OCTOBER 2019
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Contents VO LU M E 8 8 ɵ I S S U E 3 ɵ O CTO B E R 2019
Features Building Success in a Single-Director District . . . . . 21 While working as the only music educator in a district will bring obvious challenges, it can also bring incredible rewards. [J A M E S B E E S O N , S H E R R Y M A R S H A L L , A N D L U I S Z E P E DA]
Celebrating TMEA’s Centennial: 1940–1960 . . . . . . . 32 The ’40s and ’50s were both unifying and dividing times for our nation and our professional association. [K A R E N C R O S S]
Teaching Students with Dyslexia . . . . . . . . . . . . . . . . . 45
45
When we go beyond the boundaries of traditional instruction, we can find better ways to help students who learn differently. [E L I Z A B E T H M O R R OW]
Checking Our 2020 Vision . . . . . . . . . . . . . . . . . . . . . . . 55 As 2020 approaches, it’s a great time to assess how we can better offer quality music education for all. [D E B O R A H C O N F R E D O]
Columns President’s Notes . . . . . . . . . 5 [J O E
M U Ñ OZ]
Executive Director’s Notes . . .8 [R O B ER T
F LOY D]
Band Notes . . . . . . . . . . . . . 14 [J O H N
Updates TMEA Offers Undergraduate and Graduate Scholarships . . . . . . . . . . . 2 2020 TMEA President’s Concert Featuring the Dallas Winds . . . . . . . . . 4 2020 TMEA Clinic/Convention: Important Dates. . . . . . . . . . . . . . . . . . 13
CA R R O L L]
Orchestra Notes . . . . . . . . . 27 [M IC H A EL
S T R I N G ER]
Vocal Notes . . . . . . . . . . . . . 41 [J E D
R AG S DA L E]
Elementary Notes. . . . . . . . 50 [A B I G A I L
H AW ES]
College Notes . . . . . . . . . . . 60
on the cover
On the cover: Fatima Figueroa, a senior and member of the IL Texas Garland HS Guitar Ensemble, practices during the 2019 TMEA Clinic/Convention. Photo by Paul Denman.
[V I C K I
BAKER]
Southwestern Musician | October 2019
1
Editor-in-Chief: Robert Floyd UĂ R\G@tmea.org 512-452-0710, ext. 101
Managing Editor: Karen Cross
kcross@tmea.org 512-452-0710, ext. 107
TMEA Executive Board President: Joe Muùoz PXQR]M#SHDUODQGLVG RUJ 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS
President-Elect: Brian Coatney brian.coatney@pisd.edu 2200 Independence Parkway, Plano, 75075 469-752-9396 – Plano Senior HS
Past-President: Robert Horton rhorton@conroeisd.net :HVW 'DYLV 6WUHHW &RQURH 936-709-7806 – Conroe ISD
Band Vice-President: John Carroll MRKQ FDUUROO#HFWRUFRXQW\LVG RUJ 1800 East 42nd Street, Odessa, 79762 432-553-2780 – Permian HS
Orchestra Vice-President: Michael Stringer mstringe@aisd.net :HVW $UNDQVDV /DQH $QQH[ $UOLQJWRQ 682-867-7662 – Arlington ISD
TMEA Offers Undergraduate and Graduate Scholarships To be eligible, complete all application requirements by November 1. TMEA is pleased to offer several scholarships each year for undergraduate and graduate study.
www.tmea.org/scholarships Graduating Senior Scholarships • Bill Cormack Scholarship: $3,000/year for up to five years. • Past-Presidents Memorial Scholarship: $2,500/year for up to five years. • Past-Presidents Scholarship: $2,500/year for up to five years. • Executive Board Scholarship: $2,500/year for up to five years. • One-year scholarships: $2,500 for one year only. One-Year Undergraduate Scholarships • TMEA awards one-year, $2,500 scholarships to current undergraduate students enrolled in a music degree program at a Texas college or university leading to teacher certification.
Vocal Vice-President: Jed Ragsdale MHGUDJVGDOH#WRPEDOOLVG QHW 1RUWKSRLQWH 5LGJH /DQH 7RPEDOO 281-357-3230, ext. 1106 – Memorial HS
Elementary Vice-President: Abigail Hawes DELJDLO KDZHV#FÀVG QHW 13734 Lakewood Forest Drive, Houston, 77070 281-370-4040 – Moore Elementary
College Vice-President: Vicki Baker 9%DNHU#WZX HGX 3 2 %R[ 'HQWRQ ² 7H[DV :RPDQ¡V 8QLYHUVLW\
One-Semester Student-Teacher Scholarships • TMEA awards one-semester, $2,500 scholarships to current college student members scheduled to student-teach within the two semesters following the application. One-Year Graduate Study Scholarships • Awarded to graduate students for one year only and range from $1,250 to $2,500.
TMEA Staff Executive Director: 5REHUW )OR\G | UĂ R\G@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: =DFKDU\ *HUVFK | ]JHUVFK@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: &ULVWLQ *DIIQH\ | cgaffney@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org Administrative Assistant: 5LWD (OOLQJHU | rellinger@tmea.org
70($ 2IÀFH Mailing Address: 3 2 %R[ $XVWLQ Physical Address: 7900 Centre Park Drive, Austin, 78754 Phone: 512-452-0710 | Toll-Free: 888-318-TMEA | Fax: 512-451-9213 Website: www.tmea.org 2IÀFH +RXUV Monday–Friday, 8:30 A.M.–4:30 P.M.
Go to www.tmea.org/scholarships
Southwestern Musician (ISSN 0162-380X) (USPS 508-340) is published monthly except March, June, and July by Texas Music Educators Association, 7900 Centre Park Drive, Austin, TX 78754. 6XEVFULSWLRQ UDWHV 2QH <HDU ² 6LQJOH FRSLHV 3HULRGLFDO SRVWDJH SDLG DW $XVWLQ 7; DQG DGGLWLRQDO PDLOLQJ RIĂ&#x20AC;FHV 32670$67(5 6HQG DGGUHVV FKDQJHV WR 6RXWKZHVWHUQ 0XVLFLDQ 3 2 %R[ $XVWLQ 7; 6RXWKZHVWHUQ 0XVLFLDQ ZDV IRXQGHG LQ E\ $ / +DUSHU 5HQDPHG LQ DQG SXEOLVKHG E\ 'U &O\GH -D\ *DUUHWW 3XEOLVKHG ² E\ 'U 6WHOOD 2ZVOH\ ,QFRUSRUDWHG LQ DV 1DWLRQDO E\ +DUODQ %HOO 3XEOLVKHUV ,QF 3XEOLVKHG ² E\ 'U + *UDG\ +DUODQ 3XUFKDVHG LQ E\ ' 2 :LOH\ 7H[DV 0XVLF (GXFDWRU ZDV IRXQGHG LQ E\ 5LFKDUG - 'XQQ DQG JLYHQ WR WKH 7H[DV 0XVLF (GXFDWRUV $VVRFLDWLRQ ZKRVH RIĂ&#x20AC;FLDO SXEOLFDWLRQ LW KDV EHHQ VLQFH ,Q WKH WZR PDJD]LQHV ZHUH PHUJHG XVLQJ WKH QDPH 6RXWKZHVWHUQ 0XVLFLDQ FRPELQHG ZLWK WKH 7H[DV 0XVLF (GXFDWRU XQGHU WKH HGLWRUVKLS RI ' 2 :LOH\ ZKR FRQWLQXHG WR VHUYH DV HGLWRU XQWLO KLV UHWLUHPHQW LQ $W WKDW WLPH RZQHUVKLS RI ERWK PDJD]LQHV ZDV DVVXPHG E\ 70($ ,Q $XJXVW WKH 70($ ([HFXWLYH %RDUG FKDQJHG WKH name of the publication to Southwestern Musician.
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Chris Magonigal Genesis Drum and Bugle Corps
Keith Bearden Texas Tech University â&#x20AC;&#x201C; Emeritus
Rob Towell Bryan High School â&#x20AC;&#x201C; Emeritus
2020 TMEA PRESIDENT’S CONCERT THURSDAY, FEBRUARY 13 • 8 PM • LILA COCKRELL THEATER The Dallas Winds is the leading professional civilian wind band in the United States today. The ensemble is under the inspired leadership of Artistic Director and Conductor Jerry Junkin, who is in his 25th season with the ensemble and 30th
year with the University of Texas at Austin. The Winds makes its home in one of the world’s greatest concert halls, Dallas’s Morton H. Meyerson Concert Center. Learn more about them and listen to their recordings at www.dallaswinds.org.
Tickets: $20 | General Admission Purchase tickets when you register for the TMEA Clinic/Convention, or anytime following by returning to your member record. Ticket pickup will be at the convention Information Booth.
Learn more at www.tmea.org/presidentsconcert.
Deep in the heart of texas
Artistic Director Jerry Junkin
r u o Y Get s t e k c Ti ! y a d To
4
Southwestern Musician | October 2019
B Y
J O E
M U Ñ O Z
PRESIDENT’S NOTES
The long road
N
October—Renew your membership and register for the convention. October 3, 6 a.m. CT—Convention housing reservation system opens for members. November 1—TMEA scholarship online application deadline. December 31—TMEA email/mail/fax convention registration deadline. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
ow that the beginning of school is in the rear-view mirror, we enter what some consider the most challenging time of the school year—October. I often find myself counseling students and staff during this busy and stressful time. Why is this month so different from any other during the school calendar? The simple answer is that the span from Labor Day to Thanksgiving is the longest number of teaching days we experience without a significant break. However, other factors contribute to the increased stress during this time of year. Students have forgotten the newness of the school year. Fatigue is setting in, and illness has become a factor. October brings PSAT and SAT tests, the end of a grading period, and, for our seniors, the added stress of completing college applications and writing perfect essays. If that weren’t enough, add in all the contests, concerts, and auditions that take place during this time. It’s no wonder the school community sees increased traffic to the assistant principal’s office as we deal with students increasingly having difficulty simply getting along with their peers. This stressful time and its effects, however, aren’t limited to our students. As professionals, we also become fatigued and experience many of the same stressors. I often find myself having conversations with students or staff about how to navigate this time of the year. First, we must acknowledge the above issues that contribute to the feeling that our situation is getting beyond our control. Next, we must set a plan to get through this rough patch. Often, engaging in
Publicly praising students can renew their energy and motivate them to work harder to achieve greater musical growth. Southwestern Musician | October 2019
5
conversation and simply letting a student or colleague know you understand why they feel overwhelmed helps them start to develop a plan to move forward in a more positive direction. Identifying the root causes of our challenges during this time of the year can also help us prepare to manage better and still experience success. We can plan our lessons to help reduce some of the student interaction problems that occur. Planning student activities that promote positive interactions and constructive feedback can promote a culture that allows students to support one another through the difficult times. Celebrating student success is an important part of the process. The success can be simple improvements on a fundamental exercise or skill. Publicly praising students can renew their energy and motivate them to work harder to achieve greater musical growth. One example would be noting a student’s individual sightreading improvement—this can increase their confidence and reduce the stress of an upcoming vocal audition. In turn, this increased confidence can possibly help them navigate other areas causing them
6
Southwestern Musician | October 2019
stress. Drawing correlations between the learning process for music and other disciplines can also help our students progress through this busy month. It’s also a good time of year to complete a self-assessment to determine whether we have been maintaining a healthy work–life balance. We need to take steps to prevent our own exhaustion, knowing it can result in our being short with students and can ultimately lead to professional burnout. By maintaining a healthy balance, we become a role model to our students. We can discuss ways that we navigate through this busy time of the year and offer how they might use some of those strategies to help them maintain a healthy approach to what they are doing. It could be something as simple as declaring that we are going to spend one hour a night dedicated to uninterrupted me-time. As you think about ways to improve your own work–life balance, review some valuable articles that we have published on this topic. To view past issues online, go to www.tmea.org/ emagazine. You can also visit the magazine archives at www.tmea.org/archives where you can search for and download
PDFs of the articles: • How Busy People Thrive, May 2019 • Achieving the Balance We Need, September 2018 • Your First Six Months—Strive and Thrive, August 2016 • Mastering the Balancing Act, August 2008 As seen by the article dates, we often examine this topic at the beginning or end of a year. It’s important, though, to continue to assess our own personal and professional health during the busy times of the year. This can be the best way to effect positive change and personal growth. Reaching out to our colleagues during this busy month is another way we can have positive interactions to foster a healthy profession. How can we help new and experienced teachers feel valued and appreciated? A simple gesture of “How are you doing?” or “Let’s get together for lunch!” can go a long way toward letting people know they are an important part of your staff, cluster, or team. Cultivating mentoring activities can be vital to the
success of music educators and ultimately of music education. Take time to collaborate and engage with other teachers so each party has a sense of accomplishment and value. Get together over coffee with another teacher or a few teachers for a simple discussion about one of the articles I mentioned earlier. Having healthy conversations between music educators sets a foundation for growth and health as music educators. We recently received this feedback from one of our members about the TMEA Mentoring Network: “Let me say that this program is awesome! Plus I had/have the most fantastic
mentor ever! Seriously, my mentor is so good at this! Coming from a band/elementary music background, I have found choir at the secondary level a little overwhelming. My mentor’s help and advice has been invaluable in helping me in my new job! My mentor always responds (usually immediately) to any question I have (no matter how silly) with support and helpful tips. My mentor has helped both me and my students to be successful. I am continuing to stay in contact with my mentor and rely on her expertise. I would happily advise anyone I know to take advantage of this program!”
If this appeals to you—either as someone who could help others or as someone who could benefit from this type of support, enroll in the TMEA Mentoring Network today. Go to www.tmea.org/ mentor to learn more and enroll. In addition to what our network can offer, remember that mentoring does not have to be a formal process. We can each mentor others, and regardless of our number of years of teaching, each of us can use a mentor! I hope you have a successful October and that you find ways to keep everything in perspective for you and your students.
Everyone Can Use a Hand The TMEA Mentoring Network is a program of one-on-one mentoring for new teachers and those new to Texas.
If you need a mentor, sign up. If you can serve as a mentor, sign up.
www.tmea.org/mentor Southwestern Musician | October 2019
7
EXECUTIVE DIRECTOR’S NOTES
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Excellence through competition
I
n last month’s column I shared thoughts about the importance of the kind of culture you create in your classroom and program in these days of ever-changing times in public education and how dealing with competition is a critical component of that culture. But before you assume this is another epistle on the evils of music competition, read on. Reviewing documents from our TMEA archives, as well as back issues of Southwestern Musician and our earlier publications, it is clear that the same challenges and issues facing music education today were also our predecessors’ struggles. Legislative challenges and legitimacy as an academic discipline, teacher shortage, and recruiting and retention are just a few. But perhaps one that has occurred more than all the others throughout our history has been the role of competition. As you may have read in Karen Cross’s articles this fall, promoting municipal bands and their leaders through competition was the primary reason for the initial formation of our association. The first recorded contest was in that 1920 founding year. According to Jack Mahan (1949–1950 TMEA President), “By 1922 the thrill of conquests had begun to overshadow the ideals leading to a firm foundation for the music program. The attitude of deception rather than sincerity was prevailing in the contests. The elements of growth and organizational development seemed to be cast aside in favor of winning a prize.”
