsor music education programs that inspire music participation from preschool through college. Because we know that music education doesn’t just make someone a better musician, it makes them a better person.

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Mary Morgan Moore Department of Music

B Y

J O E

BAND NOTES

M U Ñ O Z

Answering the call

November—Renew your TMEA membership online and preregister for the convention. November—Make your TMEA convention housing reservation. November—Purchase tickets online for the 2018 President’s Concert. November 1—TMEA scholarship online application deadline. November 10—Deadline to apply to perform on From the Top at the TMEA convention. November 11–12—All-State Jazz judging. December 1—Honor Band preparations may begin. December 31—TMEA mail/fax convention preregistration deadline. January 13—Area Band and Vocal auditions. 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.

ow do we respond when our programs and communities are tested? While many of us are still dealing with the effects of Hurricane Harvey, we find the spirit of the common good of music. Programs and students across our state experienced devastation from the storm and flooding that followed. Before the flood waters fully receded, our members were quickly jumping into action to support our colleagues, students, and communities. From working at shelters to cleaning out flooded homes, music students from around the affected region have been supporting people who were less fortunate. Seeing members of the Houston Symphony present chamber concerts for the Dickinson community and the Seguin HS Band fill in for the Rockport HS Band at a football game were just a couple of examples of ways that musicians worked to make a difference in the community through music. Only days after the storm, students and teachers were renewing their passion and love for making music. In the face of such devastation, students were eager to return to school to see their friends and return to rehearsals. Many programs presented halftime performances or fall concerts before or shortly after returning to school. Programs from across the state and nation have worked to collect supplies to support music program needs. Many programs are now able to articulate their needs to restore their programs to full functionality. To support programs with resources damaged by the hurricane, TMEA in partnership with TBA, ATSSB, TODA, TCDA, and TMAC published a website where programs in need can be linked with programs that can respond to those needs. Please visit help.goarts.org to find needs of fine arts programs or fine arts students in the affected area that you can fulfill.

When things seem to be at their worst, positive actions can make all of the difference. Southwestern Musician | November 2017 17

SCHOOL OF MUSIC - Introduces -

DR. JOHN DENIS

Woodwind Specialist

When things seem to be at their worst, positive actions can make all of the difference. These programs may have a long recovery ahead of them, but by uniting in the cause to restore student and program needs we can help them continue to experience the value of music, providing a canvas for lifting the spirits of the students and the community. Let’s all keep working to meet our students’ needs and find ways to support those who need the strength and compassion our association can offer. TMEA Convention Updates Please consider giving back to TMEA by volunteering at the 2018 TMEA Clinic/ Convention. Submit your information online at www.tmea.org/bandvolunteer. Also, as you preregister for the convention be sure to purchase tickets for Wednesday’s President’s Concert featuring a live recording of NPR’s From the Top and a special performance by Black Violin. We expect this amazing two-part event to sell out, so don’t delay in purchasing your $15 tickets. You can purchase when you register for the convention, or if you already registered, return online to the convention section and add this purchase. This month it gives me great pleasure to share with you our Invited High School Jazz Ensemble and our Class 2C, 3C, 3A, and 5A Honor Bands. I hope you will support these outstanding programs with your attendance at their concerts. Look for a preview of our invited university ensembles in January. Class 2C Honor Band Killian MS Honors Band, Lewisville ISD The Killian MS Honors Band is the premier performance ensemble of the Killian MS Band program. Currently serving an enrollment of 325 students, the Killian Band is committed to providing all students the opportunity to learn an instrument and develop a lifelong love for music. The comprehensive band program at Killian includes opportunities for students to perform in various settings such as concert band, jazz band, and chamber music. The Killian Honors Band has been recognized as a National Winner in the Mark of Excellence National Wind Band Honors Project in 2015 and 2016 and has been named best-in-class and most outstanding group at numerous North Texas music festivals.

The Killian Honors Band is under the direction of Rob Chilton. He holds a bachelor of music degree from Southern Methodist University, where he had the opportunity to study music education under Lynne Jackson and Brian Merrill. He continues to learn and grow under the mentorship of John Benzer and Brian Merrill, both of whom regularly visit the Killian Band. Killian MS is located in the northern region of Lewisville ISD and serves a diverse population from surrounding areas of Carrollton, The Colony, and Lewisville. The Killian Band is a proud feeder to the Hebron HS Band located in Carrollton. Class 3C Honor Band Artie Henry MS Honors Band Leander ISD Artie Henry MS is part of the Leander ISD, located northwest of Austin. The school opened in 2002 and today is an ethnically diverse campus that serves approximately 1,329 students. The Artie Henry bands have been consistent UIL Sweepstakes award winners and have been well-represented at TMEA All-Region Band and Orchestra. In 2008 and 2013, the band was invited to perform at the Western International Band Clinic in Seattle. The HMS Band Program was named the 2010, 2014, and 2018 Texas Class 3C Honor Band. In 2010, 2012 and 2016, the HMS Band Program was invited to perform at the Midwest International Band and Orchestra Clinic, and in 2011, they were awarded the coveted John Philip Sousa Foundation Sudler Silver Cup Award. In 2014, the HMS Percussion Ensemble was the inaugural invited middle school percussion ensemble to perform at the Percussive Arts Society International

Convention in Indianapolis, and the Texas Chapter of the American School Band Directors Association awarded the Outstanding Band Program Award to the Artie Henry MS Band Program in the same year. In 2009–2017, the Henry Honors Band earned distinction as a National Wind Band Honors Class AA winner. The Henry MS Symphonic Band was a 2016 and 2017 Citation of Excellence winner. Robert T. Herrings III is a 2003 graduate of Baylor University and began teaching at Henry MS in 2004. Prior to Leander ISD, Herrings was the director of bands at Rockdale JH in Rockdale. Class 3A Honor Band Jourdanton HS Wind Symphony, Jourdanton ISD The Jourdanton Wind Symphony is the principal concert band of the Jourdanton HS Band program and consists of students who have a love of concert music and concert performance. Students earn placement in the Wind Symphony by audition. Under the baton of Babatunde Onibudo, principal conductor, the band has earned numerous UIL Sweepstakes awards and top honors from music festivals across the state, including the Texas Lutheran University Festival of Bands, the American Music Festival, and the Director’s Choice Music Festival. Onibudo, a product of Texas high school bands in Garland, is a graduate of UT/Arlington and Texas State University. The success of the Jourdanton band program begins with the sixth-grade beginning band, which includes nearly 90% of all sixth graders. Individual playing is a major component of the curriculum and all members of the junior high and high school bands are encouraged to

Jourdanton HS Wind Symphony Southwestern Musician | November 2017 19

audition for the Region Band. In 2016, the Wind Symphony had seven All-State band members. Jourdanton’s seventh- and eighthgrade bands participate in UIL Concert & Sightreading contests, as do the high school Wind Symphony and Concert Band. Both the eighth-grade band and high school Wind Symphony have been state Honor Band finalists multiple times. This year marks the first time a Jourdanton band has been named Honor Band. The band maintains an active performance schedule that includes concerts and contests across the state. Class 5A Honor Band Waxahachie HS Wind Ensemble, Waxahachie ISD Located in Waxahachie, a southern suburb of the Dallas/Fort Worth Metroplex, Waxahachie HS currently serves approximately 2,300 students. The Waxahachie HS feeder system includes two middle schools and seven elementary schools. Instrumental music begins in the sixth grade in homogeneous classes. Seventh and eighth graders are scheduled into full-band classes where

individual skills are emphasized and ensemble skills are developed and refined. The Waxahachie HS band program consists of the Spirit of Waxahachie Marching Band, four Concert bands, the Jazz Orchestra, percussion ensembles, and two color guards. Throughout its history, their concert ensembles have consistently earned UIL Sweepstakes awards at all levels. The Wind Ensemble is the top performing concert ensemble for wind and percussion students and rehearses daily throughout the year. Members pursue musical development year-round through preparation for UIL and TMEA performance opportunities as well as curricular and extracurricular music activities. The Wind Ensemble performed at the TMEA Clinic/Convention in 2012 as the 4A Honor Band, has been recognized four times as a National Wind Band Honors Winner, and was a 4A/5A Honor Band finalist in 2009, 2011, 2015, and 2017. The Waxahachie Wind Ensemble is under the direction of Rich Armstrong, who is serving in his 13th year as director of bands in Waxahachie ISD.

Invited HS Jazz Ensemble Rockwall HS Jazz 1, Rockwall ISD The Rockwall HS jazz program started in 1979 under the direction of Michael McGill. Given the band’s success and popularity, a second jazz band was added in 1998. Michael Jones, a Rockwall HS alumnus, took over Jazz 1 in 2011. Under Jones’s direction, the jazz program flourished and grew into the band it is today. Jarrod Beard took over the jazz program in 2016, and is the current director of both jazz bands. Rockwall HS Jazz Bands have placed at numerous festivals and competitions over the years. Many students have also received outstanding soloist awards at festivals. Since 2003, seven students from Rockwall Jazz Bands have earned positions in the TMEA All-State Jazz Bands. Both Rockwall jazz bands and the Jazz 1 combo perform frequently throughout the year in the Rockwall community. The Rockwall Jazz 1 TMEA performance will include guest artist Chris Beaty, Assistant Professor of Saxophone at Texas A&M University-Commerce and director of their Jazz Ensemble 1.