Our goal must always be to refine the process to better serve students and programs. 8
Southwestern Musician | October 2019
October—Renew your membership and register for the convention. October 3, 6 a.m. CT—Convention housing reservation system opens for members. November 1—TMEA scholarship online application deadline. December 31—TMEA email/mail/fax convention registration deadline. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
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In those early years a win-at-all-costs mentality was demonstrated by participants utilizing ineligible players and by directors performing with their ensembles, a rule violation. In 1929 a Code of Ethics was established to encourage members to follow competition rules and regulations and minimize the ill will created by the tense level of band competition. In 1936, it was reported that superintendents believed band programs were having too many contests, taking too many trips, and losing too much time from school. The addition of choir contests and more civic and chamber of commerce festivals and the advent of college band festivals all contributed to this growing emphasis on competitions of all types. Sound familiar? It was in the mid ’30s that the vocal educators (called “songbirds” by the band directors) began pushing for membership. There were already vocal contests in regions around the state, but they wanted official recognition on par with band and orchestra teachers. In 1938, after bitter fighting, the choir teachers were invited to membership and the name was changed to Texas Music Educators Association.
Competition Under Scrutiny During the 1939–1947 years, competition continued to be an overriding problem for band programs. By 1940 there is evidence that the school administrators were seriously looking into what they called the band problem, and administrators instructed the University Interscholastic League to begin to explore creating music contests to compete with the TMEA competitions. To counter this possible action, TMEA passed a resolution “that the members of TMEA continue their efforts to build a competition festival program in line with the educational principles of education and to continue our fight against the commercial and advertising type of contest.” In 1941, F.C. McConnell, superintendent of schools at Gladewater, addressed the TMEA State Board about administrative concerns, and stated, “We do not want to see band music get on the level of football.” As a result, an administrative state survey was conducted to evaluate band problems, namely, legislative (control), contests, and expenses of the band programs. It should be pointed out that while there were orchestra and choral
competitions, administrative focus was on the band problem because those programs were more significantly consumed by contest participation and outcomes. It wasn’t until November of 1946 that the UIL approved a plan of competition that was incorporated into the Constitution and Rules and Regulations of the League. Exactly when the UIL plan was accepted by school administrators is a confusing point, but it was in 1947 that the UIL report was adopted by TMEA, 18 months after TMEA was forced to recognize that the UIL had taken over the contests. Since the ’40s, the good and bad of marching band competition has continued to be an ongoing topic of discussion by TMEA leadership and directors across the state, and it has triggered several articles in Southwestern Musician. In July of 1948, Ralph Jones wrote an article entitled “The Marching Band—A Multi-headed Monster,” in which he attacked the time spent in marching band and the negative impact it had on teaching students to play an instrument. He advised music educators that “you are the only persons who are in a position to point out the folly to school administrators of the continuance
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of this detrimental factor in the music education program.” He concluded, “There is a brilliant future for wind organizations, but not until all the time, effort and money are spent on achieving a musical result.” In 1972, under the guidance and recommendation of UIL State Music Director Dr. Nelson Patrick, a UIL special study committee declared marching bands to be a fully legitimate medium for music education and an essential part of any welldeveloped band program. As a result, a state marching contest was created in 1979, sponsored by the University of Texas at Austin but not fully sanctioned by the UIL. The event became fully UIL-sanctioned in fall of 1983. While the value of the marching band experience continued to be debated after this action was taken, it was not until 2002 that the TMEA Executive Board assembled a committee in collaboration with UIL to review the role of marching band in music programs, striving to address the growing concerns of abuse in the following areas: • noncompliance with the 8-hour rule, • excessive number of events in a given week, • excessive number of events in a given month, • excessive time spent in closure after an event, and • not providing time for tutorials or other academic needs. TMEA and UIL agreed on a philosophical statement that the administration and maintenance of a marching band program should not be to the detriment of other musical content areas. Beyond the Football Field Other competitive programs that have served TMEA members through the years are our Honor Band program, created in 1958 by Joe Frank, Sr., and our Honor Orchestra program, implemented in 1960 by Dale Brubaker. The purpose of these programs was twofold. Many educators believed that through the process of hearing and observing the results of quality teaching, directors could develop their own instructional skills to a higher level. In addition, selection of Honor Bands and Orchestras representing different classifications and middle or high schools recognized communities and school systems that successfully supported music in edu12 Southwestern Musician | October 2019
cation through their instrumental music programs. Through the years, participation has been robust, and the recognition of exemplary programs through the Honor Band and Orchestra selection process has become a most sought-after goal by many directors. Teachers throughout the state have learned from these master teachers by attending Honor Band and Orchestra performances and clinics. The Honor Band and Orchestra policies and guidelines have been refined on several occasions to maintain the integrity of the process. A committee to review the band procedures met this past June, and those recommendations are moving through the process toward adoption. For the selection system to accomplish its true purpose, all involved must adhere to established procedures and share responsibility for maintaining high ethical standards. Quoting the Honor Band rules, “In the final analysis, preparation and participation must be consistent with worthwhile educational goals without exploitation of students or the system.” Interestingly, the Honor Band committee that met this past summer to explore possible rule changes ultimately spent much of their time engaged in a deep dive into how participation in the process supports the culture of what a quality music program should represent—or doesn’t. Again, sound familiar? Not to be overlooked, individual competition leading to All-Region and AllState has been a major component of how TMEA has served students and programs through the years. This program has not been without controversy as related to AllState structure and designation, audition policy, and Region and Area alignment. Executive Boards and appointed committees have spent countless hours over the years searching for ways to best serve students by refining the audition process and adding ensembles as participation numbers have grown. Historically, the following topics tend to dominate discussion on individual competition: Should the makeup of the AllState ensembles represent the best young musicians in the state or best musicians based on geographical representation? Is the audition material too difficult or too easy? Does overemphasis on this process by directors, as well as students, mean that students are working on three etudes or excerpts up to six months, chasing perfection, and at what costs? Can we defend
the system from an educational perspective? These are all complex questions that TMEA leaders will continue to wrestle with for years to come. Our goal, however, must always be to refine the process to better serve students and programs, not to create a muscle-flexing opportunity for a student who has earned All-State designation or for a program to boast on how many All-State students they have placed. Continuing to Strive for Musical Excellence Over the past 25 years, several articles have been written about the utilization of competition as a teaching tool and a motivator for improvement. You may read several articles by searching the online Southwestern Musician archives using the keyword “competition.” When someone asks me what makes Texas music ensembles so good through the years, I answer by saying outstanding, dedicated teachers, supportive administrations, protection of fine arts in state law and rule, and most importantly, that we all strive to achieve a standard of musical excellence in performance as set by the University Interscholastic League in the Concert and Sightreading Evaluation process. In a 1946 joint meeting between TMEA and UIL to develop a UIL Contest Plan Guide, the representatives agreed on the following statement: “Achieving the ultimate in excellence of a performance shall be the goal instead of ‘winning.’ The competition is designed to motivate musical education throughout the years rather than to prepare for a contest.” Prior to that meeting a similar statement had been drafted by TMEA and TASA. There is no question proper utilization of competition has served us well as music educators. Richard Floyd, UIL State Director of Music Emeritus, summed it up best in a 1984 Southwestern Musician article in which he stated, “The issue is not one of questioning the value of contests but of assessing the emphasis that individuals, schools, and communities place on the results.” To this end we must all be mindful of the role we must play in making the competition experience truly supportive of our goals for effective teaching and learning in the classroom, resulting in life-changing experiences for our students.
2020 TMEA Clinic/Convention Fe b r u a r y 12–1 5 • S a n A n to n io W W W.TME A .OR G/CONVENTION
Celebrating Our Centennial!
r e t s i g e R Today!
IMPORTANT DATES October 3, 6 a.m. CT Convention Housing Opens December 31 Email/Mail Registration Ends January 23 Early Online Registration Ends Southwestern Musician | October 2019 13
BAND NOTES
B Y
J O H N
C A R R O L L
In Memoriam Earl Rettig December 26, 1939–June 10, 2019
Speaking for our students
I
hope this finds you enjoying a semester that’s even better than what you expected a short couple of months ago. Have you put into practice some great ideas you learned since last fall? While some are out of my comfort zone, I’ve tried to incorporate new strategies. Though I am not used to certain things yet, I am grateful for ideas from others on ways to improve our teaching. I hope your success stories, even this early in the school year, are plentiful, and that you have found ways to tout your program to the public. These days, it seems that we hear the words advocacy and marketing more often. TMEA spends much of its efforts on each of those concepts to ensure our state’s leaders and the public understand the importance of high-quality music education for all. Many of you have been using the hashtags #TMEA100 and #itstartswithmusic not only to celebrate our association’s centennial but also to promote the successes of our students and the value of having music as a meaningful part of the curriculum. I hope you are thinking of ways to advocate for your students and to give them due recognition. Great directors know the students are the ones deserving the honor. Perhaps at the TBA convention or at your Region meeting, you heard about some specific ways in which we can market our programs. Be sure this includes following or liking TMEA on Facebook, Twitter, and Instagram.
Great directors know the students are the ones deserving the honor. 14 Southwestern Musician | October 2019
October—Renew your membership and register for the convention. October 3, 6 a.m. CT—Convention housing reservation system opens for members. October 19—Deadline for All-State Jazz audition recordings. October 22—Deadline to upload AllState Jazz recordings. November 1—TMEA scholarship online application deadline. November 9–10—All-State Jazz judging. December 31—TMEA email/mail/fax convention preregistration deadline. January 11—Area Band and Vocal auditions. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
2020 ADMISSION & SCHOLARSHIP AUDITION DATES: FEBRUARY 22 MARCH 14 MARCH 21
(INSTRUMENTAL ONLY)
APRIL 4
(VOCAL ONLY)
Auditions are required of all entering and transferring music majors. Additional dates upon request.
DEPARTMENT OF MUSIC
tamuc.edu/music | 903-886-5303
@TAMUCMusic
|
@TAMUCBands
@TAMUCVocalDivision
There are numerous ways to be an effective advocate. Some might be to share posts and Tweets about your students’ accomplishments through your school platforms and at your local concerts. One might also be to speak words of advocacy at concerts, including the musical successes of your students, the test scores of fine arts students, and an appreciation of TMEA and UIL and what they do for all students. These are a few suggestions that I mentioned at the Region and Area Band Chair training at TBA this past summer. The band directors in this great state are creative, thoughtful, and wise. You may come up with ideas to publicly support our programs that nobody else has ever thought of. When you do, share them online and include #TMEA100 and #itstartswithmusic.
X Each book contains over 100
exercises and chorales grouped by key, providing plenty of source material for learning how to balance and create a rich, full sound. X This resource bridges the gap
between method books and performance music, preparing students for numerous scenarios by isolating specific ensemble performance skills and providing many exercises to develop them. X The chorales are beautiful, lyrical
selections designed to incorporate the isolated skills, promoting critical listening for tone, tuning, balance, rhythm, and more, and are written by many of today’s most performed composers.
The Midwest Clinic I hope you will consider attending the Midwest Clinic in Chicago in December. I certainly realize many directors are not able to leave work at the end of the semester, but if you can, I hope you’ll attend. If you do, make plans to support our Texas colleagues and their wonderful students as they perform at this wonderful conference. Texas will be represented well. And Chicago—right before Christmas? Beautiful!
through advanced band.
“
The Ensemble Development books have been great in helping us prepare for solo and ensemble festival. My students have grown tremendously with the different skills provided in the exercises. The wide variety of chorales are a blessing to have, as I’m always looking to expose my group to a better sound. The structure of the book is the best part of it. It makes lesson planning very easy.
“
TMEA Clinic/Convention Update Please attend the TMEA Clinic/ Convention in February. As I said last year, even if you have an early schedule for UIL Concert & Sightreading Evaluation, I hope you will still attend—this is your best opportunity for targeted professional development and musical inspiration! You might even pick up another tip on how to better advocate for and market your ensemble. The TMEA discounted convention housing system opens October 3. You can access it from www.tmea.org/housing. Be on alert that hotel scams through email and phone calls have been prevalent in past years, and I’m sure that will continue! TMEA will never call you to offer convention hotel deals. As always, go directly to the TMEA website to begin the process. Several members of our division have already volunteered their time to help, but we could surely use some more. Please volunteer at www.tmea.org/bandvolunteer.
X Three levels are available for young
Irone Roussell Director of Bands Scotlandville Magnet High School
Learn more at alfred.com/SI-Band.
Southwestern Musician | October 2019 17
You are needed. It doesn’t require a significant amount of your convention time. We have an especially important need for volunteers to be presiders for the clinic sessions, and guides for performing ensembles. If you have already volunteered, thank you.
Aledo Middle School Band CCC Honor Band Runner-up Joey Qualls, Director “Since 2008,
RhythmBee has consistently helped our students develop a rhythmic vocabulary and a strong internal pulse. I like how RhythmBee teaches rhythms, and the sequence of the lessons works well. RhythmBee makes the student watch for pulse, placing tempo responsibility on each student. That important helps middle school students Įnd success in our full ensembles.” Elementary Music Bundle - $100 Band Bundle - $225 Choral Bundle - $225 Orchestra Bundle - $175 Contact us at: orders@rhythmbee.com 903-725-3304
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All-State Specialty Instrument The only specialty instrument for 2020 All-State is contra-bassoon. Go to the AllState Band auditions material page for information on submitting an audition recording by the December 15 deadline. All-State Conductors The programs chosen by our All-State conductors are of the highest quality and will offer great performer and audience appeal. I hope your schedule will allow you to stay through Saturday of our convention to hear these outstanding groups. Also remember that some All-State rehearsals are open (those are specified in the convention schedule). Sitting in a rehearsal can offer an incredible learning opportunity! I am very excited to announce our 2020 All-State Band Conductors. The students who will rehearse under the batons of these fine teachers will certainly have an awesome (I don’t use that word lightly) experience they will remember for the rest of their lives. Frank Ticheli All-State Symphonic Band Frank Ticheli joined the faculty of the University of Southern California’s Thornton School of Music in 1991, where he is Professor of Composition. From 1991 to 1998, Ticheli was Composer in Residence of the Pacific Symphony. His orchestral and choral works have received recognition in the U.S. and Europe, but he is best known for his works for concert band, many of which are standards in the repertoire. Ticheli is the recipient of a 2012 “Arts and Letters Award” from the American Academy of Arts and Letters. His Symphony No. 2 was named winner of the 2006 NBA/William D. Revelli Memorial Band Composition Contest. Other awards include the Walter Beeler Memorial Prize and First Prize awards in the Texas Sesquicentennial Orchestral Composition Competition and Virginia CBDNA Symposium for New Band Music.