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Marci Criswell, Director of Bands,

Amanda Lunsford, Director,

Vega ISD, Vega, TX “RhythmBee has

Intermediate & Jr. High Bands, Bon-

ham ISD, Bonham, TX “My students tremendously improved my students’ and I love RhythmBee! I enjoy the performance abilities. The most nogeneral layout and the variety of acticeable is in the area of sight reading. tivities. My students enjoy the visuTheir improved skills have boosted als, graphics, and competitions! RB their confidence level which has carhas helped my students see connecried over into the sight reading room. tions among various rhythms and has Due to the change of attitude and skill improved their counting ability. So our performance level, our sight reading ratings have gone from Excelhas improved significantly since we started using the lent (Division II) to Superior (Division I). RhythmBee program. RhythmBee is a great way to start our day.” is a program I expect to use throughout my career.” 20 Southwestern Musician | November 2017

Killian MS Honors Band

Artie Henry MS Honors Band

Waxahachie HS Wind Ensemble

Rockwall HS Jazz 1 Southwestern Musician | November 2017 21

h 2-3 3 Marc Feb. 2-

4 3 r e b m e Nov

8 1 7 1 20 Auditions p i h s r a l o h Sc

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0 8 9 5 . 8 ocum 0 .2 5 0 4 WANDA L. BASS SCHOOL OF MUSIC

It’s a Small World After All

by John M. Denis

any school ensemble directors work tirelessly to provide the best musical experiences for their students. As part of this high-quality music education, teachers often bring in guest musicians to provide feedback, to make presentations, or to expose students to thoughts and ideas beyond their familiar contexts. However, in a climate of increasing ideas and decreasing budgets, many teachers look for reasonable ways to bridge the financial and geographical gaps between their students and the outside music world. A growing number of music educators have turned to technology to facilitate bringing guests into their private lessons and ensemble rehearsals. The Internet, in particular, has narrowed the divide between places and people, making the world smaller each day. Utilizing many of the available platforms, however, requires teachers to learn the basics and adjust for the needs of musical experiences. In general, there are two types of interaction available through the Internet, asynchronous and synchronous. Music educators can think of each paradigm as either largely passive or active. Asynchronous interaction is largely passive, such as when a student watches a YouTube video about a particular musical concept. In this case, the instruction and information is going one way at a time. Synchronous interaction, on the other hand, is largely in real time and allows each participant to react and adjust to the other. Having a guest composer call into a classroom on Skype, for instance, would be a synchronous experience. Software and Hardware Considerations While it introduces a level of complexity, synchronous videoconferencing (SVC) can greatly increase flexibility, allowing composers, artists, and clinicians to interact with students directly. This interaction comes with inherent challenges, as technical

requirements and limited experience can impede success. Even though sound delay can influence the quality of music instruction through SVC, students’ reactions to it remain positive (Dammers, 2009; Denis, 2016). To minimize the issues, both sides of the connection must have a steady broadband connection for clarity and response time. Most broadband connections have enough basic bandwidth, but the common use of dynamic IP and firewalls often create inconsistencies that play havoc with SVC. The majority of Internet service providers (ISP) use dynamic IP addresses, which change frequently. While this does not create problems for general use, it can inhibit the quality of videoconferencing calls and is typically unavoidable. In contrast, district technology staff can usually make adjustments to firewall settings, such as forwarding ports for programs like Skype, if requested. Music educators should contact their technology department and work closely with them in making initial setup decisions. The required firewall settings vary by program and time, but you can find the necessary information on the program manufacturer’s website. In general, software engineers designed SVC software with the human voice in mind, and this can present problems given the expanded frequency and decibel demands of music-making (Callinan, 2005; Shepard, 2000). Therefore, music educators may need to attempt a variety of software/hardware combinations and settings to find the ideal arrangement for their individual needs. Both free and paid synchronous videoconferencing software platforms are readily available, and nearly all videoconferencing solutions require both parties to install the software. Many districts may already have Microsoft Skype and Apple FaceTime installed on district computers, and other free options include Google Hangouts, Oovoo, and Zoom. Free programs are more Southwestern Musician | November 2017 23

widespread and make aligning software platforms between the school and guest easier. Paid programs, on the other hand, often offer tech support and extra features to justify the additional cost. Platforms like Cisco Webex, Onstream Media, and Adobe Connect all offer quality for reasonable prices, but both the school and guest would need copies for a successful videoconference. Sound Quality Following the importance of a solid Internet connection and software settings,

the use of microphones can also help improve the sound quality for synchronous videoconferencing. When deciding on microphones for SVC use, keep in mind that any extra equipment must connect to the computer used for videoconferencing. As such, omnidirectional condenser microphones may be the most flexible for placement. While some sound quality is lost, the natural limitations of the Internet connection and software may make that loss negligible. Conversely, if you already have microphones set up in your music room, then simply connecting them to the

Music Technology Preconference Learn more about using technology in your music instruction and program administration during this one-day preconference hosted by TI:ME, the Technology Institute for Music Educators. The preconference will be held during the TMEA convention on Wednesday, February 14, in San Antonio. TI:ME preconference registration is $50 and can be paid when you register online for the TMEA Clinic/Convention.

W W W.TMEA .ORG/CONVENTION

computer would suffice. USB mics, on the other hand, offer convenience and compatibility while still providing a boost to SVC sound quality. Of the options I have tried, I have found Samson (GoMic and Meteor) and Blue (Yeti) mics provide high-quality sound for the price; however, other similar options may work equally well. The vast majority of USB microphones are plug and play, and music educators can easily use them with videoconferencing software. Using a microphone, regardless of the equipment, will help mitigate some of the software platformâ&#x20AC;&#x2122;s limitations. Video Quality Webcams also contribute to the videoconferencing experience, though they may be less crucial for music classrooms than microphones. Music rooms frequently have large dimensions, and many webcams may be unable to capture the entire room. Combined with inherent SVC limitations, music educators may need to prioritize either audio or video. Nonetheless, various USB webcams are sufficient for SVC in the classroom. Logitech and Creative make assorted models with varying video

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Application Deadline: December 1 24 Southwestern Musician | November 2017

ithaca.edu/music/tmeasw

quality capabilities for affordable prices. Similar to microphones, the Internet connection and software will limit the impact of high-end webcams. Therefore, music teachers should balance cost with the benefits of expensive equipment. Planning and Communication Synchronous videoconferencing can require significant planning to ensure success. Teachers should share any materials needed prior to the class, either in physical or digital forms. For clinics or performances, teachers and guests should exchange any music that will be rehearsed before the session. Guests may also have materials to share before the SVC session, such as recordings or readings they wish to reference. Similarly, scheduling may prove problematic across time zones, and healthy communication between everyone involved can sidestep scheduling concerns. Additionally, last minute technology issues can be frustrating. Have a backup communication method established, even if it’s used simply for troubleshooting. If each party is connecting from a school or other institution, contact the IT department at each location prior to videoconferencing to minimize technical issues. Furthermore, I strongly recommend testing all the equipment in an SVC setting by calling your guest prior to the actual rehearsal or performance. Have a dry run for the videoconference call to allow directors to validate current component settings and make necessary adjustments prior to working with students. With some work, music educators can overcome many of the inherent communication differences involved in SVC. Delay, for instance, can inhibit guest feedback during a rehearsal. Allow for extra time when communicating, and establish a signal the guest will use to gain the teacher’s attention. Using headphones or press-totalk settings can reduce feedback, and speaking more slowly can make the experience more pleasant and effective for all. Specifically, if your guest uses headphones, this will significantly clear up echo and feedback, and it may decrease sound delay. Similarly, testing the placement of the microphone or camera allows for adjustments prior to the actual SVC session. It is essential to discuss these issues before videoconferencing to avoid frustration or surprises.

Ensemble Interactions When inviting a guest to give a clinic or to engage your ensemble in performance, encourage the guest to be patient and then isolate layers of the ensemble for their review. The more complex the sound, the more trouble software has in accurately representing it across distances. To allow authentic listening and feedback by your guest, start by having sections or individuals play, and then build layers onto that. Guests may also want to verify what they hear with the on-site teacher. For example, subtle differences in timbre can be problematic, particularly when dealing with instruments in like families or with overlapping ranges. Differentiating between alto and tenor sax or euphonium and tuba may not be easy; however, guests can avoid mistakenly calling out one group by asking the teacher to verify who was performing. Likewise, guests can verify other subtle musical concepts with the teacher before providing feedback. This can also provide engagement for the on-site teacher and demonstrate the collaborative nature of learning to students. Finally, the technology itself does not supplant effective, engaging teaching or communication. Guests can utilize many of the strategies they would apply in person to grab students’ attention. For instance, questioning strategies can be extremely effective through SVC, even when the guest cannot see the entire room. On-site teachers can facilitate student answers or student speech while the guest drives the topic of the discussion. Correspondingly, a positive attitude and demeanor on the part of the guest can overcome some of the engagement barriers presented by SVC.

As technology continues to improve, the world continues to shrink. Because music is an integral part of the lives of individuals from cultures, locations, and environments diverse and wonderful, music educators can expand their classrooms to bring their students a myriad of musical experiences. With some understanding and planning, the small world of music can continue to impact our students in decidedly large ways. John M. Denis is an Assistant Professor at Texas State University. References Callinan, T. (2005). Teaching instrumental music using videoconferencing. In David Forrest (Ed.), A celebration of voices: Australian society for music education Inc. XV national conference proceedings (pp. 41–47). Retrieved from http://search.informit.com.au/doc umentSummary;dn=802148819413014; res=IELHSS Denis, J. (2016), Band students’ perceptions of instruction via videoconferencing, Journal of Music, Technology & Education, 9, 241–254. doi: 10.1386/ jmte.9.3.241_1 Dammers, R. J. (2009). Utilizing internetbased videoconferencing for instrumental music lessons. Update: Applications of Research in Music Education, 28(1), 17–24. doi:10.1177/8755123309344159 Shepard, B., Howe, G., & Snook, T. (2008). Internet2 and musical applications. In Proceedings of the 84th annual meeting, national association of schools of music (pp. 36–41). Reston, VA.

Have a Story to Share? Many of our best feature articles are written by TMEA members like you. Perhaps you have developed an effective teaching method, discovered a new technology that helps make your work more efficient, or have been successful in building administrator and community support. Whatever your areas of success, SOUTHWESTERN MUSICIAN provides a venue for sharing your ideas with your colleagues around the state.

For magazine submission guidelines, go to www.tmea.org/magazine. Southwestern Musician | November 2017 25

Texas Music Educators Association

2018 Clinic/Convention

February 14–17, 2018 • Henry B. Gonzalez Convention Center • San Antonio This extraordinary event features over 300 workshops by nationally recognized clinicians for band, orchestra, vocal, elementary, and college educators, more than 100 performances by the state’s ﬁnest musicians, and one giant exhibit hall ﬁlled with over 1,300 booths representing all facets of the music industry.

The Best Place to Learn.

With the TI:ME Music Technology Southern Regional Conference held in conjunction with our convention, attendees have even more opportunities to learn about the latest music technology solutions. A technology preconference on Wednesday offers a full day of technology clinics ($50 separate registration).

Early Registration

FEBRUARY 14–17, 2018 SAN ANTONIO

• Active music educators: $60 • Retired music educators: $20 • College students: $0 ($25 membership) • Technology preconference: $50

On-site Registration On-site registration is $80.

Other Opportunities When you preregister or register on-site, you can purchase these additional items: • Family member badges: $10 each • Clinic ﬁle audio access: $10 • President’s Concert tickets: $15 From the Top & Black Violin

Mark Your Calendar! NOVEMBER Make a hotel reservation now. Most convention hotels are already sold out!

DECEMBER 31 Last day to fax or postmark a convention preregistration form.

JANUARY 25 Early online registration ends.

B A N D . O R C H E S T R A . VO C A L . E LE M E N TA RY . C O L LE G E 26 Southwestern Musician | November 2017

B Y

B R I A N

C O A T N E Y

ORCHESTRA NOTES

The 4 disciplines of execution – Part I

November—Renew your TMEA membership online and preregister for the convention. November—Make your TMEA convention housing reservation. November—Purchase tickets online for the 2018 President’s Concert. November 1—TMEA scholarship online application deadline. November 4–5—Pre-Area and Area judging. November 10—Deadline to apply to perform on From the Top at the TMEA convention. November 18–19 (Revised date)— First and second round judging of HS String Honor Orchestra. December 31—TMEA convention mail/fax preregistration deadline. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

ave you ever walked away from a convention clinic or professional development session with a brilliant goal or idea that you were excited to institute in your program? You were positive this idea would revolutionize your class. The change started with buy-in and excitement, but resistance slowly started to set in. Additionally, all of the daily duties got in the way of this change, and the excitement fizzled. To keep your head above water, you reverted to your normal routine so that your tasks were done with efficiency and without resistance. Slowly, but surely, this brilliant idea died. This has happened to me countless times, most recently when I tried to institute a new tuning procedure. Thankfully, I was talking to a good friend about new ideas and she led me to a book entitled The 4 Disciplines of Execution by Chris McChesney, Sean Covey, and Jim Huling. The author discusses how business owners or leaders often know what the problem is and can devise a plan that will fix the issue, but they rarely know how to institute the change. We as orchestra directors can relate. I know that several directors, including me, struggle with the same issues every year. They are waiting for a magic cure that will remedy these issues. Unfortunately, this magic cure never emanates because we tend to focus on the idea, rather than how to administer the cure. This book offers effective ways to institute change in our programs to achieve the goals at hand. As a brief overview, the authors explain that we typically encounter four major problems that arise when we try to execute change. The first major problem is that students lack clarity of the objective. We often try to institute too much change, and it becomes overwhelming for students and teachers.

The magic cure never emanates because we tend to focus on the idea, rather than how to administer the cure. Southwestern Musician | November 2017 27

The authors’ solution to this problem is what they call Discipline #1: Focus on the Wildly Important. This concept stresses the importance of selecting one, or at most two, extremely important goals instead of trying to significantly improve everything all at once. It also stresses that you make this goal clear to your students. Discipline #2 is Act on the Lead Measures. Businesses use what they call lag measures and lead measures to evaluate their progress or productivity. For us, a lag measure would be a playing test or benchmark achievement. These are often the measures we focus on to enable the students to properly prepare concerts or performances. Lead measures track behavior that will drive success on achieving lag measures. An example could be instituting finger pattern drills for a piece that has an unfamiliar key. Lead measures are predic-

tive of achieving the goal and can be influenced by the students and teacher. We tend to focus too much on the lag measures to drive student success. Understanding that the focus needs to be on the lead measures rather than the lag measure is a difficult mental shift, but necessary if we are going to institute change to achieve a wildly important goal. The third major problem is with accountability, meaning our goals are not being translated into specific actions. For the team to hold themselves accountable, they have to keep a compelling scoreboard. If every student understands there is a scoreboard involved, they will want to contribute to the team being successful. The difficulty is to develop scoreboards that don’t focus on students winning or losing, but rather on improvement and contributions to the team’s goal. The score-

board also has to be simple. If students don’t understand the scoreboard that measures their progress, they will abandon the game. The last major problem that we face is our daily whirlwind. This is your dayto-day grind that gets in the way of your wildly important goal. We often find ourselves in an internal struggle where our whirlwind and goal compete relentlessly for time. More often than not, most goals die a slow death as the whirlwind consumes our focus and energy. Therefore, we have to find ways to execute the goal in midst of urgency. The best way to do this is by students and teachers holding each other accountable regularly on achieving the goal within the whirlwind. Hopefully this brief introduction of The 4 Disciplines of Execution has sparked your curiosity, led to you reflect on past

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28 Southwestern Musician | November 2017

For more information: Dr. Vicky V. Johnson (254) 968-9238 vjohnson@tarleton.edu tarleton.edu/musiceducation

difficulties with instituting change in your program, and exposed some possible ways implementing those changes could have been improved. In the next column, I will dive deeper into the first two disciplines and offer ways we can effectively institute them in the classroom. TMEA Clinic/Convention Update I hope you have registered for the convention and made your hotel reservation. Most of the TMEA hotel room blocks have sold out. You can continue to use the TMEA housing system to search for available rooms (availability will vary as individual reservations are canceled between now and the end of January when the online system closes). Alternatively, reserve directly with hotels, or use other online discount systems to search for availability. You can go to www.tmea.org/ housing for more information. Know that $10 daily parking (for entry by 5 p.m.) will be available Thursday–Saturday at the

Alamodome, with free shuttle service to the convention center. Next month’s issue will feature the preview of our full convention schedule. This month, I’m pleased to introduce three of our four Honor Orchestras. Look to the January issue for a preview of our HS String Honor Orchestra. JH/MS Honor Full Orchestra Ereckson MS Symphony Orchestra, Allen ISD Ereckson MS, located in Allen, has an enrollment of over 1,200 in grades seven and eight. Performing Arts in Allen ISD begins at the elementary level, where sixth graders have class two days a week. At EMS, students audition for placement in five string orchestras or four bands. Joanna DeVoto and Hannah Hong lead the orchestra program, and DJ Vaccarezza, Chuck Pennington, and Matt McGann lead the band program. Originally a pops orchestra, collabora-

tion between orchestra and band began in 2007 under the direction of Angie Cimbalo and Ann Peace. In 2013, the group became a symphony orchestra and has enjoyed great success. After UIL Orchestra Concert and Sightreading season, students meet after school once a week for an hour to put together the full orchestra program for spring concerts. In addition to consistent UIL Sweepstakes awards since the school’s opening in 2004, the Ereckson Chamber Orchestra has also placed in the TMEA Honor Orchestra string finals since 2013. Since becoming a symphony orchestra, Ereckson was named best-in-class at the Peak Music Festival and has been a TMEA Honor Orchestra Finalist each year since 2015. Last summer, Ereckson Symphony Orchestra was proud to become the first instrumental TMEA honor group from Allen ISD. Achievements of this magnitude aren’t possible without students, parents,