In 2018, Ticheli received the University of Michigan Alumni Society’s highest honor, the Hall of Fame Award, in recognition of his career as a composer. He was awarded national honorary membership to Phi Mu Alpha Sinfonia, “bestowed to individuals who have significantly contributed to the cause of music in America,” and the A. Austin Harding Award by the American School Band Directors Association, “given to individuals who have made exceptional contributions to the school band movement in America.” Robert J. Ambrose All-State Concert Band Robert J. Ambrose is a versatile musician who pursues a wide range of professional activities. Ambrose serves as Director of Bands at Georgia State University, a research institution of over 53,000 students located in Atlanta. Under his direction, the Georgia State Band program has received recognition with performances at the College Band Directors National Association Southern Division Conferences, the Macy’s Thanksgiving Day Parade, and the 2013 Presidential Inaugural Parade, and with internationally distributed recordings on the Summit and GIA labels. Ambrose is in demand as a conductor throughout the world and has conducted on four continents. Recent engagements include performances in Australia, Canada, Finland, Germany, Greece, Singapore, and Taiwan as well as across the United States. He has also served as a guest conductor on tour with the United States Army Field Band. Ambrose is Founder and Music Director of the Atlanta Chamber Winds and the Washington D.C.-based National Chamber Winds, Co-founder of Bent Frequency Contemporary Music Ensemble, and Founder and Principal Guest Conductor of the Metropolitan Atlanta Youth Wind Ensemble. Ambrose’s transcriptions and editions are published by Presser Music, C. Alan Publications, and Fennica Gehrman, and his arrangements appear on several state music lists. Ambrose studied at Boston College, Boston University, and Northwestern University, where he received a doctor of music degree in conducting. Ambrose is a Conn-Selmer Educational Clinician.
Kevin M. Geraldi All-State 5A Symphonic Band Kevin M. Geraldi is Director of Instrumental Ensembles and Associate Professor of Conducting at the University of North Carolina at Greensboro, where he conducts the UNCG Symphony Orchestra, Wind Ensemble, and Casella Sinfonietta and teaches conducting. Geraldi appears regularly as a guest conductor and he maintains an active schedule as an adjudicator. Committed to promoting contemporary music, he has commissioned and premiered numerous compositions and collaborated with composers including Philip Glass, Steven Bryant, and John Mackey. His recordings with the Minerva Chamber Ensemble, Casella Sinfonietta, and UNCG Wind Ensemble are available on the Equilibrium and Centaur Records labels. A devoted advocate for music education, Geraldi conducts many clinics annually with high school ensembles throughout the country, and he presents frequently at conferences. Geraldi earned a doctor of musical arts and master of music degrees in conducting from the University of Michigan and a bachelor of music education degree from Illinois Wesleyan University. Bob Lark All-State Jazz Ensemble I Bob Lark is recognized internationally as a contemporary jazz educator and performer of integrity. His approach to pedagogy and rehearsal techniques has been noted by participation in professional conferences, publication of articles, recordings as both a performer and ensemble director, and the direction of numerous student honors ensembles. Down Beat magazine recognized Bob’s work in 2010 with their Jazz Education Achievement Award. As a performer, Lark is a trumpet player whose performances are especially notable for his lyrical style and warm tone. He serves as a Professor of Jazz Studies at DePaul University in Chicago, where he directs the university Jazz Ensemble and teaches jazz trumpet and courses in jazz pedagogy and style. Under his direction, the DePaul University Jazz Ensemble has
earned several Outstanding Performance Awards from the Jazz Educators Journal, Down Beat, and Jazz Times magazines and has recorded albums with legendary jazz artists Phil Woods, Louie Bellson, Jeff Hamilton, Slide Hampton, Mark Colby, Bobby Shew, and Chicago Symphony Orchestra members Charles Vernon and John Bruce Yeh. Lark is an active guest conductor. Prior to his appointment to DePaul University, he was an Assistant Professor of Music at Emporia State University, Kansas. He holds both a doctor of musical arts degree and a master’s degree from the University of North Texas and a bachelor of music education degree from the Ohio State University. Chip Crotts All-State Jazz Ensemble II Chip Crotts serves as Professor of the Practice and Director of Jazz Studies at the Georgia Institute of Technology. A Grammy-nominated artist, Crotts maintains an active career as a first-call musician and has worked for the Disney Company, Ray Charles, Natalie Cole, Boston Brass,
The Manhattan Transfer, Frankie Valli, The Temptations, and Maynard Ferguson, among many others. Crotts has also been a featured soloist in some of the world’s premier musical venues, including Blue Note NYC, Hollywood Bowl, Birdland, Blues Alley, and Carnegie Hall. As a clinician, Crotts presents internationally on topics such as jazz pedagogy, brass pedagogy, versatility in performance, breathing for wind players, and adjudication in the marching arts. Crotts is also active in the pageantry arts and is presently brass co-caption head for the Blue Devils Drum and Bugle Corps. A respected adjudicator, Crotts works yearly for organizations such as Bands of America, Drum Corps International, Drum Corps Japan, DCI Taiwan Marching Academy, and Winter Guard International. Crotts serves as Vice-President of Georgia Association of Jazz Educators, and he is a past fellowship recipient from the Aspen Music Festival and Music at the Banff Centre (Canada). Previously, he served on the faculties of Samford University, Jacksonville State University and UT/Austin. Crotts is a Bach Performing Artist and Conn-Selmer Educational Clinician.
October 3, 6 a.m. CT Convention Housing Opens WWW.TMEA.ORG/HOUSING
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Oboe & Bassoon Rentals Oboe & Bassoon Reeds Reed Making Tools Reed Making Supplies Books & Music Accessories
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BRIGHAM YOUNG UNIVERSITY SCHOOL OF MUSIC
TRUTH IN GREAT MUSIC Learn more about auditions, programs, and scholarships at music.byu.edu or 801-422-2660.
Building Success in a Single-Director District
By James Beeson, Sherry Marshall, and Luis Zepeda
W
ith more than 660 Texas high schools classified as 1A–3A, many of the music educators across our state function as the sole director in their district (including some just beginning their careers). Because student-teaching typically happens in larger schools near the university, new educators often arrive without a complete picture of what a small-school director’s job encompasses. Some seek out these jobs because they believe the work in a small district is simpler, and some are looking for a springboard to a larger school. However, like us, there are also music educators who want to teach in a small-school environment for what it offers. Whether you’re just starting a career in a small school or are considering it for your future, we offer the following information—ranging from paperwork to pedagogy, and schedules to sectionals—based on our collective years of experience teaching in small schools. The biggest challenges stem from scheduling and time management. How do you find time to work with sectionals and solos and ensembles, complete purchase orders, log student information, and do much more while still managing to eat lunch? The truth is, it is all achievable. Each of us have not only had successful results at marching, concert, and sightreading contests, but we also have continued participation in Region Band and solo and ensemble while also teaching elementary through college—often in the same day. There is no way to cover every situation single directors experience, but we hope the following can be a good starting place.
In the Classroom Classroom Culture: Creating a positive classroom culture and work ethic is vital to the success of our programs. Directors will find that much of that success depends on the ability to rely on help from students. Develop high expectations for your student leaders and insist on a high degree of trust between the director and students and between the students themselves. Once this positive and productive culture is established, students will be motivated to self-monitor, stay on task, and even lead rehearsals. • Substitute teachers: If you must be absent from school, student leaders or drum majors can lead a full band rehearsal or sectionals. A substitute in the classroom could mean the loss of an entire rehearsal, but with good practice habits and expectations, students can and will continue the rehearsal process. • Pull-outs: It is impossible for a single director to work with individuals or sections during the class period. However, with guidance, students can work individually or in small groups with small and specific goals. High school students can also be a tremendous help with younger students by pulling out small groups. • Solo and ensemble: Software, such as SmartMusic and Notion, can be used extensively to aid students in learning new solos and ensembles during times when the director is unavailable. Southwestern Musician | October 2019 21
We must find ways to maintain our positive energy even when it doesn’t seem like things are improving. We must respect the amount of patience required to grow success. Assessment As the sole director, you are the only person responsible for all the assessments in every class. Often, these are somewhat large classes of heterogeneous instrumentation. The knowledge base needed is extensive, and classroom management is often a challenge during individual assessments. • The director must be the woodwind, brass, percussion, and guard specialist. Directors need to take the time to become more familiar in areas where they are weakest.
• While it comes with a high price tag and requires time to learn how to navigate the software, QuaverMusic.com has become a favorite of elementary music teachers, with a wide-reaching and customizable curriculum. You can teach the curriculum week-byweek or simply choose elements you want to use. It includes Orff, Kodály, song-based lessons, recorders, and many other aspects of childhood music learning theories.
• Programs such as Google Classroom and SmartMusic allow students to record individual assessments and submit them for grading. Assign students a four-measure selection. They record the assignment at home or in a practice room, and the director can grade it outside of class time, allowing the focus on ensemble techniques to continue.
• Plastic instruments (e.g., pTrombone, pTrumpet) are growing in popularity, especially with upper elementary grades. They allow students to experience playing without the high cost of traditional instruments, and as they learn to play them, the director can ascertain where the student will experience the most success in a beginner band program. This option would require the purchase of class sets of the pInstruments which can be pricey for larger classes.
Elementary Music Directors in small schools often find themselves teaching elementary music as young as preK. Classes might meet once daily or weekly and may last anywhere from 20 minutes to an hour. Elementary music schedules are often ambiguous and variable.
Positive Energy To be blunt, the job of a single director is incredibly challenging and sometimes exhausting. However, we must find ways to maintain our positive energy even when it doesn’t seem like things are improving. We must respect the amount of patience required to grow success.
• Attending Orff or Kodály training can help any band director suddenly faced with teaching young children. Level 1 Orff training will prepare a director to lead young students through the “imitate and create” process that is the cornerstone of Orff. The keyboard instruments used in the Orff classroom can be expensive. If those aren’t within your budget, you could consider less expensive percussion instruments such as hand drums, tambourines, and rhythm sticks, and Boomwhackers make a good economical choice for pitched instruments.
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• Don’t try to fix everything at once. Evaluate where changes need to be made, make a list, and develop a reasonable plan of action to take the program through a process of change. • Once the process is determined and a schedule of goals is created, you must trust the process. Sometimes change is slow to happen, and often it is difficult to see. • A crucial part of this process is based on leadership and positive classroom culture. The leaders of the organization will create the motivation for the others to follow. Trust these students to help move toward the set goals.
• As all this change and upheaval is taking place, we need to make sure to maintain open and communicative relationships across the district. This includes not only students and parents but also teachers, athletic staff, and administration. With open communication across the district, each of us can help encourage students to maintain a positive outlook. Don’t Become Overwhelmed— Ask for Help No single person can have all the answers. It always helps to consult other directors about issues and ideas. Find a friendly sounding board to talk shop with or vent frustrations. There are many avenues for inspiration and advice. • Texas Music Educators Association offers a mentoring network that will pair a new director with a more experienced director in a nearby district. A mentor director, either through this program or through a personal affiliation, can provide invaluable support (go to www.tmea.org/mentor). • The Texas Band Director Yellow Board is an online forum created specifically for use by band directors across the state. This site can be a good place to get a quick question answered or ask for very specific information. Understand that this is a public forum, and although monitored well, there will inevitably be conflicting posts. • If there is a nearby college with a music program, professors and college music students are a valuable source for assistance. Professors often provide a wealth of knowledge, and many students welcome the opportunity to work with younger students. Communication and Organization Communication: If a comprehensive and accessible handbook for the overall music program (all ages and courses) doesn’t exist, start one. The handbook should include detailed requirements for all aspects of the program, requirements for leadership positions, and specific penalties for students who fail to comply with the organization rules. Create a working and accessible website that can be accessed by students, parents, and staff. The website needs to be cohesive
and well-organized so anyone can navigate quickly to the information needed. And, if you don’t know how to do this, ask a student—you can be sure they will. This will be the most effective method of communication with your students and parents. There are several free site builders out there (Google Sites, Wix, Weebly, WordPress) that are incredibly user-friendly and easily linked to a school site. Check with your district to learn about any requirements they have for websites and social media. Make use of Charms, Band, or Remind for an easy way to communicate with all students and parents quickly and easily. These programs allow you to send messages efficiently to an entire group of people via text or email. Paperwork Enlisting the help of student aides takes a tremendous load off when it comes to making copies, filing music, keeping paperwork in order, and performing many other tasks that could easily eat up valuable rehearsal or preparation time. Depend on your student leaders and include specific duties in the handbook such as the librarian filing music, the uniform clerk maintaining uniform checkout, and the drum major keeping rehearsal attendance records. Use Google Forms or a similar platform to create any forms you need for students and parents. They can easily be sent out via email or website, and information will be automatically collected and organized, eliminating the need for typing. Utilize every available resource to simplify paperwork throughout the organization. Many directors value the Charms cloud-based organizational program, but this option isn’t cheap. If you can’t afford something like that, basic templates and forms can be created and maintained in any spreadsheet program.
and it may be necessary to advocate alone for your program. Know your district requirements for lesson plans. Directors working alone in a district often have multiple preps and could have lesson plans for every grade level. Creating lesson plans from scratch can be overwhelming and time-consuming. Utilize the lesson plans and scope and sequence suggestions from method books, music textbooks, and programs such as Quaver. Reach out to veteran directors of small schools for help—many music educators have been in your place and they will want to make your life easier. Be prepared to have discussions with administrators and school board members about the needs of the program. Instruments are expensive and they wear out. Larger instruments are often neglected. Keep inventory and track the age of equipment. Create a replacement plan for instruments and uniforms and understand the procedures for taking these requests to the school board. It is imperative to know how to plan for and manage a budget. A program will have several budget accounts as well as an
activity account. Ask for help to understand how each budget code is to be used and how much is allotted in each account. Know what is expected as far as purchase requests and billing. It is vital to have a grasp on the time required to process a request so you can ensure timely payment for important contest deadlines. Repercussions for missed contest deadlines fall on you, not your business office. Working as a single director within a school district can be a challenge, yet with proper motivation and organization, it is also one of the most rewarding positions in our profession. One of the greatest aspects of taking on this commitment is getting to witness young students grow at every stage of development into excellent musicians and outstanding citizens. You will take great pride in knowing the success and strength of the music program helped build that character. James Beeson is the band director at Bosqueville ISD (2A); Sherry Marshall is the band director at Woodsboro ISD (2A); Luis Zepeda is the band director at London ISD (3A).
Administration Requirements Maintain open communication with all administrators. It is important for the administration to understand the process of program growth and your goals and intentions. Sometimes it will be necessary to have uncomfortable conversations about missed goals or deadlines. Although directors wish for magical strides in the first year, the reality is that growth will be gradual. This expectation needs to be set in an open conversation with your administrators. They aren’t always aware of the struggles of working without an assistant, Southwestern Musician | October 2019 23
WELCOMES NEW FACULTY
Daniel Cook
Andrew Chung
Wind Studies/Athletic Bands
Music Theory
Justin Lavacek Music Theory
Philip Dizack
Jazz Trumpet - Improvisation
Kristina Caswell MacMullen Choral Studies
EXPLORE WHAT WE HAVE TO OFFER: MUSIC.UNT.EDU
The UNT College of Music â&#x20AC;&#x201D; serving our diverse musical culture with excellence, integrity, and imagination.