2018 TMEA Clinic/Convention FEBRUARY 14–17 • SAN ANTONIO

W W W.TM E A .O RG/CO N V E NTI O N

Learn Proven Methods in Orchestra Division Clinics Southwestern Musician | November 2017 29

Ereckson MS Symphony Orchestra

Rice MS Chamber Orchestra

Plano West Senior HS Symphony 30 Southwestern Musician | November 2017

teachers, and administrators working in harmony. The directors and student musicians appreciate support from their wonderful community. JH/MS Honor String Orchestra Rice MS Chamber Orchestra, Plano ISD The fine arts programs have always been a large and active part of the Rice MS culture. Of the 1,075 students enrolled, 900 are in one of the music programs. Rice’s 385 band members and 260 choir students consistently compete at a high level, with the band named as third runner-up in the 3C Honor Band finals and the Boys Choir selected as an invited performing choir for the 2018 TMEA convention. The Orchestra program has 267 students this year with five levels of orchestra to fit every player. The Rice Chamber orchestra has 44 members. The group was named a TMEA Honor Orchestra in 2008 and was the first Plano middle school to achieve this honor in the String Orchestra division. Since that time the group has placed eight times in the final round. Rice has a wonderful combination of nationalities, religions, and cultures from all over the world. The many different cultures combine to make for a diverse educational atmosphere that enriches classrooms! Most of the Rice orchestra students study privately either outside of school or during the day in private tutorials through Plano ISD. This dedication to working hard is what allows for high achievement in all of our fine arts and definitely in the orchestra. Director Barbara Fox states: “These kids love to perform, to achieve, and to compete. It is natural for them to push themselves and inevitably each other to higher levels by their willingness to work hard on everything that they are involved in.” HS Honor Full Orchestra Plano West Senior HS Symphony, Plano ISD The Plano West Symphony Orchestra is the product of a harmonious partnership between the string and band programs at Plano West Senior High School, a grade 11–12 campus in Plano ISD. The symphony has been named National Winners in the Mark of Excellence competition and has performed at the Midwest Band and Orchestra Clinic. Each program has an individual track record of success at UIL contests and at various festivals across the

state. The Plano West Chamber Orchestra has been named the TMEA Honor String Orchestra six times, most recently in 2016, and that orchestra has also earned the American Prize and National Winner status in the Mark of Excellence contest. Similarly, the Plano West bands have been TMEA Honor Band finalists and a National Winner in the National Wind Band Honors Project. Students at Plano West pursue a rigorous academic course load in addition to their musical studies. In 2016, Newsweek ranked Plano West among the top 1% of

high schools in America. Every symphony student is enrolled in AP coursework, and the band and orchestra programs claim 27 club and organization presidents. Plano West is fed by Jasper and Shepton High Schools, which are in turn fed by Rice, Robinson, Renner, and Frankford Middle Schools. The Plano West orchestra program is led by Ryan Ross, with associate director Amy Gross, and the bands are headed by Jackie Digby, with associate directors Eric Petrinowitsch and Preston Pierce. Last year, James Hannah retired from his position as Director of Bands.

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

Southwestern Musician | November 2017 31

TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

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

www.tlu.edu/music-scholarships.

SCHOOL OF MUSIC DEPARTMENT HEADS

Chad Ibison

Douglas R. Boyer

Elizabeth Lee

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

Asst. Professor, Cello

Beth Bronk

Deborah Mayes

Director of Bands bbronk@tlu.edu

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Director of Piano Studies edaub@tlu.edu Director of Strings ejeffords@tlu.edu

Wei Chen Bruce Lin Asst. Professor, Piano Accompanist

Scott McDonald Instructor, Saxophone & Jazz Band Asst. Professor, Collaborative Pianist Instructor, Double Bass

Keith Robinson Instructor, Tuba & Music Education

FACULTY Mark Ackerman Instructor, Oboe

Jill Rodriguez Instructor, General Music

Robert Mark Rogers

Adam Bedell Instructor, Percussion

Mary Ellen Cavitt Carol Chambers Instructor, Music Education Asst. Professor, Trumpet

Paula Corley Instructor, Clarinet

Jeanne Gnecco Instructor, Flute

Asst. Professor, Piano

David Milburn

Eliza Jeffords

Joseph Cooper

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

Patricia Lee

Carla McElhaney

Eric Daub

Asst. Professor, Horn

Individual audition dates may be requested if necessary.

Asst. Professor, Guitar

Asst. Professor, Bassoon

Esther M. Sanders Instructor, Violin

Evan Sankey Asst. Professor, Trombone & Euphonium

Eric Siu Asst. Professor, Violin

Robert Warren Asst. Professor, Piano, General Music & Music History

www.tlu.edu/music

Connect, Contribute, and Heal Through Musical Outreach

and Pamela Youngblood

n a complex world where communication has become so fragmented, it’s critical that we find ways to connect with others, contribute to our community, and heal. Music can be a most effective medium through which all three can be realized. When we recently asked university students why it is so important to approach music in this way, we heard the following: • Music is a way to touch other cultures. • Music adds color and dimension to emotions that otherwise can’t be expressed. • Music serves our community as well as ourselves. • Music is a way to honor tradition, and to break it. • Music heals and restores the whole person—body, mind, and spirit.

each student musician and potentially within our future music educators. Teachers Also Benefit Interactive and reciprocal learning between the teacher and students is a great benefit of outreach performances. Is there a more powerful example than students and teachers developing new perspectives and insights related to the community in which they live? Engaging in outreach opportunities may also fuel new areas of research and publication interest for teachers. Through community outreach, teachers also develop relationships outside of their familiar professional circles, thus broadening their sphere of influence and enriching their sense of purpose, both as individuals and in terms of the impact of their music programs. A natural extension of these outreach experiences is the opportunity for meaningful advocacy for your program and music education overall.

• Music is a way to play, to have fun. Outreach Through Experiential Learning When students connect with members of their communities in meaningful ways, they develop rich skill sets. Perhaps one of the most valuable assets is communication, particularly when connecting with populations outside of the usual social networks, including those of aging, youth, and disabled communities. Providing music services opens doors to dialogue between students and audience and between the students themselves. Interacting in significant ways with those from different cultures, socioeconomic backgrounds, and varying exceptionalities helps students develop a broader understanding of humanity—locally, nationally, and globally. It also ultimately cultivates greater empathy in students toward those with circumstances different from their own. Students become encouraged to explore their individual values and beliefs and the actions, or inaction, related to them. Community outreach helps students learn about social issues and how music can play a role in addressing those issues. Outreach performance activities cultivate a stronger sense of purpose within

Creating an Outreach Experience To get started, identify existing needs in your community. Reach out to local volunteer organizations to learn about upcoming events. Contact local professional arts organizations to see if they could sponsor your participation (pay for transportation, etc.). This is also a great opportunity to have meaningful conversations with your students and increase their ownership by having them discuss community needs and opportunities that interest them. Perhaps one of your students has a family member served by a community organization that has an opportunity for your outreach. Look for ways in which you can match the identified needs of the community with the interests of your students, and find opportunities that can be served by the types and sizes of ensembles that can offer a meaningful musical outreach. Every opportunity will vary in terms of available space and location, so this will influence your planning for the ensemble type, size, and repertoire. While it can become a challenge for student and teacher time, Southwestern Musician | November 2017 33

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

planning a series of events with a community organization can increase interest and meaningful connections between the students and their community. One simple example is a biannual offering, once per semester, over successive years. A regular offering deepens the relationship between the teacher and the community organizers, fostering the relationship with and trust in your program. The success of established programs may also improve chances for the award of grant funding to expand your offering, particularly if costsharing is involved. Programming Be sure to consider the available preparation time and program music that will engage your students and be meaningful to your audience. When performing for aging communities consider what types of music they listened to between the ages of 20 and 50. This might include marches, patriotic music, and various styles of jazz. For school or youth outreach programs, consider programming around a theme (e.g., music of other cultures, music inspired by film, beatboxing, or programmatic music). Programming for hospitals may be best met with music from the classical period, meditative works, or pieces with soothing melodies. Consider that the music might be heard throughout the hospital by a variety of patients experiencing a wide array of conditions. Check with the hospital regarding any limitations prior to visiting, such as visiting hours, regulations involving sound volume, required permissions, or sanitation concerns. Music to Fit Your Budget If your music library doesn’t support your need, the online International Music Score Library Project (ISMLP) is a great and free resource for music in the public domain (subscription donation suggested). This works particularly well for finding chamber music from the classical and romantic periods. Another option could be to invite a local music store to sponsor the project through the provision of scores and parts in exchange for publicity. Preparing Students for Outreach Visit with students prior to the outreach regarding considerations and concerns for the outreach audience. For example, educating students on the types of conversa-