Audition Dates for 2020 University of North Texas - Denton Saturday, January 25, 2020 Friday, January 31, 2020 (Graduate Percussion, Piano, String, Voice and DMA Jazz Auditions ONLY)
Rob Parton
Jazz Trumpet - Lead
Andrew Trachsel
Saturday, February 1, 2020 Saturday, February 29, 2020
Wind Studies
A UNT education develops graduates who are exceptionally accomplished and consistently competitive at the highest level of their chosen profession. Leading opera companies, symphony orchestras, military bands, recording studios, educational institutions ranging from elementary through higher education programs, and houses of worship regularly employ musicians who have studied at UNT.
Willem van Schalkwyk Opera
Brian Wright Music Theory
COMPOSITION | CONDUCTING | ETHNOMUSICOLOGY | JAZZ STUDIES MUSIC EDUCATION | MUSIC ENTREPRENEURSHIP | MUSIC HISTORY MUSIC THEORY | PERFORMANCE | PERFORMING ARTS HEALTH
TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC
SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music. For specific qualifications for each award, visit www.tlu.edu/music-scholarships.
SCHOLARSHIP AUDITION DATES: Saturday, November 16, 2019 TLU Performing Arts Scholarship Invitational Saturday, February 22, 2020 | 1-3 p.m. Saturday, March 28, 2020 | 1-3 p.m. Saturday, April 18, 2020 | 1-3 p.m. Individual audition dates may be requested if necessary.
SCHOOL OF MUSIC DEPARTMENT HEADS
Elizabeth Lee Asst. Professor, Cello
Douglas R. Boyer Director, School of Music and Director of Choral Activities dboyer@tlu.edu 830-372-6869 or 800-771-8521
Wei Chen Bruce Lin Asst. Professor, Piano
Beth Bronk Director of Bands bbronk@tlu.edu
Scott McDonald Instructor, Saxophone & Jazz Band
Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu
Carla McElhaney Asst. Professor, General Music
Eric Daub Director of Piano Studies edaub@tlu.edu Eliza Jeffords Director of Strings ejeffords@tlu.edu
BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION | BACHELOR OF MUSIC IN PERFORMANCE | BACHELOR OF ARTS IN MUSIC
David Milburn Instructor, Double Bass Kurt Moede Instructor, Horn Sung-Eun Park Asst. Professor, Collaborative Pianist Keith Robinson Instructor, Tuba & Music Education
FACULTY Mark Ackerman Instructor, Oboe Adam Bedell Instructor, Percussion Carol Chambers Instructor, Music Education Paula Corley Instructor, Clarinet
WWW.TLU.EDU/MUSIC
Deborah Mayes Choral Accompanist
Chad Ibison Asst. Professor, Guitar Hilary Janysek Asst. Professor, Flute & Music History Monica Kang-Sasaki Asst. Professor, Piano
Jill Rodriguez Instructor, General Music Robert Mark Rogers Asst. Professor, Bassoon Shaunna Shandro Asst. Professor, Voice Eric Siu Asst. Professor, Violin Sophie Verhaeghe Instructor, Violin Steven Vogel Instructor, Trombone & Euphonium Lance Witty Asst. Professor, Trumpet Simeng Wu Asst. Professor, Collaborative Pianist
B Y
M I C H A E L
S T R I N G E R
ORCHESTRA NOTES
Time to check in
A
s the end of the first six weeks draws near, it’s a great time to check in with some important people around you. I go into every school year with the goal of reaching out to those around me more frequently, with the purpose of helping them through difficult times in their school year or having them help me with my own tumultuous times. Usually, by early October, I realize that, yet again, I have failed miserably at my goal of connecting more meaningfully with these people. Life and school have become busy, I am doing final preparations on the all-important fall concert, and it appears that those around me are just as busy as I am and don’t have time for me to bother them with my silly problems. What I neglect to consider is that those around me are probably thinking the same thing, and a simple call from me would be the reminder they need to know they are not alone.
October—Renew your membership and register for the convention. October 3, 6 a.m. CT—Convention housing reservation system opens for members. November 1—TMEA scholarship online application deadline. December 31—TMEA email/mail/fax convention preregistration deadline. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
Your Cluster Team Now is a great time to be sure that everyone else in your cluster or network feels appreciated and important. Those who teach beginners are starting to feel the frustration of teaching their students the essential skills needed to become great orchestral musicians. Their students are just now starting to get the hang of their instrument and are probably tackling the use of their bow for the first time. While some of these students will not perform in a concert for a little while, they are brimming with excitement about the first sounds they will
You are not in this alone—there are people willing to help if you simply reach out and ask. Southwestern Musician | October 2019 27
make with the bow. Meanwhile, we teachers are just hoping that those bow holds perfected on pencils look the same when transferred to an actual bow. Especially for these teachers, a well-timed phone call could make them feel appreciated and will help them progress through the next few weeks of that push toward Thanksgiving break. Middle school teachers are in the thick of developing those elemental skills that transform our students into ensemble musicians and fantastic soloists. While these years are so important to essential development, they can also be frustrating as we wait patiently for the significant returns of our investment in fundamentals. In these times, an email of appreciation or an encouraging story of how the middle school teacher’s students are exceeding expectations at the high school level will remind them that their hard work and diligence pay off, resulting in performers who achieve more than they ever had the opportunity to see in the few short years they had them in middle school. Reaching out to the high school teachers on your team is more important than ever, as well. This time of year, I felt like
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I was a failure as a cluster lead because I simply didn’t seem to have an extra second in my day to check on those around me. But then the phone would ring and it would be one of the middle school teachers in our cluster just checking in on me to see how they could help at our upcoming concert. The support I received in these few minutes reminded me that I was not in this alone—there were people willing to help if I would simply reach out and ask. As soon as I got off the phone, I would always be smiling because our team was invested in every kid, not just the ones on our own campus. These simple reach-outs seemed to happen right when I needed them the most; they helped put me back on track with my goals for the year. Mentors and Protégés Did you sign up for the TMEA mentoring network? (If not, go to www.tmea. org/mentor and enroll today.) Now is the time when mentors should reach out to make sure the protégé is settling into their year. Some of my most valuable takeaways from my first year teaching were the days I would come home to a message from my mentor reminding me that Region entries
were due soon or offering an encouraging word about how I was going to make it and to keep going when times were challenging. Once again, these calls came at just the right time and kept me organized and moving forward that first year. I always knew I had someone to reach out to when things just seemed to go awry. As you get into the heart of the school year, remember how important it is to support our newer colleagues, and if you’re new to the profession, utilize your resources by asking for help and support often. Administrators Remember also to reach out to your campus and district administrators. Invite them into your classroom and to your concerts and send them that all-important word of encouragement. Even though you sent your administrators your detailed calendar of events at the beginning of the year, remember that a personal invitation to your concert goes a long way. As an administrator, it feels so wonderful to get a personalized invitation to a school’s musical or concert, and it serves as a reminder about the great performances that happen around the district. Another way to check
in with your administrators is to ask them to visit your classroom. You can invite them to watch you demonstrate your best instruction or invite them into your classroom to seek their advice on how you can improve your instruction or classroom management. Never be scared to go to an administrator for support. They are trained to coach and help teachers become the best educators possible. Finally, remember to occasionally send your administrators a word of encouragement. A well-timed communication helps them feel appreciated and supported by their staff and can make a huge difference in their day. Supporting one another is so important, especially as the dog days of the school year set in. You can never know how much your words of encouragement mean to another person or how reaching out for help makes them realize you respect their expertise. Teaching is hard, so remember to support those around you whenever you can. TMEA Clinic/Convention Update If you haven’t already, make plans to attend the TMEA Clinic/Convention. Membership and convention fees
can be paid online at www.tmea.org/ renew and convention housing opens October 3. Remember that using the convention housing system offers discounted rates to TMEA members and fill up fast, so don’t delay your reservations. The convention will be an amazing celebration of TMEA’s Centennial that you will not want to miss! I’m excited to announce the wonderful conductors of our 2020 All-State Orchestras. I am sure you will be inspired observing these amazing educators work with our wonderful All-State students. I encourage you to attend rehearsals and make it a priority to see the performances in February. I always leave the concerts inspired and in awe of what our students can accomplish in just a few days. James Fellenbaum All-State Sinfonietta Orchestra James Fellenbaum is Assistant Professor of Music and the Director of Orchestras at the University of Tennessee. In addition to conducting the ensembles
Don’t Just Play. PERFORM AT YOUR HIGHEST LEVEL.
of the UT Orchestra Program, he is the conductor of the UT Opera Theater productions and is the founder of the UT Chamber Orchestra. He teaches advanced undergraduate instrumental conducting and oversees the master’s program in orchestral conducting. He also serves as guest conductor with the Knoxville Symphony Orchestra. His extensively diverse background as a conductor has found him collaborating with some of the world’s great artists and orchestras. Fellenbaum was invited to the 2006 First International Gennady Rozhdestvensky Conductors Competition, where he was a top five finalist. He has conducted orchestras around the country and around the world. Previous university appointments have included Director of Orchestral Activities and Instructor of Violoncello at Stephen F. Austin State University in Nacogdoches and North Park University in Chicago. Professional positions have included Music Director and Conductor of the Orchestra of the Pines in Texas, Artistic Director of the North Shore Chamber Orchestra in Evanston, Ill., and Music Director of the
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ON-CAMPUS AUDITIONS SATURDAY, DECEMBER 14, 2019 SATURDAY, JANUARY 25, 2020 SATURDAY, FEBRUARY 1, 2020 SATURDAY, FEBRUARY 8, 2020
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Application Deadline: DECEMBER 1
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30 Southwestern Musician | October 2019
Suburban Youth Symphony Orchestra outside Chicago. He holds a bachelor of music degree in violoncello performance from James Madison University in Virginia and holds a double master’s degree in violoncello performance and orchestral conducting from Northwestern University. Helen Cha-Pyo All-State Philharmonic Orchestra Helen Cha-Pyo is currently the Artistic Director of the Wharton Institute for the Performing Arts and the Principal Conductor of the New Jersey Youth Symphony. The Wharton Arts is New Jersey’s largest independent nonprofit community performing arts education center, serving over 1,400 students through a range of classes, 15 performing ensembles, Paterson Music Project, and an El Sistema-inspired program. She previously served as Visiting Associate Professor of Orchestral Studies and Conductor of the Montclair University Symphony Orchestra at the John J. Cali School of Music from 2017 to 2019. For 16 years as Music Director and Conductor of the Empire State Youth Orchestra in New York, Cha-Pyo inspired hundreds of young musicians to perform at the highest levels, resulting in Empire State Youth Orchestras being recognized as one of the nation’s premier music organizations for youth. Cha-Pyo’s vision was instrumental in the founding of ESYO CHIME in 2015, a music education program dedicated to serving underprivileged youth. Born in Seoul, Cha-Pyo immigrated to the U.S. when she was 12. She studied piano and organ at the Juilliard School in the pre-college program. She holds a bachelor of music in organ performance from Oberlin Conservatory and a master of music in conducting and organ performance from the Eastman School of Music. She served as assistant conductor to the Eastman Philharmonia and the Britt Festival Orchestra (OR). She also won a conducting fellowship at the Aspen Festival and Yale School of Music. Cha-Pyo is a frequent guest conductor and clinician for region and all-state ensembles around the nation.
Carl St.Clair All-State Symphony Orchestra Carl St.Clair is internationally recognized for his distinguished career as a professional conductor and master teacher. He has had a continuing relationship with the USC Thornton School of Music for over 20 years. Since the 2005–2006 season, he has been principal conductor of the USC Thornton orchestras and a faculty lecturer in conducting. In 2012, he took on an expanded role as artistic leader and principal conductor of the USC Thornton orchestras. This season marks his 25th year as music director of the Pacific Symphony, an organization he helped develop into the largest orchestra in the U.S. formed within the last 40 years. From 2008 to 2010, St.Clair was general music director of the Komische Oper Berlin. Leading to his appointment in
Berlin, from 2005 to 2008, he was general music director and chief conductor of the German National Theater and Staatskapelle (GNTS) in Weimar, Germany, where he conducted and recorded Wagner’s complete Ring Cycle to great international critical acclaim. St.Clair was the first non-European to hold his position at the GNTS, one of the oldest European orchestras. He was the principal guest conductor of the Radio Sinfonieorchester Stuttgart from 1998 to 2004, where he successfully completed a three-year recording project of the eleven symphonies of Heitor VillaLobos, the only such cycle in existence. In addition to the orchestras he has conducted abroad, St.Clair has been guest conductor with orchestras throughout the U.S., including the Boston Symphony Orchestra (where he served as assistant conductor from 1986 to 1990), New York Philharmonic, Philadelphia Orchestra, and Los Angeles Philharmonic, among many others.
Save the Date! February 12–15, 2020 San Antonio, Texas Celebrating TMEA’s Centennial! New Mexico State University
Department of Music
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1920
Celebrating
by Karen Cross
W
hen we study TMEA’s history, we begin to imagine what life must have been like for teachers and students so many decades ago. How did programs survive during the depths of the Great Depression? How did teachers and students leave their homes for school each day amid their fear of a mainland attack or when terrified by the polio epidemic, which hit Texas harder than any other state? What was it like when teachers and students were excluded from our activities simply because they weren’t white? In the TMEA archives, you won’t find detailed accounts responding to these more emotional questions. Our minutes and magazine articles offer mostly a business-centered perspective. Despite the complex challenges of the time—while the country was united and divided—the work of our association continued.