tions that may come up in assisted living facilities can be helpful. These include stories from a variety of cultural backgrounds, stories of war, and more. Prepare students that in some cases with older audiences, they might experience issues with racism, sexism, or gender equality and identity. Help students engage in conversations around these topics with empathy and also appropriate boundaries. Keep the intention of the outreach clear and teach students how to redirect conversations if needed. Follow Up After the Outreach This is an important aspect of outreach projects and one that is often overlooked. Meet with the students who participated soon after the event. Discuss what they learned, what challenges they had, and if there were any shifts in perspective. Discuss what went well, and what they might change if they were to do it again. Have students share the ways their own lives were affected by the outreach. Share any feedback you may have received

from the outreach participants, including thank-you letters. Initiating and sustaining outreach programs requires a contribution of time and resources, which initially may seem like a deterrent. However, the benefits gained by the students, the teachers, and the community at large make for incredibly rewarding experiences of connection and healing. Lisa Garner Santa is Artist Performer and Professor of Flute at Texas Tech University where she has engaged in outreach programs with East Lubbock Promise Neighborhood, aging populations, and the Texas Tech University Arts in Medicine Initiative. Pamela Youngblood is the Chair of the Department of Music and Theatre and Professor of Flute at Texas Woman’s University where she has engaged in outreach programs for the Denton State Supported Living Center, aging populations, and ofÀcial programs for a variety of university functions.

From the Top at the TMEA Convention Encourage Your Top Students to Apply! NOV. 10 DEADLINE • TMEA.ORG/PRESIDENTSCONCERT

ALL-STATE CHOIR CLINIC Saturday, December 16, 2017 9:00 AM – 3:00 PM Sectionals and large choir rehearsals will be offered to aid students in preparing for the final All-State audition. Area finalists and alternates are welcome. Rehearsals will be led by Dr. John Silantien and Dr. Gary Mabry. Pre-registration fee (postmarked by December 8) ................................$75 Registration fee at the door ….............................................................$100 For further information and pre-registration materials, go to http://www.utsamusiccamps.com/all-state-choir-clinic.cfm or contact: DR. JOHN SILANTIEN Department of Music, The University of Texas at San Antonio San Antonio, Texas 78249 (210) 458-5328 john.silantien@utsa.edu Southwestern Musician | November 2017 35

2018 TMEA Clinic/Convention FEBRUARY 14–17, 2018 • SAN ANTONIO

OVER 100 PERFORMANCES! From Thursday through Saturday, thousands of students will perform in concerts and music showcases throughout the convention center. When you attend performances, you: • support directors and their students. • learn from the practices of master teachers. • gain new repertoire ideas for your ensembles.

IMPORTANT DATES December 31 Fax/Mail Registration Ends

January 25 Discounted Registration Ends

W W W.TME A .ORG/PE RFORMINGG ROUPS 36 Southwestern Musician | November 2017

BAY LOR U NIV ER SIT Y SCHOOL OF MUSIC The Baylor University School of Music provides transformational experiences that prepare students for careers in music. Our students thrive in a Christian environment characterized by a nurturing resident faculty, an unwavering pursuit of musical excellence, a global perspective, a dedication to service and a devotion to faith. They investigate the rich musical and cultural heritage of the past, develop superior musical skills and knowledge in the present, and explore and create new modes of musical expression for the future.

A U D I T I O N D AT E S F R I D AY

S A T U R D AY

December 1, 2017

January 13, 2018

January 27, 2018

February 24, 2018

(VOICE, KEYBOARD)

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

(BRASS, KEYBOARD, PERCUSSION, VOICE, WOODWINDS)

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

F R I D AY

January 12, 2018 (VOICE)

F R I D AY

February 23, 2018 (VOICE)

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

VOCAL NOTES

B Y

D E R R I C K

B R O O K I N S

Becoming the musically creative being

ast year my associate director and I had the incredible honor of being selected to represent our school district at the TMEA convention and then three weeks later at a national choral convention, with two different choral ensembles. To say that the stress level was a bit high for everyone involved would be a gross understatement. Having had the honor and experience of a convention performance before, I was somewhat aware of what to expect with regard to the workload, but can one ever really be prepared for such an adventure and musical journey? As we began this endeavor, my coworker and I promised each other that throughout our preparations, we would take care of ourselves. Once a week, we would try to leave the office just a little early. If at all possible, try to have at least one evening with friends and family, not discussing music, booster clubs, and fundraising or how best to teach a high school boy to tie a necktie. I won’t lie to you, whenever anyone would ask me how I was doing during this time, I would always inform them that two things were happening: my prayer life is getting stronger and I’m discovering the finer points of a good Pinot Grigio. When directors are stressed, overwhelmed, and spread thin, how can creative, honest music-making possibly occur? Don’t our students deserve that? As Shakespeare wrote, “To thine own self be true.” It is vital that we seek truth, maintain focus, and become centered as we continue to grow in this

It is through self-awareness that we grow into better musicians and thus better teachers. 38 Southwestern Musician | November 2017

November—Renew your TMEA membership online and preregister for the convention. November—Make your TMEA convention housing reservation. November—Purchase tickets online for the 2018 President’s Concert. November 1—TMEA scholarship online application deadline. November 10—Deadline to apply to perform on From the Top at the TMEA convention. December 31—TMEA convention mail/fax preregistration deadline. January 13—Area Vocal and Band auditions. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

wild, crazy, demanding, and yet so giving field of choral arts. When truth, focus and centering are not in place, it comes across in our teaching and in our music-making with our singers. Please pardon me for being blunt, but you’re lying to yourself, and most of all to your students, if you don’t believe this is true. I think some time must be spent understanding the complex nature of those who are involved in creative activities. Thomas Moore, in his book Care of the Soul, makes a strong point that all human beings are complex. If the general description of the human state is as complex as Moore describes it, then what is the state of the creative artist? Mihaly Csikszentmihalyi, in his book Creativity: Flow and the Psychology of Discovery and Invention, details how he found the following characteristics to be common in creative individuals: • Creative individuals have a great deal of physical energy, but they are often quiet and at rest. • Creative individuals tend to be smart, yet also naive. • A third paradoxical trait is the combination of playfulness and discipline, or responsibility and irresponsibility. • Creative individuals alternate between imagination and fantasy at one end, and rooted sense of reality at the other. • Creative people seem to harbor opposite tendencies on the continuum between extroversion and introversion. • Creative individuals are also remarkably humble and proud at the same time. • In all cultures, men are raised to be the masculine and to disregard and repress those aspects of their temperament that the culture regards as feminine, whereas women are expected to do the opposite. • Generally, creative people are thought to be rebellious and independent. • Most creative people are very passionate about their work, yet they can be extremely objective about it as well. • Finally, the openness and sensitivity of creative individuals often exposes

them to suffering and pain and yet also a great deal of enjoyment. Of course, the above list should not be used as a basis for exhibiting bizarre, outof-control behavior as our norm. This perceptive list is provided to place your fears at ease and to give you some maneuvering space so that you can begin to understand yourself. Without awareness, there can be no growth, little honest music, and little love. Great music is made in a state of awareness. Be challenged by the ideas that follow, and follow the calling they issue to you. In the words of Leonard Bernstein, “Any great work of art is great because it creates a special world of its own. It revives and readapts time and space, and the measure of its success is the extent to which it invites you in and lets you breathe its strange, special air.” It is through selfawareness that we grow into better musicians and thus better teachers. TMEA Clinic/Convention Update If you haven’t already, register online for the event and secure a hotel reservation. Most of the TMEA hotel room blocks have sold out. You can continue to use the TMEA housing system to search for

available rooms (availability will vary as individual reservations are canceled between now and the end of January when the online system closes). Alternatively, reserve directly with hotels, or use other online discount systems to search for availability. You can go to www.tmea.org/ housing for more information. Know that $10 daily parking (for entry by 5 p.m.) will be available Thursday–Saturday at the Alamodome, with free shuttle service to the convention center. This month, I’m pleased to feature half of our performing choirs. Look for the remainder in the January issue, and next month, be sure to read through the full convention schedule preview. It’s always exciting to anticipate this incredible convention! Robinson MS A Cappella Treble Choir, Plano ISD Robinson MS enrolls 1,010 students in grades 6–8. Since opening in 1994, Robinson has been known for its excellence in music. Students entering sixth grade have experienced an outstanding music education in the Plano elementary schools, and over 75% of the student body

TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

YOUTH CHOIR

FESTIVAL

featuring Z. RANDALL STROOPE 2018 Festival Conductor SATURDAY, JANUARY 27, 2018 9:30 AM - 5 PM JACKSON AUDITORIUM For treble voices, grades 4-12 For more information, contact Laurie Jenschke, festival director, at ljenschke@tlu.edu or 830.456.3016.

To register online, go to www.tlu.edu/cma and click on the Youth Choir Festival link.

Southwestern Musician | November 2017 39

Denton, Texas, #1 College Town For Music Majors - 2017 Music School Central

DENTON, TX AUDITIONS

REGIONAL AUDITIONS

Sat. Jan. 27, 2018 Fri. Feb. 2, 2018 Sat. Feb. 3, 2018 Sat. Feb. 24, 2018

Fri. Jan. 12, 2018 Chicago, IL Los Angeles, CA New York City, NY

APPLY TODAY: MUSIC.UNT.EDU

remain involved in music. The band, choir, and orchestra departments collaborate to create a unified team, and they consistently earn Sweepstakes awards at UIL competitions. The Robinson choral department has over 280 students in nine performing ensembles. The A Cappella Treble Choir is an auditioned group of seventh- and eighth-grade students who also participate in many other school and extracurricular activities. All students in this ensemble take private lessons and participate in UIL Solo & Ensemble contest, and many are members of the All-Region Choir. The RMS A Capella Treble Choir was named the National Winner of the Mark of Excellence Choral Honors Project in 2009, 2013, and 2015, and the choir performed at the 2013 TMEA convention. Seven Lakes JH Varsity Treble Choir, Katy ISD The Seven Lakes JH Varsity Treble Choir is an auditioned group of 38 seventh and eighth graders. Seven Lakes JH opened in fall 2012 in Katy ISD. The SLJH choir program has grown from 80 students in its inaugural year to over 225 students today.

The choir, band, and orchestra programs at SLJH are consistent UIL Sweepstakes award winners. The Varsity Treble Choir has consistently won most outstanding choir awards at festival competitions throughout Texas. Most importantly, the members of the Varsity Treble Choir are passionate about creating and performing beautiful music that allows them to express themselves through song. Montgomery HS Chorale Womenâ&#x20AC;&#x2122;s Choir, Montgomery ISD The Montgomery HS Chorale Womenâ&#x20AC;&#x2122;s Choir is the select varsity womenâ&#x20AC;&#x2122;s choir in Montgomery ISD. The Montgomery HS Chorale Women consists of 39 young women in grades 10â&#x20AC;&#x201C;12. This choir performs in a variety of concerts and combines with the Chorale Men to form the Varsity Mixed Choir. The Chorale Womenâ&#x20AC;&#x2122;s Choir has a long history of earning UIL Sweepstakes awards and convention invitational performances at TMEA, ACDA, and SWACDA. This school year will mark the choirâ&#x20AC;&#x2122;s fifth convention performance in 12 years. Many students from the Chorale Womenâ&#x20AC;&#x2122;s Choir are members of TFME and Tri-M music honor society,

and they are active in region and state UIL Solo & Ensemble contests, as well as in TMEA All-Region and All-State choirs. These young women are role models in the high school and excel in all areas of academia. They have proven to be leaders in the school and community. 0DQVĂ&#x20AC;HOG +6 9DUVLW\ 0HQÂˇV &KRLU 0DQVĂ&#x20AC;HOG ,6' Located just south of Arlington, Mansfield HS is one of five high schools in Mansfield ISD. With a school population of over 2,300, Mansfield HS serves a diverse population of students who excel in academics and athletics. The Varsity Menâ&#x20AC;&#x2122;s Choir is a group of young men in grades 9â&#x20AC;&#x201C;12 who meet as a separate class 2â&#x20AC;&#x201C;3 days each week. In addition to choir, the young men are active in student council, JROTC, football, basketball, soccer, band, and many other activities across the campus. Many of the young men are Boy Scouts and several of them have earned the rank of Eagle Scout. The 56-member Varsity Menâ&#x20AC;&#x2122;s choir is a part of the 230-member Mansfield choral program.

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.

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

Southwestern Musician | November 2017 41

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&#x2019; 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.

Bryan HS Chorale, Bryan ISD Bryan HS is located in the heart of the Brazos Valley. With an enrollment of 2,200 students, it is the flagship of Bryan ISD. Bryan HS fine arts students are recognized as leaders in the school and in the community. The Bryan HS choral department consists of seven performing ensembles, with a membership of 185 students. The Bryan High Chorale serves as the varsity mixed ensemble and has been committed to excellence in choral music for more than 40 years. Members are visible in many activities on campus, including student council, athletics, band, orchestra, theater, art, AP, IB, and drill team. Chorale has been a consistent UIL sweepstakes award winner and enjoys performing for the community and across the country. The choir program is supported by amazing middle school, intermediate, and elementary school music instruction led by master teachers throughout the district. Texas Christian University Concert Chorale The TCU Concert Chorale is the universityâ&#x20AC;&#x2122;s flagship choral ensemble, committed to the exploration and performance of the finest repertoire from the 16th century to the present. One of six choral ensembles in the TCU School of Music, the Chorale is a highly select, auditioned group of 43 singers, including music majors as well as students from other academic disciplines. All members of the Chorale recognize the important role of the arts in their personal and professional development. The Chorale enjoys annual collaborative performances with the Fort Worth Symphony Orchestra, the TCU Symphony, and numerous other ensembles from the Dallas/Fort Worth area.

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

southwestern.edu/musicscholarship 42 Southwestern Musician | November 2017

FEBRUARY 14â&#x20AC;&#x201C;17, 2018 TMEA.ORG/CONVENTION

Robinson MS A Cappella Treble Choir

0DQVÀHOG +6 9DUVLW\ 0HQ·V &KRLU

Montgomery HS Chorale Women’s Choir Southwestern Musician | November 2017 43

Bryan HS Chorale

Seven Lakes JH Varsity Treble Choir

Texas Christian University Concert Chorale Southwestern Musician | November 2017 45

help bring back

THE ARTS

Help Restore School Fine Arts Programs Affected by Hurricane Harvey

help.goarts.org Many fine arts programs and students are still in great need of help following the devastation of Hurricane Harvey. To find specific needs, go to help.goarts.org and contact teachers directly to offer your assistance. Go to www.tmea.org/reliefmaterial to download images ready for use on your website, social media, and print. Help by sharing the message!

Help extend the reach of this relief campaign so that all needs can be met! • Announce help.goarts.org at your next performance • Post a link to the site on your social media channels • Announce the opportunity at a faculty meeting • Ask boosters to support this relief campaign • Engage your students in promoting it

46 Southwestern Musician | November 2017

Authentically Me Choosing the Approach That’s the Best Fit for You

By Julie Scott

don’t know what would have happened if my mother hadn’t people. I also strongly believe it’s a good idea to attend conference invited me to take a Level I Orff class with her after my fourth sessions and workshops pertaining to each of the approaches. Take year of teaching. Maybe I would have remained a textbook the first level or course in Orff, Kodály, Music Learning Theory, teacher. Maybe I would have become a Kodály teacher. Or and Dalcroze, then decide which is the best fit for you. The more maybe I would have gone back to school to be a travel agent. At my information you have, the more informed you are! However, it’s mother’s urging, however, I earned certification in Orff Schulwerk. also not quite that simple. I have been teaching Orff Schulwerk teacher education courses I direct music educators’ workshops each summer. We offer for 25 years, and I am a past-president of the American Orffcertification courses in Orff Schulwerk, Kodály, and Feierabend’s Schulwerk Association. First Steps and Conversational Solfège, as well as shorter, introducAlong my career path, I took a life-changing class with Peggy tory workshops in Dalcroze and Music Learning Theory. We have Bennett called “Education through Music.”1 I attended numerrecently seen an upswing in the number of teachers getting certious Kodály sessions and workshops that fied in Orff and Kodály, and in some cases helped me find a melodic and rhythmic Dalcroze and Music Learning Theory as Let’s rejoice in the diversity of our sequence that truly resonated with me. I well. For some, everything goes smoothly. took two weeks of Dalcroze classes with approaches, and let’s celebrate They take all levels of each and cheerfully Cynthia Lilley, where I flirted with fixed do each other’s authenticity. find ways to incorporate the aspects of solfège and became a better mover. I pareach that resonate with them the most. ticipated in Music Learning Theory workshops and classes with Others, however, take all levels in one approach, then all levels Warren Henry and Chris Azzara, where I discovered the effectivein another because they think they should. They spend the class ness of audiation and learned to improvise vocally over I-, IV-, and time feeling unhappy, angry, negative, and critical of the approach V-chord progressions. because it isn’t a good fit for them. All along the way, I tried on the characteristics of different Poet Daniel Steven Moskowitz wrote: approaches, until I arrived at one that felt authentic—one that best Don’t blame yourself reflects my personality and philosophy. I discovered that, although If you feel frustrated. I incorporate many approaches into my teaching, my veritable, Frustrations might be a sign true, bona fide self is an Orff Schulwerk teacher. That you can’t be completely authentic With the people who surround you. There Is No One Way For the last 20 years, I have been preaching to Texas teachers Frustration is a real emotion, and it shouldn’t be discounted. However, in the case of getting trained in an approach that feels that there isn’t just one way to teach music—we don’t have to be frustrating, one can choose to leave the inauthentic space. If an in competition, because different approaches appeal to different Southwestern Musician | November 2017 47