Whatever is done in the future: to whatever proportions we may grow, we will always remember that this history will be a very real part of it. Ralph Beck, “History of the Band Association of Texas”
1940s: Growth Interrupted Last month, our historical reflections ended in 1940, with music education in Texas taking a step forward as the state began furnishing music textbooks to public school students. With the recent addition of choral educators, TMEA had grown to 580 members. Also significant on our growth chart was the 1940 State Board election of the first paid Secretary-Treasurer of our association, Charles Eskridge, for a salary of $25/month. At the time, the average annual salary for Texas teachers was $1,079. The association was also moving forward with more specified instruction at the annual clinic/convention. Teachers attended drum and drum major clinics. In the following years, clinics offered instruction on individual band and orchestra instruments. At the 1941 convention in Waco, 362 members attended and 1,200 students participated. At a Board meeting during the convention, they decided to purchase Texas Music Educator. This made TMEA sole owner of its official publication. Jack Mahan, state publicity chair at the time, was designated as editor while Secretary-Treasurer Charles Eskridge handled the business manager duties. 32 Southwestern Musician | October 2019
While there had been rumblings in the past, in 1941 there was a greater push by superintendents to limit Texas participation in band contests. They had growing concern over the amount of funding and travel required to attend not only regional but also national contests. Superintendents were surveyed and they overwhelmingly expressed dissatisfaction over the current model. Some even called for elimination of all contests. This would be the starting point leading to the UIL taking over music contests for the state (learn more about how contests fit into our history in Executive Director Robert Floyd’s column on page 8). The association’s progress mostly came to a halt after the U.S. entered World War II. In the February 1942 magazine that immediately preceded the convention, Editor Jack Mahan appealed to members not to become hermits, driven by their fears. “More than ever before, in the history of our Association, it is important that each and everyone of us do all in our power to cooperate. For every conventional demoralizing excuse that we can conceive of, there are ten-fold reasons for our presence . . . Unity of thought and action is the only salvation to our problems today . . . Cast our
2020
TMEA’s Centennial fears and thus eliminate all of the undesirable excuses. Make only those excuses that will help to broaden, rather than narrow, one’s scope. We must think high to rise, think big to grow.” Despite his appeal, the Galveston event saw a noticeable shortage of students, and member attendance had dropped to 191. Even with those small numbers, members still conducted business, adopting a new constitution that would place three administrators on each region contest committee, along with three music
educators representing band, orchestra, and choir. Members hoped this involvement would convince administrators the contest situation was improving. However, by the time the new structure was in place and problems were waning, contests themselves were halted because of the war. Travel was restricted and other expenses were curtailed in support of the war effort. This was also a time of multiple shifts in TMEA leadership, as those at home filled positions left by those going to war.
In the Shadow of the War Now more than ever, we must look to music as the yardstick of civilization. Two months after the U.S. had entered World War II in response to the Japanese attack on Pearl Harbor, TMEA President Lyle Skinner and Secretary Charles Eskridge entreated the membership to continue their work and, through music, foster unity. The following was printed in the February 1942 Texas Music Educator:
With so many TMEA officers serving in the armed forces and with travel and funding restrictions, TMEA did not hold conventions from 1943 to 1945. At their April 1943 meeting, the Board appointed D.O. Wiley to serve as Secretary-Treasurer (Wiley would continue in that capacity for another 20 years). While the typical business of the association was on hold, the Board initiated a drive to increase membership of elementary teachers as part of the Vocal Division. They also established the following policies: • TMEA member schools should schedule Victory Concerts to aid in the sale of war bonds and stamps. • Music instructors not in the armed forces should offer parttime support to nearby schools whose leaders were at war. • Instructors should standardize marching instruction for bands to conform to the U.S. Infantry Drill Regulations. • Local festivals and programs would replace regional, state, and national events to build up communities’ perception of the value of music (thus eliminating travel). • The annual clinic/convention would be suspended for economic reasons. • TMEA would maintain contact with members through regional meetings. • TMEA would continue publishing, as financially possible, the member publication in some form. Southwestern Musician | October 2019 33
Celebrating TMEA’s Centennial
Victory Concerts Raise Millions TMEA launched a series of concerts that proved a great stimulus in the sale of war bonds. TMEA leaders and school administrators prevailed upon Texas Governor Coke R. Stevenson, who issued a proclamation designating eight dates in 1942–1943 for these concerts to be held across the state. As early as the first of those eight dates, the success of the initiative was clear. Across Texas, $118,415 worth of war stamps and bonds had been sold at these first concerts. After the fourth concert date, U.S. Secretary of the Treasury Henry Morgenthau, Jr., wrote the following to the school administrators and music educators of Texas: Through the Victory Concerts, your schools have given significant financial assistance to the worldwide offensive now being waged by our country and its allies. October 1942 issue of the scaled-back The $1,250,000 invested in War Savings Texas Music Educator. Bonds and Stamps would pay for 2 heavy Living in the United bombers, 2 medium bombers, 2 pursuit ships, and 2 medium States with a median tanks. Less concrete, but also of importance, is the contribuincome during World tion which these concerts have undoubtedly made in building War II meant earnmorale and providing inspiration through good music. ing about $2,000 a It is my sincere hope that your remaining four concerts will year. Despite the war’s be even more successful than the first, and that they will be furhardships, 134 million ther distinguished by the participation of all schools that have Americans were asked not yet joined in this effort. to purchase war bonds Will you express to all those who have had part in this worthto help fund the war. while project my deep appreciation of their patriotic underStarting at 10 cents each, standing and support of the War Savings Program. stamps allowed people At the May 1943 conclusion of these events, almost $3 million at any income level to be in all had been raised. part of the effort. If you Because of wartime travel restrictions, the association had very filled up a stamp album, little activity through 1943–1945 aside from the Victory Concerts. you could turn it in for a There were yearly Board meetings, but little could be accomplished. bond. In just four years, membership had dropped from 580 to 164. Ultimately, more than Without enough funds, TMEA couldn’t continue publishing 85 million Americans— Texas Music Educator. Occasional news sheets were distributed by half the population— D.O. Wiley, and for about five years, TMEA bought space for its purchased bonds totaling news in Southwestern Musician (the official journal of Texas Music $185.7 billion. Teachers Association).
1940s war stamp album
“We hope the public will turn out for this VICTORY CONCERT. The government needs every little bit that we can raise. The youngsters and the teachers are willing to work hard getting up a program and we believe the school patrons will not mind spending a few cents to get in. Outside of the patriotic motive, the program will be well worth the price of the stamps.” —From ”Victory Concert at R.S. High School,” April 30, 1943, The Texas Mohair Weekly and the Rocksprings Record 34 Southwestern Musician | October 2019
Back to Business With the war’s end in September 1945, music programs started becoming more active, and by 1946, war-related restrictions were being relaxed or lifted entirely. With very little planning time, TMEA revived the annual clinic/convention in Waco. Mahan recalled, “It was no easy matter to provide such facilities as hotels and eating places, but the hardships were gladly accepted.” TMEA State Band Chair Alto Tatum reflected on the return of the convention saying, “There was a geniality in the air that was refreshing and invigorating to all. Everyone smiled, everyone shook hands; and during the entire convention one always found groups talking, laughing, and swapping professional secrets.” At this 1946 event, band, orchestra, and choral students returned to participate in All-State groups. In 1947, the clinic/convention moved to Galveston, and the majority of the now 427 members attended. There were five AllState groups: two bands, two choirs, and one orchestra. This convention was also the first to extend to Wednesday, offering another half day to the previous format. At this event, the membership voted to recognize the UIL as the official channel through which music competition festivals be held. TMEA continued to work with the State Department of Education, and in 1948, the state designated that music courses offered in high school, where affiliation and sufficient stress are placed on the work, now allow students one full credit per school year toward graduation or college entrance. Two years later, TMEA held a combined conference with university officials and public school administrators to study proposals on certification, accreditation, and preparation of music teachers. Our organization evolved further when in 1950, the membership finally voted to add an Elementary Division set up in the same manner as Band, Orchestra, and Vocal (this same motion had failed three years prior, with 70 voting against and 26 for). This 1950 vote established the Elementary Division for “an experimental period.” They would have an elementary chairman and 10 elementary regional chairmen. Then TMEA President L.H. Buckner wrote, “This is certainly a step forward and will help our overall music program. We should all help and encourage our elementary music programs to grow and prosper, because after all, this is where we lay the foundation for our high school students.” Texas Music Educator April 1950 issue featuring elementary music programs.
The final expansion of TMEA Divisions to date came in 1951 with the addition of our College Division. Its inaugural Chair, Clarence J. Best, stated this new division’s purpose as, “To be helpful without interfering with the established Divisions; to attempt to learn from the other Divisions what the colleges and universities of Texas can do to help the overall program of music education in Texas; to help, if possible, to adjust the college curriculums so that they can be of maximum worth to the established program in Texas, and to lend a helping hand wherever possible.” The 1950s were marked by contest rule changes, refinements in our convention format, constitutional revisions, and modifications of the Texas Music Festival held during the State Fair. In the mid ’50s, TMEA began focusing on public relations efforts. By 1955, membership had grown to 1,124, nearly doubling in just five years. In 1959, D.O. Wiley became TMEA’s first full-time Executive Secretary for an annual salary of $2,500. At the same time TMEA purchased from Wiley the rights, printing machinery, and title to Southwestern Musician combined with Texas Music Educator for $4,000.
TMEA Denies Membership Within the eight pages of the February 14, 1948 general membership meeting minutes are four short lines of text documenting a moment in our association’s history that appears to have transpired without debate. The meeting was called to order, and each committee was asked to offer its report. The first report was by the Constitutional Committee, offered by Alto Tatum (1946–1947 State Band Chair). The minutes read: This committee asked that the word “white” be inserted in Article 1, Section 2, Letter A following the first word of the paragraph and in the same Article and Section, Letter B following the first word. Mr. Tatum’s motion was seconded and carried. With the passing of that motion, TMEA membership became limited to “any white person engaged in music education” and to “any white student of music or music lover.” Examining U.S. history at that time, especially of the south, can help illuminate the context surrounding this 1948 change. However, it’s the absence of information in our minutes that seems to tell this story more clearly. Typically, TMEA’s minutes from this era offer extensive detail on motions that involved any discussion. Pages of minutes describe proposals and opinions on contest rule development, convention locations, organization finances, and more. In this case, however, no discussion is noted. A motion was made, seconded, and passed, making TMEA a whites-only professional association. Four years later, the Supreme Court’s 1954 Brown v. Board of Education decision declared unconstitutional any state laws establishing racial segregation in public schools. While this ruling didn’t on its own end school segregation, it did fuel Southwestern Musician | October 2019 35
TMEA Denies Membership, cont’d . . . the civil rights movement that had been strengthening since the end of World War II. In TMEA’s records, we find no commentary at that time about the court’s decision or any discussion about its possible effects. In February 1956, the TMEA Executive Board discussed integrating its educational meetings (not membership), but those seven board members decided to do nothing of the sort until Texas State Teachers Association did (the Board had been working to create an alignment with TSTA). Our records’ next mention of race is from three years later at a February 1959 TMEA State Board meeting. Region Chair Cloys Webb offered a resolution on behalf of Region 11, recommending that TMEA amend any section of the constitution relating to the race of its members or participants in activities. Unlike in 1948, these minutes indicate that considerable discussion on the matter occurred, some of which “was a bit heated.” Ultimately, the resolution failed, as State Board members again hinged their opinions on TSTA’s position. From the minutes: “Immediate Past-President Dr. Patrick pointed out that a previous Board had decided that it would not be well for TMEA to integrate until TSTA first integrated. It was also pointed out that the Supreme Court had not ruled yet that private organizations have to integrate.” While they still resisted integrating membership, a 1962 State Board vote allowed “any student of a TMEA member” to participate in All-State, thus integrating these ensembles. The following year, TMEA members voted in a wholesale revision of their constitution, and in that version, the articles of membership no longer referenced race. However, neither the preceding board meeting minutes nor the magazine in which this version was published for review mention this significant membership change. Integration seems to have been quietly ushered in. And while changes in institutional policies aren’t immediately reflected in society, 1963 remains significant as the end of TMEA’s 15-year constitutionally mandated segregation of membership. 36 Southwestern Musician | October 2019
Texans’ Fierce Independence Stirs Controversy The ’40s and ’50s are marked by the beginning of a conflict that occupied the time and attention of TMEA leaders for many years. Unlike other music educator groups, TMEA’s roots were independently planted in our state. Around the nation, state music educator associations were initially founded as state affiliates of the Music Educators National Conference (now National Association for Music Education). The first mention in our records of this national organization is in 1938, when the TMEA Board of Directors decided to take up a “cooperative affiliation” with MENC. However, there is no information suggesting this materialized until 1947 when a vote passed that resulted in these TMEA membership options: Option I: to pay for full membership in TMEA and MENC. Option II: to pay full TMEA dues and partial MENC dues to be an MENC “associate member.” Option III: to pay only TMEA dues and not be an MENC member. None of these membership options were ever written into our constitution—they simply showed up as check box options on the membership form submitted with each member’s dues.
MENC leaders continued to appeal— or demand—that our constitution be revised and that all our members should be MENC members. While some TMEA leaders favored this stronger relationship with MENC, it’s not surprising that many proud Texans in our homegrown association weren’t inclined to relegate their independence. In 1958, the State Board voted down a motion to eliminate Option III (TMEAonly membership), so that change wasn’t passed along to the general membership meeting for a vote. TMEA continued to offer these three membership options, and the issue of TMEA’s noncompliance with MENC’s membership requirements would continue to escalate until its final end in the mid ’70s. Next month will include more detail on this struggle between collaboration and autonomy.
Acknowledgements
This article is based on a variety of historical documents housed in the TMEA archives, including meeting minutes and magazines. Two sources have been particularly helpful and are the foundation of much of this presentation: TMEA Past-President Jack Mahan’s 1949 master’s thesis and Ross Grant’s 1989 doctoral dissertation.
1959 Grand Finale concert of the All-State Band, Orchestra, and Chorus. TMEA President Phil Baker commented, “It is doubtful if anywhere in the nation, there has been a performance of high school calibre to surpass the Texas All-State presentation.”
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WIND BAND
CONGRATULATIONS TO THE 2019 MARK OF EXCELLENCE NATIONAL WINNERS Class A Bayside Wind Ensemble ............................ Kyle Mapp ...........................League City, TX Colleyville MS Honors Band ..................... Lauren Jones .......................... Colleyville, TX Fairview JH Symphonic Band ................... Jeremy Kitchens .............................. Alvin, TX Griffin MS Wind Symphony ...................... Carolyn Cansler ............................ Frisco, TX Indian Springs MS Wind Ensemble .......... David Puckett ................................. Keller, TX Roma MS Symphonic Winds ..................... Corey L. Graves............................. Roma, TX Timberview MS Wind Ensemble ............... Ryan Straten............................. Ft. Worth, TX Filemon B. Vela Symphonic Band.............. Mario Sarmiento ..................Brownsville, TX
Class AA Arbor Creek MS Honors Band .................. Rylon Guidry ..........................Carrollton, TX Cedar Park MS Symphonic Band ............. Britni Dunn.............................Cedar Park, TX Canyon Ridge MS Honor Band ................ Amy Allison ....................................Austin, TX Cockrill MiS Honors Band ......................... Gary Williams ........................McKinney, TX Cooper JH Wind Ensemble ....................... Adam Powell, Misty Smith............Wylie, TX Crownover Wind Ensemble ....................... Christin Bunch ..............................Corinth, TX Coppell MS West Honor Winds ............... Greg McCutcheon ....................... Dallas, TX T.A. Howard Honor Band .......................... Nathaniel Neugent ................. Arlington, TX Keller MS Wind Ensemble ......................... Jedidiah Maus ............................... Keller, TX Killian MS Honors Band............................. Rob Chilton .............................. Lewisville, TX Knox JH Wind Ensemble ............................ Jennifer Dillard ............................ Conroe, TX Nimitz MS Symphonic Band...................... Jordan Freeman ..........................Odessa, TX Berry Miller JH Honors Band ..................... Chris Bennett .............................Pearland, TX Stiles MS Honors Band .............................. Darcy Vogt Williams ................. Leander, TX Walsh MS Honor Band .............................. Jennifer Bergeron ................Round Rock, TX Trautmann MS Honors Band...................... Jorge Luis Garcia......................... Laredo, TX Trinity Springs Wind Ensemble .................. Dean Surface................................. Keller, TX Willow Wood Honor Band ....................... Jim Shaw .....................................Tomball, TX
Class AAAA North Lamar Symphonic Band ........................Randy M. Jones......................................Paris, TX
Class AAAAA Aledo HS Wind Ensemble................................Joey Paul............................................... Aledo, TX Douglas Anderson SOTA Wind Symphony ..Ted Shistle....................................Jacksonville, FL Cathedral City HS Symphony Band ...............Matthew K. Howe ..............Cathedral City, CA Lone Star HS Wind Symphony ........................Mark Poole ...........................................Frisco, TX Lovejoy HS Wind Symphony...........................Paul Heuer............................................. Lucas, TX Midlothian HS Wind Ensemble .......................Larry Doran ..................................Midlothian, TX Red Oak HS Wind Ensemble ..........................Steven H. Moss ..............................Red Oak, TX Southwest HS Wind Symphony ......................Jeff DeMaagd .............................Fort Worth, TX Willis HS Wind Ensemble.................................Chris Allen, Andrew Hicks.................. Willis, TX
Class AAAAAA Allen HS Wind Ensemble .........................................Dr. Philip Obado............................................Allen, TX James Bowie HS Wind Ensemble..........................Garth Gundersen ........................................Austin, TX Hebron HS Wind Symphony..................................Andy Sealy............................................Carrollton, TX Lake Ridge HS Wind Symphony............................Brad Bonebrake...................................Mansfield, TX McKinney HS Honors Band....................................Ken Ringel............................................. McKinney, TX Richardson HS Wind Symphony ...........................Jesus Marquez ...................................Richardson, TX Round Rock HS Wind Ensemble............................David Mobley ..................................Round Rock, TX Summit HS Wind Symphony...................................Chris Kanicki............................................Arlington, TX Vandegrift HS Wind Ensemble ...............................Mike Howard...............................................Austin, TX Vista Ridge HS Wind Ensemble..............................Bryan Christian ...................................Cedar Park, TX Wylie HS Wind Symphony .....................................Todd Dixon ....................................................Wylie, TX
New Music Division Clovis HS Wind Symphony........................ Bill Allred .................................... Clovis, NM Lake Ridge HS Wind Symphony ............... Brad Bonebrake .....................Mansfield, TX Ed Rawlinson MS Honors Band ................ Mari Z. Cyr, Michael Cortes San Antonio, TX Fairview JH Symphonic Band .................... Jeremy Kitchens .............................. Alvin, TX AC Reynolds HS Symphonic Band............ Sean Smith ..............................Asheville, NC Willis HS Wind Ensemble .......................... Chris Allen, Andrew Hicks .............Willis, TX
COMMENDED WINNERS Class A
Class AAAAA
Argyle MS Honor Winds ........................... Evan Fletcher .................................Argyle TX McKamy Honor Winds ................................ Russell Cote, Jessica Dolphin...Flower Mound, TX Reagan Symphonic Band........................... Kenneth Thompson ...........Grand Prairie, TX Reed MS Symphonic 1............................... Michelle Hanegan .............. Duncanville, TX Ringgold MS Honor Band ......................... Orlando Herrera ......... Rio Grande City, TX Shadow Ridge MS Honor Winds ............. Chris Meredith ................Flower Mound, TX Wilson MS Wind Ensemble ....................... Ray Hilley ...................................... Haslet, TX
Crosby HS Symphonic Band ..................... Kevin Knight .................................Crosby, TX Cuthbertson HS Blue Note Winds............. Todd Lee Ebert ....................... Waxhaw, NC Foster HS Wind Ensemble .......................... Erich Sonnier........................... Richmond, TX Flour Bluff HS Wind Ensemble ................... Victor Lara ........................ Corpus Christi, TX Georgetown HS Wind Symphony ............ Justin Smith ......................... Georgetown, TX Poteet HS Honors Band.............................. Cody Newman........................ Mesquite, TX Rio Grande City HS Symphonic Winds .... Eric Garza.................... Rio Grande City, TX Shadow Creek HS Wind Symphony......... Josh Mooney ............................Pearland, TX
Class AA Aledo MS Honor Winds ............................ Joey Qualls ....................................Aledo, TX Byrd Symphonic 1 ...................................... Russell Porter ........................ Duncanville, TX Carroll MS Wind Ensemble ....................... Bethni Lown............................. Southlake, TX Evans MS Symphonic 1 Band ................... Brittney Williams.....................McKinney, TX Gorzycki MS Honors Band ....................... Nicholas Tieh .................................Austin, TX Harwood JH Wind Ensemble .................... Doyle Bellville ............................ Bedford, TX Tex Hill MS Honors Band ........................... Kim Rosenberg ...................San Antonio, TX Hillwood MS Wind Ensemble ................... Jessica Maus..........................Fort Worth, TX Irons JH Wind Ensemble ............................ Michael Dick............................... Conroe, TX Danny Jones MS Wind Ensemble ............. Eric Bolden ..............................Mansfield, TX Pearland JH West Honors Band ................ Meredith Bates Bishop .............Pearland, TX Pike MS Wind Ensemble ............................ Jack Forbis ...................................... Justin, TX Pioneer Heritage MS Symphonic Band .... Rachael Davis ................................ Frisco, TX Ed Rawlinson MS Honors Band ................ Mari Z. Cyr, Michael Cortes...San Antonio, TX Red Oak MS Honors Band ........................ Megan Czerwieski ...................Red Oak, TX Richland MS Honor Winds ........................ Anthony D. Rivera ............ Richland Hills, TX Roach MS Wind Ensemble ........................ Geoffrey Elsner.............................. Frisco, TX Scoggins MS Wind Ensemble ................... Adam Davis ............................McKinney, TX
Class AAAA
Class AAAAAA Anderson HS Wind Ensemble ................... Andrea Gonzalez .........................Austin, TX L.D. Bell HS Wind Symphony .................... Van Mathews.................................. Hurst, TX College Park Wind Ensemble .................... Jeffrey P. Gorring ........................ Conroe, TX Dulles HS Honor Band ............................... Joe Pruitt ............................... Sugar Land, TX Homer Hanna HS Wind Ensemble ........... Dennis Ewing ........................Brownsville, TX Robert E. Hendrickson HS Wind Ensemble A ... Sean C. Phelan .................... Pflugervillle, TX Keller HS Wind Ensemble .......................... Mark McGahey ............................ Keller, TX William Mason HS Wind Symphony........ Edward Protzman ......................Mason, OH Spring HS Wind Ensemble......................... Terri Clemons ................................Spring, TX
New Music Division Central MS Symphonic Band .................... Eric Rose................................ Nederland, TX Fossil Ridge HS Wind Ensemble ................ Brad Allen ..............................Fort Worth, TX Hubbard Symphonic Band ........................ Michael Oglesby ............................Tyler, TX Richardson HS Wind Symphony ............... Jesus Marquez...................... Richardson, TX Sartartia MS Wind Ensemble .................... Julieanne Amos.................... Sugar Land, TX Tomball HS Wind Ensemble ...................... Chris Yancey ...............................Tomball, TX Western MS for the Arts Symphonic Band........ Eric Allen .................................. Louisville, KY C.O. Wilson MS Honors Band .................. Brandon Laird ....................... Nederland, TX
Kennedale HS Wind Ensemble .......................Erol K. Oktay ...............................Kennedale, TX
STATE LEVEL WINNERS Victor J. Andrew HS Wind Symphony ...... Mark Iwinski ........................... Tinley Park, IL Barber MS Wind Symphony ..................... Robert Grogan ........................Acworth, GA Century HS Wind Ensemble ...................... Chris Dasovick ..........................Bismark, ND John Hersey HS Symphonic Band ............. Scott Casagrande ...... Arlington Heights, IL Hewitt-Trussville MS Honors Band ............ Brandon Peters ......................... Trussville, AL Lockport Township HS Wind Symphony... Brian Covey ................................Lockport, IL
Mustang HS Wind Ensemble..................... Ryan Edgmon ..............................Yukon, OK North Habersham MS Symphonic Band .. Dr. Emery C. Warnock ...... Clarkesville, GA Richmond Hill MS Wildcat Winds ............ Alisha Bowden ................Richmond Hill,GA Roxbury HS Honors Wind Symphony ...... Jeffrey Conrad ....................Succasunna, NJ School for the Creative and Performing Arts MS ........Robin Barker ..................................Lexington, KY
Tuscaloosa County HS Wind Ensemble.... Michael Guzman ...................Northport, AL
SPECIAL THANKS TO ADJUDICATORS GARY HILL, LOWELL GRAHAM, AND ANTHONY MAIELLO. THE 2019 MARK OF EXCELLENCE HAD 320 ENTRIES, AND HAS NOW RECEIVED ENTRIES FROM 38 STATES. MORE INFORMATION IS AVAILABLE AT WWW.FOUNDATIONFORMUSICEDUCATION.ORG/MARK-OF-EXCELLENCE RICK YANCEY, MANAGING DIRECTOR RICK@FOUNDATIONFORMUSICEDUCATION.ORG
ORCHESTRA
NATIONAL WIND BAND, ORCHESTRA, AND JAZZ HONORS WINNERS! NATIONAL WINNERS High School Full Orchestra Dulles HS Symphony Orchestra ........................................................................................... Michael Isadore, Angela Yip, Joe Pruitt............................................................................ Sugar Land, TX Seven Lakes HS Symphony Orchestra ................................................................................. Desiree A. Overree, John Mays..................................................................................................... Katy, TX James E. Taylor HS Symphony Orchestra ............................................................................ Clinton Capshaw ............................................................................................................................ Katy, TX
High School String Orchestra Bridgeland HS Chamber Orchestra ..................................................................................... Christina Lee LeBlanc ................................................................................................................ Cypress, TX Centennial HS Varsity String Orchestra ............................................................................... Dr. Priscilla Ochran Holt ...............................................................................................................Frisco, TX Reedy Symphonic Orchestra ................................................................................................ Aryc Lane, Rachel Kim..................................................................................................................Frisco, TX Seven Lakes HS Sinfonia Orchestra ..................................................................................... Desiree Ann Overree ...................................................................................................................... Katy, TX Stephen F. Austin Camerata Orchestra ................................................................................ Ann Victor, Zoran Jasmak .................................................................................................. Sugar Land, TX
Middle School Full Orchestra Blalack MS Symphony Orchestra ........................................................................................ Kendall Jones, Keith Marshall ...............................................................................................Carrollton, TX Curtis MS Symphony Orchestra ........................................................................................... Amanda Su, Linda Orrantia ..........................................................................................................Allen, TX Lamar MS Orchestra ............................................................................................................. Jeni Berecek .................................................................................................................................. Austin, TX
Middle School String Orchestra Canyon Vista MS Honors Orchestra.................................................................................... Ragan Whatley ............................................................................................................................ Austin, TX Curtis MS Chamber Orchestra ............................................................................................. Amanda Su .....................................................................................................................................Allen, TX Ereckson Chamber Orchestra ............................................................................................... Joanna DeVoto..............................................................................................................................Allen, TX Fort Settlement MS Chamber Orchestra .............................................................................. Angela Peugnet, Roger Vasquez, Jr. ................................................................................. Sugar Land, TX J.T. Hutchinson MS Varsity Orchestra................................................................................... Catherine L. Olivier .................................................................................................................. Lubbock, TX Lamar MS Symphony Orchestra .......................................................................................... Jeni Berecek .................................................................................................................................. Austin, TX Sartartia MS Symphony Orchestra ...................................................................................... Sophia Hsieh ....................................................................................................................... Sugar Land, TX
Youth Orchestra Houston Youth Symphony ..................................................................................................... Michael Webster ......................................................................................................................Houston, TX
COMMENDED WINNERS High School Full Orchestra Allen HS Symphony Orchestra ............................................................................................. David DeVoto, Matt Cross, Dr. Philip Obado .............................................................................Allen, TX Klein Symphony Orchestra ................................................................................................... Creston Herron ............................................................................................................................... Klein, TX Tomball Memorial HS Symphony Orchestra ....................................................................... Peter C. Jagdeo, Andy Easton ................................................................................................. Tomball, TX
High School String Orchestra Allen HS Chamber Orchestra ............................................................................................... David DeVoto .................................................................................................................................Allen, TX Clements HS Chamber Strings.............................................................................................. Ginger Wolfe, Neal Springer ............................................................................................ Sugar Land, TX Round Rock HS Symphony Orchestra.................................................................................. Sandra Vandertulip .............................................................................................................Round Rock, TX Newman Smith HS Symphonic Orchestra ........................................................................... Jessica Milbrandt, JeRae Dublin ..........................................................................................Carrollton, TX James E. Taylor HS Chamber Orchestra .............................................................................. Clinton Capshaw ............................................................................................................................ Katy, TX
Middle School Full Orchestra Ereckson Symphony Orchestra ............................................................................................. Joanna DeVoto...............................................................................................................................Allen, TX Kleb Symphony Orchestra .................................................................................................... Dawn Herron .................................................................................................................................. Klein, TX
Middle School String Orchestra Beckendorff JH Honor Orchestra ......................................................................................... Karel Butz......................................................................................................................................... Katy, TX Dulles MS Honors Orchestra ................................................................................................ Sally Kirk, Regan Henrick................................................................................................... Sugar Land, TX Ereckson Sinfonia Orchestra ................................................................................................. Rachel Boone .................................................................................................................................Allen, TX Faubion MS Honors Orchestra ............................................................................................. Kari Zamora, Jacob Cortez.................................................................................................. McKinney, TX Ford MS Chamber Orchestra ............................................................................................... Valerie Curry ..................................................................................................................................Allen, TX Kealing MS Symphony Orchestra ........................................................................................ David Jarrott ................................................................................................................................. Austin, TX Woodcreek MS Chamber Orchestra................................................................................... Heather Davis, Fernando Schirmer .........................................................................................Houston, TX
STATE LEVEL WINNERS Langley High School Philharmonic....................................................................................... Scott McCormick...................................................................................................................... McLean, VA
High School Jazz Ensemble
NATIONAL WINNERS
Brazoswood P.M. Jazz Ensemble ......................................................................................... D.J. Eisenhart ..................................................................................................................................Clute, TX Willis HS Jazz 1 ..................................................................................................................... Andrew Hicks, Chris Allen............................................................................................................ Willis, TX Wylie East HS Jazz Collective .............................................................................................. Adam Basset..................................................................................................................................Wylie, TX
Middle School Jazz Ensemble McMath MS Tiger Jazz Band .............................................................................................. Travis E. Harris ............................................................................................................................ Denton, TX The Willowcreek MS “A Train” Jazz Band........................................................................... David Faires ..................................................................................................................................... Lehi, UT
High School Jazz Ensemble
COMMENDED WINNERS
Allen HS Varsity Jazz Band.............................................................................................Tony Daniels ............................................................................................................................ Allen, TX Denton HS Lab Band 1 ...................................................................................................Jesse Woolery .....................................................................................................................Denton, TX Lone Star HS Jazz 1 ........................................................................................................Mark Poole ............................................................................................................................ Frisco, TX H.B. Plant HS Jazz Band .................................................................................................Brian P. Dell ........................................................................................................................... Tampa, FL
Middle School Jazz Ensemble North Ridge MS Jazz Band ............................................................................................Jessica Shadman ...........................................................................................North Richland Hills, TX
SPECIAL THANKS TO ORCHESTRA ADJUDICATORS ROBERT FRANZ AND DONALD SCHLEICHER, AND JAZZ ADJUDICATOR JEFF JARVIS. THE 2019 MARK OF EXCELLENCE HAD 320 ENTRIES, AND HAS NOW RECEIVED ENTRIES FROM 38 STATES. MORE INFORMATION IS AVAILABLE AT WWW.FOUNDATIONFORMUSICEDUCATION.ORG/MARK-OF-EXCELLENCE RICK YANCEY, MANAGING DIRECTOR RICK@FOUNDATIONFORMUSICEDUCATION.ORG
CONGRATULATIONS TO THE 2019 MARK OF EXCELLENCE NATIONAL CHORAL & PERCUSSION HONORS WINNERS!