The authentic self is soul made visible. —Sarah Ban Breathnach

The privilege of a lifetime is to become who you truly are. —Carl Jung approach doesn’t resonate with your philosophy, and you feel frustrated, seek a different approach. It’s your authentic self that causes those negative feelings. No one approach fits every teacher’s instructional style. That’s why each of the approaches needs to coexist in peace. When I teach elementary music methods to university music education students in their junior year, I tell them early on that I am an Orff Schulwerk teacher. I explain that I want them to find the approach that is the best fit for them, and that what they find to be authentic might not be the approach that I espouse or the approach that their mentor teacher espouses. I recommend that they “try on” different approaches by going to workshops, taking a certification course, and talking with music teachers whose styles they like. Then they should try out ideas until they find their true, authentic voices as music educators. I introduce my students to all of the approaches so they can find the one, or the ones, that resonate with them. However, I had to tweak that process too. I used to teach Kodály, Dalcroze, and Music Learning Theory lessons to my university students myself. I loved those lessons,

believed in them, and liked seeing other people teach them, but I felt a little fake when I taught them because they weren’t authentic for me. I now use two ways to give junior music education students more authentic experiences in the approaches. First, they visit the Alliance for Active Music Making (AAMM) website to watch videos of expert teachers giving instruction in their respective approaches. Most of AAMM’s members are college professors who teach general music methods courses. The organization’s website conveys this philosophy statement: “We believe the music educator must have the freedom to move in and out of different approaches, guided by foundational tenets that assist the intuitive teacher in discerning the best solution to meet the learner’s needs. Music teacher preparation must foster continued learning and provide that means” (Janet Moore). The website’s videos provide a perfunctory view of four approaches, with sample lessons in Dalcroze, Kodály, Orff Schulwerk, and Music Learning Theory. Second, I bring in expert teachers in each of the approaches. Last fall, Kathy Kuddes taught a beautiful Kodály lesson to my class. The next week, Matthew

Helpful Organization Websites For further information about methods of teaching general music, visit these websites: • Alliance for Active Music Making: www.allianceamm.org • American Eurhythmics Society: www.americaneurhythmics.org • American Orff-Schulwerk Association: www.aosa.org • Dalcroze Society of America: www.dalcrozeusa.org • Feierabend Association for Music Education: www.feierabendmusic.org • Gordon Institute for Music Learning: www.giml.org • Organization of American Kodály Educators: www.oake.org • SongWorks Educators Association: www.songworkseducatorsassociation.com/ resources/songworks/ 48 Southwestern Musician | November 2017

Kline taught them a Dalcroze lesson, and the following week, Warren Henry gave them an experience in Music Learning Theory. I concluded our study with an Orff Schulwerk lesson of my own. Learning from people who are firmly grounded in each approach was a rich experience for our students. At the end of the semester, students write about their philosophy of music education. It is an interesting assignment because they don’t yet know who they are going to be as teachers. Some textbooks caution that until an educator has a philosophy of teaching, he or she won’t know where they’re going. However, I’ve always preferred the idea that teachers can arrive at their philosophy up front or in retrospect. Since figuring out one’s philosophy is a lifelong, fluid process, it might make more sense for teachers to look at their actions after they have experience. Actions indicate what a person really believes, and actions speak to one’s true, authentic self. Our careers wouldn’t be much fun if we didn’t follow our hearts by teaching what we believe. Let’s rejoice in the diversity of our approaches, and let’s celebrate each other’s authenticity. Let’s learn from each other, and pass on the joy of making music to our students. This February, I hope you attend sessions at the TMEA Clinic/Convention on Dalcroze, Kodály, Orff Schulwerk, Music Learning Theory, SongWorks, and others, and then decide whether one or several approaches fit your personality as a teacher. Then, go forth and be who you truly are as a music educator! Julie Scott is Professor of Practice in Music Education and Director of Music Educators Workshops at Southern Methodist University. Reference 1. Education through Music was based on the work of Mary Helen Richards. In 1992, Dr. Peggy Bennett and others founded SongWorks, about which they write: “Mary Helen’s enthusiasm for teaching and playing with children, her compassionate approach, and her attention to musicality are evident throughout the work of SongWorks” (http:// songworkseducatorsassociation.com/ about-us/).

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ELEMENTARY NOTES

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Concert checklist

t’s likely many of you have already begun preparations for your winter programs. If you’re like me, the first time you put together a musical, you didn’t feel fully prepared for every aspect of the project. Slowly, after making countless mistakes, I compiled a checklist of tasks and a timeline for completion. It has become my go-to document during performance prep season. I’m sure there are still things I’m missing, but I’m so thankful I don’t have to reinvent the wheel for every performance. Take it and make it your own. Break a leg! Six months before the performance: • establish the date and time with your principal • secure a performance venue • choose your program • order any materials you’ll need (a canned musical, individual octavos, instruments, etc.) • obtain copyright permission to perform Three months before the performance: • send out a save-the-date announcement to parents and school staff • order materials needed to make stage decorations • order costumes About two and a half months before the performance: • begin teaching the music • assign parts and solos

Consider this checklist as you work toward a smooth and enjoyable concert experience. 50 Southwestern Musician | November 2017

November—Renew your TMEA membership online and preregister for the convention. November—Make your TMEA convention housing reservation. November—Purchase tickets online for the 2018 President’s Concert. November 1—TMEA scholarship online application deadline. November 10—Deadline to apply to perform on From the Top at the TMEA convention. November 15—Deadline to apply online for a TMEA elementary grant. December 31—TMEA convention mail/fax preregistration deadline. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

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• send out rehearsal schedule (for rehearsals outside of the school day) One month before the performance: • begin making stage decorations • begin making costumes • send home performance reminder and list of rehearsals • begin advertising the performance Two weeks before the performance: • work on stage blocking with your actors and speakers • teach stagehands (I use students) when and how to change backgrounds • teach stagehands about props (what they are, where they should be, and when to give them to the actors) One week before the performance: • costume fitting • send home final performance announcement • students should know all the music by now—spend time cleaning rough spots • assign jobs to adult volunteers (monitor students before the performance, help get kids into their costumes, run the music, supervise the stagehands, etc.) Three days before the performance: • hold at least two dress rehearsals— clean, clean, clean • finalize and print the program • hang decorations Day of the performance: • check to make sure the risers, microphones, props, and your music are all set up and ready

the online system closes). Alternatively, reserve directly with hotels, or use other online discount systems to search for availability. You can go to www.tmea.org/ housing for more information. Know that $10 daily parking (for entry by 5 p.m.) will be available Thursday–Saturday at the Alamodome, with free shuttle service to the convention center. TMEA Elementary Invited Performing Groups 2018 In June, the Elementary Performing Group Selection Committee met to determine who would represent Texas at our 2018 convention. For the first time, the number of submissions from instrumental groups almost equaled the number from choral groups. To provide performance equity, the committee chose four choral and four instrumental groups. It is my pleasure to introduce four of the 2018 Elementary Invited Performing Groups. I will feature the remaining groups in our January issue. Garland ISD Children’s Chorus The Garland ISD Children’s Chorus provides distinctive choral experiences for about 200 voices of fourth- and fifth-grade students across the district. The fifth-grade choir is under the leadership of Brenda Hass, Artistic Director, and Lyndsey Alecusan, Assistant Director. This auditioned group of singers rehearses throughout the school year once a week for 90 minutes. Their performance calendar consists of five major concert venues plus church and community events. This choir began in Garland ISD as a district boys’ choir and a district girls’ choir, performing at

the TMEA convention in 1981, 1984, 1990, 1996, and 2003. They have performed at the Meyerson Symphony Center, American Airlines Center, the state capitol, and across the Dallas-Fort Worth Metroplex. Brenda Hass has worked with the district choirs in Garland ISD for the past 12 years. She holds a bachelor of music education degree from TAMU-Commerce (formerly East Texas State University) and a master of education degree with a certificate in educational supervision from Texas Woman’s University. She serves as the Visual and Performing Arts Coordinator for Garland ISD. Lyndsey Alecusan is enjoying her second year as the Assistant Director while teaching at Cooper Elementary. Carrollton Farmers-Branch ISD Elementary District Honor Choir Students in Carrollton Farmers-Branch enjoy a rich tradition of support for the fine arts at every grade level. At the elementary level, students have the opportunity to be part of select Orff ensembles, art clubs, and select school choirs. At the secondary level, students are encouraged to participate in orchestra, band, choir, dance, art, theatre, and many other fine arts programs. The CFBISD Elementary District Honor Choir is a group of 86 students in grades 4–5. Students audition in the spring and make a yearlong commitment. The CFBISD Elementary District Honor Choir practices once a week throughout most of the year. For the past three years, this choir has received superior and best-in-class/ grand champion awards at the NRH2O Music Festival. Sarah Bayles and Allison Murray have

• reserve seats for VIPs (campus and district administrators and grade-level teachers, volunteers, silent auction winners, etc.) • set out programs or ask students to hand them out • enjoy the performance! TMEA Convention Housing Most of the TMEA hotel room blocks have sold out. You can continue to use the TMEA housing system to search for available rooms (availability will vary as individual reservations are canceled between now and the end of January when 52 Southwestern Musician | November 2017