CHORAL NATIONAL WINNERS
COMMENDED WINNERS High School Mixed Choir
High School Mixed Choir McKinney HS Concert Choir.................................Cindy Johnston, Parker Lessmann.....McKinney, TX
Cedar Park HS Varsity Mixed Choir ............Lisa Holt ..........................Cedar Park, TX Timber Creek HS Mixed Choir.. ...................Adrian Kirtley ..................Fort Worth, TX
High School Open Class
High School Open Class
Grand Prairie Fine Arts Academy Chamber Choir ............Joel Duarte........Grand Prairie, TX
Kinder HS for the Performing and Visual Arts Chorale Men Shannon Carter..............................................................................................Houston, TX
Angleton HS Varsity Treble Choir .................Tony Stewart.......................Angleton, TX
Middle School Treble Choir Trinity Springs MS Varsity Treble Choir ...Clinton Hardy ................................ Keller, TX
Hamilton MS Varsity Treble Choir ................Lauren Hounshell ................ Cypress, TX York JH Chamber Choir.................................Chaz Robilotto .......................Spring, TX
Middle School Open Class
Middle School Open Class
Krimmel Intermediate Tenor-Bass Choir ..James Green .................................Spring, TX
Middle School Treble Choir
Kahla MS Tenor/Bass Choir.........................Bradley Acree .....................Houston, TX
PERCUSSION NATIONAL WINNERS High School Percussion Ensemble
Middle School Percussion Ensemble
Birdville HS Percussion Ensemble.........James Figueredo ................North Richland Hills, TX Colleyville Heritage HS Percussion Ensemble ......Nick Beaudet ...........Colleyville, TX
Friendswood JH Percussion Ensemble......... Jason Abbott ................ Friendswood, TX
COMMENDED WINNERS High School Percussion Ensemble
Middle School Percussion Ensemble
Dickinson HS Percussion Ensemble .......................Todd Sommer ............ Dickinson, TX Wakeland HS Percussion Ensemble ......................Brian Teed ........................Frisco, TX
Ulrich Percussion Ensemble ...........................Brian Perez ...............................Klein, TX Willow Springs MS Percussion Ensemble .......Nathan Lewis ...................... Lovejoy, TX
SPECIAL THANKS TO ADJUDICATORS RICK BJELLA (CHORAL) AND SHE-E WU (PERCUSSION) THE 2019 MARK OF EXCELLENCE HAD 320 ENTRIES, AND HAS NOW RECEIVED ENTRIES FROM 38 STATES. MORE INFORMATION IS AVAILABLE AT WWW.FOUNDATIONFORMUSICEDUCATION.ORG/MARK-OF-EXCELLENCE RICK YANCEY, MANAGING DIRECTOR RICK@FOUNDATIONFORMUSICEDUCATION.ORG
RECORDINGS NOW AVAILABLE! Compilation recordings of the Mark of Excellence National Winners are offered as an MP3 download through MarkCustom.com These performances are now a permanent fixture in the most comprehensive and prestigious library of its type, and are accessible from anywhere in the world in just a few minutes. Performances by the National Winners represent the top 25% of the entries, and demonstrate stunning musical achievement and exemplary teaching! In 2019 the project had 320 entries, and has now received entries from 38 states. View and access the Mark website and catalog at www.markcustom.com
HONORS
More information is available at www.foundationformusiceducation.org/Mark-of-Excellence
B Y
J E D
VOCAL NOTES
R A G S D A L E
Warm up with purpose
B
October—Renew your membership and register for the convention. October 3, 6 a.m. CT—Convention housing reservation system opens for members. November 1—TMEA scholarship online application deadline. December 31—TMEA email/mail/fax convention preregistration deadline. January 11—Area Vocal and Band auditions. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
y now, students should have their uniforms, have finalized their first fundraiser, and perhaps have had a performance, or three, under their belts. It’s midterm, and hopefully, they’ve finally got rhythm and you’ve found your groove. Are the choirs where you thought they’d be? Have you used proper warmups to build their voices? Do your students know the purpose of each warmup? Do you sequence your warmups so they lead the singer to healthy tone production? The answer to these questions should be Absolutely! If you’re not sure, you’re not getting your students to efficiently and healthfully produce quality tone. As recently as two years ago, students I teach admitted to me they didn’t know what their soft palate was. A large part of that is on them, of course, but part of it is still on me. Directors have different warmups and philosophies, so if you need ideas, contact any of your colleagues and, in addition to the how, get to the why of the warmup. They do go hand in hand. You must understand why they’re important and how to execute them accordingly. This is the order that in my experience has been ideal: Stretch; breathing exercises; support-mechanism engaging exercises; soft palate strengthening exercises; range extenders: top and bottom, back to middle of the voice; scales: major, minor, and chromatic, followed by a tuning exercise to unify vowels and strengthen their ears. This is around 10 minutes’ worth of warmups, which we follow with about 5 minutes of sightreading, leaving approximately 35 minutes to work on repertoire. The allotted time is adjusted when on an alternate bell schedule. To better use time for these essentials, we now send class announcements through the Remind app at
Warmups can be a powerful and vital means for helping your students develop their vocal skills in an intentional and healthy way. Southwestern Musician | October 2019 41
the end of the day and have an announcement slide-show presentation available on Google Classroom. Around this time of year, I begin to utilize student leaders for class warmups. We reinforce what we should know of each warmup and discuss why each is significant and how to properly execute each. Different students lead the various exercises each day. This allows me to walk around and assess individual tone production and offer a little more personalized instruction. This also allows me to observe who the strong leaders might be for the
rest of the year or future years, and it is an effective means to providing student ownership. Additionally, if I’m out for the day, these stronger students can lead rehearsal, including sightreading and various sections of repertoire. This has been very helpful while teaching alone for the past three years. Warmups are essential to start the rehearsal—just as athletes must stretch and warm up prior to their practice or workout. If not properly executed, bad habits form, resulting in poor vocal health or inducing irreparable vocal damage. Warmups should never be approached just as a way to get class started or something to do while you organize your thoughts. Be actively engaged every time and assess their tone production. These are just a few things to consider, if you don’t already have an effective and efficient system in place. Keep in mind that warmups can be a powerful and vital means for helping your students develop their vocal skills in an intentional and healthy way. TMEA Clinic/Convention Update As we get closer to our annual con-
42 Southwestern Musician | October 2019
vention (only four months away now!), I hope that learning more about the Vocal Division offerings gets you even more excited about attending! If you haven’t yet, go to your membership record and register to attend. As of October 3, discounted housing reservations are available for TMEA members. Go to www.tmea.org/ housing to access this system and know that discounted hotels fill up quickly. This month, I’m pleased to share more about our 2020 All-State Choir Conductors. You can observe them in rehearsal with our groups and enjoy their performances on Saturday, February 15. Jerry Blackstone All-State Mixed Choir Grammy award winner Jerry Blackstone is a leading conductor and highly respected conducting pedagogue. Now emeritus professor of conducting, he served on the faculty of the University of Michigan School of Music, Theatre & Dance for 30 years, where as director of choirs he led the graduate program in choral conducting and oversaw the
university’s 11 choirs. In February 2006, he received two Grammys (Best Choral Performance and Best Classical Album) as chorusmaster for the critically acclaimed Naxos recording of William Bolcom’s Songs of Innocence and of Experience. Blackstone is an active guest conductor and workshop presenter and has appeared in 42 states as well as New Zealand, Australia, Hong Kong, Shanghai, and Sicily. In the summer, he leads the Adult Choir Camp and the Choral Conducting Institute at the Interlochen Center for the Arts. Prior to his work at the University of Michigan in 1988, Blackstone served on the music faculties of Phillips University in Oklahoma, Westmont College in California, and Huntington University in Indiana. He holds a bachelor of music degree from Wheaton College, master of music degree from Indiana University, and doctorate of musical arts degree from the University of Southern California. Kenneth Fulton All-State Small School Mixed Choir Kenneth Fulton is currently Alumni Professor Emeritus at Louisiana State University. His professional teaching career spanned 48 years, 37 of those in higher education appointments at LSU, the University of Illinois, and Texas State University. At LSU, he was the Sanders Alumni Professor of Choral Studies and Chair of the Division of Ensembles and Conducting in the College of Music and Dramatic Arts and conducted the LSU A Cappella Choir for 26 years. During his career, Fulton conducted performances in the most prestigious performance venues in the world, including Carnegie Hall, Symphony Hall in Boston, the Kennedy Center in Washington, D.C., the Disney Concert Hall in Los Angeles, as well as the Mozarteum, and the Brucknerhaus in Austria. In the summer of 2011, he served as primary conductor and teacher for performances and master classes at the prestigious International Music Festival in Campina Grande, Brazil. Fulton holds advanced degrees from Texas Tech University and an undergraduate BME from the University of North Texas. He has held appointments at LSU, Texas State University, the University of
Illinois, Texas Tech University, and in public school choral music. He is editor for the Kenneth Fulton Choral Series published by Alliance Music Corporation. Julie Yu All-State Treble Choir Julie Yu is Co-director of Choral Studies at Kansas State University, where she is part of a team that oversees seven choral ensembles and teaches undergraduate and graduate choral conducting. Before joining the Kansas State faculty, she taught at Norman North HS in Norman, Oklahoma, and San José State University. She has given presentations and her choirs have performed for conferences of the Kansas Music Educators Association, Missouri Music Educators Association, Ok la homa Chora l Directors Association, American Choral Directors Association, and European Music Educators Association. She is the Southwest American Choral Directors Association President and a 2018 ACDAICEP Conducting Fellow (to Kenya). She holds a bachelor of music degree in music education from the University of Central Oklahoma, a master of music degree in choral conducting from Oklahoma State University, and a doctorate of musical arts degree in choral conducting from the University of North Texas.
Cameron F. LaBarr All-State Tenor-Bass Choir Cameron F. LaBarr is director of choral studies at Missouri State University, where he leads a comprehensive choral program, including over 250 singers in eight choirs. He holds a bachelor of music degree from Missouri State University and master of music and doctor of musical arts degrees from the University of North Texas. He has completed further study in choral music and conducting with Simon Carrington and Alice Parker. Choirs under his direction have been selected for performance at the Tennessee Music Education Association Conference, Tennessee ACDA Conference, Missouri Music Educators Association Conference, Piccolo Spoleto Festival, National Collegiate Choral Organization, National ACDA, Southwest ACDA, Intercollegiate Men’s Choruses National Seminar, the China International Chorus Festival, and the International Federation for Choral Music World Voices Conference. LaBarr has worked as guest conductor, clinician, and adjudicator across North America, Europe, Africa, and Asia, most recently presenting at the China International Chorus Festival (2016 and 2018). Engagements in 2019 include serving on the jury panel for the 8th Bali International Choir Festival (Indonesia) and serving as artistic director and conductor for the Limerick Sings International Choral Festival (Ireland).
TMEA Clinic/Convention scam Important Dates a October 3, 6 a.m. CT Convention Housing Opens December 31 Email/Mail Registration Ends
lert
Be aware of hotel scams through email and phone calls. TMEA will never call you to offer convention hotel deals.
January 23 Online Early Registration Ends Southwestern Musician | October 2019 43
2020 AUDITIONS
Admission and scholarships/assistantships available + November 16 + February 1 + February 22 + March 7
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Teaching Students with Dyslexia
By Elizabeth Morrow
A
lthough dyslexia has been researched for over 100 years, today’s classroom teachers are provided with surprisingly little information about what it actually is and how to help students who are dyslexic. This is especially true in the music classroom. Most developed countries have a universal literacy mandate—children are required and expected to learn to read and write. There is no such mandate for music reading. As a consequence, there has been very little research into music notation reading problems. When children struggle to learn to read music, there is no standard response or approach for helping them. Anecdotal evidence suggests that when these students are identified, teachers don’t know how to help them, and ultimately, the students quit music. How likely is it that you have students with dyslexia in your classroom—diagnosed or undiagnosed? The national estimate is that 15–20% of the student population lies on the dyslexic end of the reading spectrum. Children with dyslexia are often creative, intelligent, and talented. Students with learning differences are painfully aware they aren’t learning the way their peers learn and will do all they can to hide their sense of failure. This means that when they struggle to read, they develop a variety of coping mechanisms to hide and deflect their struggles. In the music classroom, these children may seem to not care about their learning. They may become easily distracted or they may distract others by clowning around or creating conflict with their stand partners. They may silently go through the motions of playing within a group, but closer investigation confirms they are watching their stand partners for cues about what fingerings to use or when to change bow direction, for example. Not surprisingly, these students often struggle with low self-esteem.