Noteworthy Orff Ensemble, Mireles Elementary

directed the CFBISD Elementary District Honor Choir for the past four years. Sarah Bayles is a graduate of St. Olaf College and Allison Murray is a graduate of the University of North Texas, where she is currently working toward her master’s degree in music education. Bayles and Murray are the head choir directors at Blalack MS and Polk MS, respectively. Choirs under their direction consistently receive superior ratings and sweepstakes awards at contest. Mojo-Rimba, Coronado Village Elementary, Judson ISD Mojo-Rimba consists of 15 students in fourth and fifth grades who perform on Zimbabwean-style marimbas. They play Zimbabwean-influenced music as well as cover tunes. Students practice once a week during their regularly scheduled music class. Last year, this group was chosen as the only elementary group to play in a Music Showcase at the TMEA Clinic/ Convention. They have also played in the state capitol rotunda and for the San Antonio Regional Public PK–12 Education Forum at the Witte Museum. The marimba program at Coronado

54 Southwestern Musician | November 2017

Village is a huge success because of its community. The administration and staff support the program by assisting and being flexible with schedules to accommodate the program’s needs. Parents ensure their children attend rehearsals and performances. The parents have even formed a nonprofit organization to raise funds for the program. The administration at Judson ISD gives them many opportunities to shine at district events. The director, Bonnie Anderson, was a Top 10 Finalist for the 2016 Grammy Music Educator of the Year award. Her campus has chosen her as Teacher of the Year twice. She has been teaching music for 25 years and has brought World Music Drumming and Walt Hampton’s Hot Marimba classes to her campus for the development of other music teachers. Her marimba groups have even been invited to play at Carnegie Hall in the summer of 2018. Noteworthy Orff Ensemble, Mireles Elementary School, Northside ISD Mireles Elementary is a destination campus in the Alamo Ranch area of Northside ISD. Optimistic attitudes are contagious among our highly qualified,

dedicated educators. Many students participate in enriching extracurricular activities including applied technology and fine arts showcases. In addition to art and music classes, students have the opportunity to participate in art clubs, choir, dance, drama, Orff ensemble, and strings lessons. Noteworthy Orff Ensemble is a nonauditioned group of fifth-grade students at Mireles Elementary. Students practice twice a week before school during the school year. These students work collaboratively to combine elements of singing, dancing, instrument playing, and creative movement using the Orff Schulwerk approach to music education. Noteworthy performs on campus, at district events, and throughout the community. Christopher Giles founded and has directed Noteworthy Orff Ensemble since Mireles Elementary opened in 2011. He is a graduate of UT/San Antonio and is currently pursuing his master’s degree in elementary music education. In 2012, he was voted Educator of the Year by his peers. Giles is the current president of Central Texas Orff and is the TMEA Elementary Division Chair for Region 29.

CFBISD Elementary District Honor Choir

Mojo-Rimba, Coronado Village Elementary

Garland ISD Childrenâ&#x20AC;&#x2122;s Chorus Southwestern Musician | November 2017 55

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

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COLLEGE NOTES

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Collegiate student organizations

November—Renew your TMEA membership online and preregister for the convention. November—Make your TMEA convention housing reservation. November—Purchase tickets online for the 2018 President’s Concert. November 1—Texas Collegiate Music Educator award nomination deadline. November 1—TMEA scholarship online application deadline. December 31—TMEA convention mail/fax preregistration deadline. January 25—TMEA convention online early registration deadline. February 14–17—TMEA Clinic/Convention in San Antonio.

any colleges and universities across the state have local student organizations for their music education majors. Since the structure and degree of activity in these groups varies widely, I reached out to a few colleagues this month to see what they do to help encourage membership and participation in these types of groups on their campuses. Serving as a faculty advisor to a student group can be both challenging and rewarding. A strong student group can be formative for student identity and can boost the institution’s music education program visibility and reputation. Effective advisors provide a clear and consistent structural and philosophical framework within which the organizations can function. Amanda Soto is the advisor for the Collegiate Texas Music Educators organization at Texas State University, and she emphasized the role of the faculty member in helping the students learn an organization’s important administrative functions. “We’re really teaching the students how to run an organization,” she said, “and the faculty advisors can help to ensure that they are professional in their communications and activities.”

A strong student group can be formative for student identity and can boost the institution’s music education program visibility and reputation. Southwestern Musician | November 2017 57

Caia McCullar advises the Dallas Baptist Music Educators on the campus of Dallas Baptist University. She said that faculty advisors can help students navigate the increasingly complex requirements of risk management departments at universities. “We actually have a risk management officer in our organization who also serves as our chaplain.” Some of the structural elements faculty advisors can help their students with include setting up bylaws, procedures for electing or appointing officers, defining the officers’ duties, deciphering varying financial and accounting procedures at the school, and generally establishing parameters for how and why the group functions. McCullar pointed out that while the advisor may assist with structure and guidelines, it is up to the students to follow through by doing the work. With all the other obligations and opportunities that students could be involved in on many of our campuses, how can the music education student group set itself apart? Michele Henry from Baylor University runs an active student organization called the Baylor University Music Educators Association. She emphasized the unique identity and role her organization plays. “We have vibrant and active Phi Mu Alpha and Mu Phi Epsilon chapters on our campus, but what sets us apart is that we are a pre-professional organization rather than a social or service organization.” Henry takes care to emphasize

the group’s unique role of service to the community, advocacy, and professional development. “Service is important in building visibility and community goodwill,” says Henry. The students at Baylor engage in a “Clean Up the Classroom” activity each year in which students from the organization select an area classroom in which they might paint, install shelving, organize a music library, or perform other useful maintenance. Similarly, students at Dallas Baptist University volunteer several weekends each year working as monitors and aides at UIL Solo and Ensemble events and TMEA All-State auditions. Each of the advisors I visited with mentioned that they help facilitate professional development activities as part of their chapter meetings. These sessions regularly feature area teachers or music industry professionals. Other types of professional development include the Baylor “FUNdamentals” rehearsal symposium in which band, orchestra, and choral students get the opportunity to rehearse a large ensemble and receive feedback from area teachers. The Dallas Baptist University organization holds a choral rehearsal event each semester in which the students engage in social and musical activities with middle and high school students on their campus. I hope these insights into three student organizations inspire you to think about what happens on your campus. I know

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58 Southwestern Musician | November 2017

many of you have active and vibrant student organizations on your campus. If you’d like to share some of the secrets to your success, please send them to me at si.millican@utsa.edu. College Division Fall Conference Thank you to everyone who made this year’s Fall Conference at the TMEA headquarters last month a huge success. The minutes from this event will be published in the January Southwestern Musician. I am always reminded when we get together what a wonderfully talented, diverse, and dedicated group of educators make up our division. I encourage you to keep the momentum from this meeting going, and please share any thoughts or ideas that you had following our time together with me at si.millican@utsa.edu. College Exhibits For the third consecutive year, TMEA will feature an opportunity for colleges and universities to have a presence in an exclusive section on the exhibit hall floor of the Henry B. Gonzalez Convention Center during our annual convention in February. Once again, colleges may elect

either to exhibit all three days the exhibits are open or to exhibit only on Friday evening during the College Night event. The College Exhibits area of the exhibit hall will be open to all visitors—even if they don’t have a membership or participation badge. This year we are making an extra effort to promote the College Night event on Friday evening. In addition to signage for the event, we will send email invitations with details about the session to each AllState member as well as their parents and directors. As before, announcements will be made at the All-State student meetings. Additionally, the Texas Future Music Educators meeting and keynote has been moved to support their presence throughout College Night as well. We are also planning event announcements on all our social media channels. Of course, you can help boost attendance at your booth by reaching out to prospective students. Share your contact information, your booth location, and perhaps even a schedule of when select faculty may be at the booth. These are all great ways to guide potential students to your display.

BAY LOR U NI V ER SIT Y SCHOOL OF MUSIC Master of Music in Music Education

Fall 2018 Graduate Assistantships in Music Education Now Available Full Tuition and Stipend Four assistantships are available to the most outstanding applicants in band, choir, orchestra, and elementary music education. Applicants must hold a teacher certiﬁcation (or the equivalent). To learn more and to apply, visit baylor.edu/musiced. Application deadline is February 1, 2018.

Baylor University admits students of any race ce, color, national and ethnic origin, sex, agee, disabil d bil bility i , or ity or veteran v ann sta tatus. 60 Southwestern Musician | November 2017

Get more information about this event at www.tmea.org/collegeexhibits. Through a coordinated effort, we can make this the best college recruiting event of the season! Convention Housing and More If you haven’t already, be sure to register for the TMEA Convention and make a housing reservation! Most of the TMEA hotel room blocks have sold out. You can continue to use the TMEA housing system to search for available rooms (availability will vary as individual reservations are canceled between now and the end of January when the online system closes). Alternatively, reserve directly with hotels, or use other online discount systems to search for availability. You can go to www.tmea.org/ housing for more information. Know that $10 daily parking (for entry by 5 p.m.) will be available Thursday–Saturday at the Alamodome, with free shuttle service to the convention center. Go to www.tmea.org/convention for all convention details and registration information.

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