How Can We Help? The more we can understand how our students’ brains work, the better we can adjust or accommodate to keep them engaged in learning. First we must understand that this is not about choice. Trying harder is not a solution. Students with dyslexia and other learning differences (such as dyscalculia, a math learning difference) have brains that aren’t wired in a way that responds to traditional classroom instruction. Clinical research into dyslexia has shown that dyslexic brains have insufficient or no neural pathways connecting the parts of the brain used for reading. Research also shows that these pathways can be created. However, traditional instruction does not accomplish this. To help these students, we must teach in a way that builds the wiring system. As a career musician-pedagogue and Certified Academic Language Therapist (Dyslexia Therapist) since 2012, I have been asked repeatedly by instrumental teachers how they can help their students with dyslexia. When I investigated this question, I was disappointed to find little useful information. Without available guidance, teachers are forced to either guess at solutions or follow unsubstantiated myths about what dyslexia is. Abandon the Myths There are two primary, pervasive myths about dyslexia that need to be abandoned as we look for sound approaches for instruction of students with dyslexia: 1. Dyslexics see things backward. This is not true. Dyslexia is not a visual problem. Some dyslexic brains appear to have the capacity to process visual information in a kind of 3D imaging. When the brain perceives a lowercase “b” for example, it processes the shape as a line and a circle, and can imagine all
Southwestern Musician | October 2019 45
possibilities simultaneously: b p q d. This may lead to confusion in reading and writing. Also, there can be confusion on the phonological level, as the /p/, /b/, and /d/ sounds are very similar. Brains that do experience confusion in processing letter shapes can be taught simple solutions to differentiate the possibilities. 2. The use of color overlays (or using colored paper) is a proper aid for dyslexic students. This myth is well-worn but is not substantiated by evidencebased research and is therefore
not sanctioned as an appropriate response by the International Dyslexia Association, the Texas Education Agency (TEA), or the American Association of Pediatrics. Regarding the use of colored overlays and colored lenses, the TEA Dyslexia Handbook (2018) states: “Consistent with previous reviews and advice from several professional bodies, we conclude that the use of colored overlays to ameliorate reading difficulties cannot be endorsed and that any benefits reported in clinical settings are likely
to be the result of placebo, practice, or Hawthorne effects.” Multisensory Structured Language Education The evidence-based solution to teaching reading to students with dyslexia lies in a style of instruction called Multisensory Structured Language Education (MSLE). Research has shown that this instructional style builds the neural pathways necessary for the reading parts of the brain to communicate. MSLE has very strict parameters that are essential for successfully building these pathways: 1. Multisensory: Two or more senses are engaged to enhance learning. 2. Sequential: Instruction must follow a strict order of learning that moves from the simplest to the most complex. 3. Explicit: Every aspect of each reading and writing skill must be taught. 4. Cumulative: Each new skill needs to build on the previously taught skill. 5. Direct: Teach to the individual student’s needs.
Changing Lives. Not Checking Boxes. Your students possess both skill and passion. They thrive in an environment of high expectations and even higher commitment to artistic and personal growth. The Sarofim School of Fine Arts offers these students a tailored, hands-on approach, with award-winning faculty and a student-teacher ratio of 6:1. S C H O L A R S H I P AU D I T I O N DAT E S
Fall 2019: One-on-One Auditions Spring 2020: Jan. 25 & Feb. 22, 2020 (Majors & Non-Majors) April 5, 2020 (Non-Majors Only)
southwestern.edu/music
46 Southwestern Musician | October 2019
MSLE Applied in Music Education: Consider the following applications of MSLE for students in your music class who learn differently because of dyslexia. Multisensory Instruction: When new material is introduced, get staff paper into the student’s hands and have them practice drawing what they have learned. As they draw, they should label their drawings, such as “pitch A” or “half note.” This can increase their understanding of how to navigate on the staff. This should happen before they play any new material. In all new pieces of music, have students touch and name every pitch, and mark all beats to reinforce rhythmic structure before attempting to play on the instrument. Sequential Instruction: This is tricky because most classroom methods do not follow a logical sequence for reading. We can be sensitive to this and fill in the blanks for students who don’t get it. For example, if your method begins with open strings D and A, provide your student with a copy of the grand staff and show the student where those notes are within alphabetic sequencing. This provides context for the seemingly random placement of notes on the staff. Also, to increase the logic of
rhythmic notation, take time to talk with the class about the nature of the whole note (and rest), and how all subsequent durations are simply a fraction of the whole— then refer to the quarter note within that context. Explicit Instruction: Pay close attention to the vocabulary you use when speaking about the staff, pitch, clef, and more. Provide brief definitions for each term you use and repeat the definitions often. Explicit instruction ensures that nothing is assumed, and everything is taught. Cumulative Instruction: This is heavily dependent on the classroom method you rely on to teach your students. Be sensitive to the fact that the material may not always build one reading skill on another, but instead skips around. This can be confusing for some students and will require clarification.
Direct Instruction: This requires sensitivity to the struggling student in the classroom amid all the other pulls on your time and attention as teachers. Try to find even just five minutes a week to connect with these students and assess through a few brief questions what they are absorbing and what they are missing in the group instruction. If possible, insert brief exercises or definition reviews in the classroom to help the struggling student stay on track with the others.
ing, and reading is often a secondary consideration. The notation students see on the pages of beginning method books is designed to make playing easier, not reading. This isn’t a problem for 80–85% of students. But for those with learning differences like dyslexia, it is setting them up for failure. With more understanding about how brains learn, teachers can begin to apply solutions that ensure all children’s success!
It Begins with the Little Things When finding ways to help students with dyslexia, it is important to understand that in traditional classroom methods, learning to play music and learning to read music are both intricate skills that can require different approaches. Classroom methods teach with an emphasis on play-
Elizabeth Morrow is Cello Professor Emerita from UT/Arlington and is a Certified and Licensed Dyslexia Therapist.
2020 TMEA Clinic/Convention February 12–15 • San Antonio W W W.TMEA.ORG/CONVENTION
Our Convention Is the Best Place to Learn! Southwestern Musician | October 2019 49
ELEMENTARY NOTES
B Y
A B I G A I L
H A W E S
What’s your lagniappe?
I
love learning new words. When I was younger, I was seldom seen without a book and often carried a dictionary to immediately look up any unfamiliar words. So, when my principal posed the following question to us in a recent faculty meeting, I was intrigued: “Has anyone ever heard of the term lagniappe?” Before I had time to get to Google, several hands had already gone up, among them our campus art teacher’s. My principal then asked her to tell us what it means. She smiled and replied, “A little extra.” Historically, a lagniappe (pronounced lan-yap) was a small gift given to customers with their purchases. This practice, which originated in Louisiana, is much like a baker’s dozen; however, it could be any bonus given to purchasers (or their children). It was a way for the merchant to thank their customers for their patronage and help build positive relationships. To this day, many businesses still engage in this practice, as it leaves the customer with a positive, lasting impression that’s sure to keep them coming back. But why would my principal bring this up in a faculty meeting? As it turns out, our superintendent had recently issued a district-wide challenge: to give a little extra on purpose in all interactions for the 2019–2020 school year. As the meeting concluded, administration passed out simple, blue ribbons, instructing us to add them to our IDs as a reminder of the superintendent’s message.
Purposeful acts of kindness create ripples of generosity and good will that are sure to impact the lives of those around you—and beyond. 50 Southwestern Musician | October 2019
October—Renew your membership and register for the convention. October 3, 6 a.m. CT—Convention housing reservation system opens for members. November 1—TMEA scholarship online application deadline. December 31—TMEA email/mail/fax convention preregistration deadline. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
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And—you guessed it—the ribbons feature the word Lagniappe. Walking back to my room, I began to wonder what giving a little extra might look like in my day as an elementary music teacher. Quite often, the very nature of our jobs means we’re already giving at least a little extra. With some of our large classes, before- and afterschool activities, performances, teaching every child in the school, and so much more, it often can feel like a lot extra. (December comes to mind!) So, where can we begin to apply this concept? Fortunately, our daily interactions with students, staff, and the school community present many unique opportunities to give that little extra, purposefully. Walk yourself through your day, imagining all the lives you touch. Stay aware, in all circumstances, of the needs of those around you. Wherever and whenever possible, look for those little ways to offer lagniappe to those around you. Perhaps it means making that positive call home to a parent or walking out to the cafeteria during your lunchtime to visit with one of the classes. It might be writing a thank-you note to a fellow staff member who supports you during the day, or surprising a team member with their favorite beverage on a Tuesday morning. How about your building custodians? Why not encourage your students to create cards for them following a performance, thanking them for their help with chair and riser setup? Rest assured, no two lagniappes are alike. What seems extra to us might be someone else’s normal; what seems expected to one person may truly mean the world to someone else. But, herein lies the beauty of this practice—big or small,
these purposeful acts won’t just positively impact the lives of others. By simply giving someone the gift of your time, some sincere words of appreciation, or a thoughtful gift, you’ll undoubtedly find your day enriched as well. Finally, remember that your gifts of lagniappe have the power to influence others to go out and do the same. Indeed, much like paying it forward, these purposeful acts of kindness create ripples of generosity and good will that are sure to impact the lives of those around you—and beyond. So how can you practice the art of giving lagniappe today? Remember, start small and never doubt the power that your actions can have. Because when everyone gives just that little extra, it sure can add up to a lot. A Very Special Convention At the 2020 TMEA Clinic/Convention, we will be celebrating TMEA’s Centennial! This celebration will be evident by more engaging clinics, inspiring performances, and exciting sessions for the general membership. If you need official information to provide your administrator or any group that could help support your attendance, download a one-page summary of the convention at www.tmea.org/2020summary. You can also share with your administrator the preview list of clinics offered just for elementary music educators at www. tmea.org/2020clinics. Our annual event offers the most targeted professional development for elementary educators and welcomes the largest group of elementary educators from around the state. There is no better opportunity to learn and share with others who do your job.
2020 TMEA Clinic/Convention Februar y 12–15 • San Antonio
This Is the Best Place for Elementary Music Educator Professional Development!
W W W.T M E A .O R G /C O N V E N T I O N 52 Southwestern Musician | October 2019
TMEA Convention Discounted Housing Discounted housing for TMEA members opens on October 3 at 6 a.m. CT. Once the official housing system opens, hotels sell out quickly. To learn more and make a reservation, go to www.tmea.org/housing. Volunteer at the Convention Each year, all divisions of TMEA (and TMEA registration) rely on volunteers to help the convention run smoothly. Any member may volunteer their time and talents in this way—and our upcoming 2020 event is most certainly in need of willing volunteers. In particular, the Elementary Division will need presiders, office workers, and greeters, and TMEA staff need your help at registration. No previous experience is required, only a willingness to serve, and you may indicate the level of time commitment you are interested in when applying. Submit your information at www.tmea.org/elementaryvolunteer. Please thoughtfully consider giving back to TMEA in this way and sign up today. Promote Music Education Via Social Media Thanks go to our elementary educators who are already utilizing the #TMEA100 and #itstartswithmusic hashtags to help our positive stories about the benefits of music education go viral! I’ve seen so many amazing posts with images and videos of engaging lessons in progress. What could be more convincing about the value of high-quality music education? Want to get inspired or share with your administration some of the things happening around the state? Search online for #TMEA100 or #itstartswithmusic. It’s truly inspiring to see all that’s happening and the effect music education is having on our students and communities. Big things or small things, these quick snapshots are a wonderful way to give others a glimpse into the day-to-day workings of our classrooms. To contribute to this campaign, all you have to do is add #TMEA100 and/or #itstartswithmusic to your social media posts that are about the joy of learning and making music. As always, be mindful of your district’s policies when it comes to photos of students on social media. When in doubt, keep students unidentifiable in photos—and focus on the activity itself.
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t’s always a good time for self-reflection and introspection, but as 2020 approaches, it seems even more relevant given its implications of clear and accurate vision. For nearly two centuries, music educators have persisted with grit, determination, and dedication in bringing music to children. As we face 2020, the time is ripe to take a personal look at the now to bring about an even better tomorrow in music education. It’s now 20 years beyond the Housewright Symposium (a 1999 symposium of music education leaders who crafted the Housewright Declaration—a guiding vision for the future of music education). We can use the Housewright Declaration to lead our thinking by asking hard questions and giving honest answers to who we are, what we do, and how we can improve.
Include Everyone Out of curiosity, I looked at a few social media sites dedicated to band directors. Of the roughly 30,000 contributors (most impressive!), I was struck by the apparent lack of diversity and wondered if that was reflective of our student populations. The good work we are doing can reach so much further if our profession becomes more inclusive. Are we doing all we can to open doors to everyone, “regardless of age, cultural heritage, ability, venue, or financial circumstance” (The Housewright Declaration, 2000)? Can you do one thing today to bring music to a child who might otherwise be disenfranchised, or to ensure that music teaching is a viable profession for many? Here’s a starting place as you consider how you can help: • Offer an instrument or waive a participation fee to a child without means. • Alter your instructional approach to meet the needs of more students.
• Program music composed by women and people of color and teach your children about those composers. • Embrace the worth of musics not familiar to you. Create Meaningful Musical Experiences Through her work at UT/Austin and as a coauthor of the Housewright Declaration, Judith Jellison has shown us how meaningful music experiences can launch children into adulthoods of lifelong music-making and learning. Are you bringing musical experiences to your students right now? Envisioning students as complete musical people can clarify the instructional path. Consequential musical experiences today will lead to better ones tomorrow if we give quality instruction that circles back on itself repeatedly, growing in richness and sophistication. At every level of musical development, we should: • Offer quality music for study and exceptional listening experiences. • Focus on making beautiful sounds. • Include creation, performance, and expression. • Teach for knowledge and skills transfer. • Afford intimate music making experiences with friends in small groups and large ensembles. Optimize Time on Task Have you ever felt like you had more than enough time to teach and rehearse? Mostly we struggle with finite time that always feels like it’s slipping through our fingers. Music is a skills-based discipline; students need time on task—time with you—to flourish. That precious time must be used wisely.
• Look for and provide leadership opportunities for children of color. Southwestern Musician | October 2019 55
Let go of the reins to celebrate the musical life in your community.
Expand Our Community Whether you are your school’s only music educator or are part of a music staff, it’s important to remember that you are part of a music community rather than as a solitary music educator. Although we are committed to music for all, from birth to death, practices can sometimes become myopic, trained on the walls of our school.
How do you use your teaching time? Are you squeezing every drop out of each class, meeting, rehearsal? Record yourself and review. Where does your time go? Can it be improved? Consider these time-focused strategies:
• Become more knowledgeable about music from another culture. Talk with people from that culture; ask questions to help you gain a greater understanding of them and their music— listen intently to their answers.
Are you the solitary music educator, working to improve students’ experiences? Whether you are a staff of 1 or 10, embracing music industry, churches, and community groups can be incredibly powerful.
• Have an efficient teaching plan—and plans B, C, and D.
Use Technology Equitably Advances in technology move at a remarkable rate. Many of today’s students are digital natives, while the more seasoned among us are digital immigrants. Twenty years ago, Carlesta Spearman and other music education leaders predicted that technology would continue to burgeon. We were simultaneously warned that the cultural and social divide would further widen.
• Seek involvement of local musical leaders (church choir directors, college music educators, music industry management).
• Take time to listen, laugh, and enjoy. • Ask good questions and use students’ answers to advance instruction. • Teach students how to practice—it’s time in the bank that pays great dividends. Consider All Musics Sometimes we can get comfortable with our materials without periodic reexamination. What do your materials look and sound like? Are you providing a solid, quality experience? Is there too much or not enough of a style, genre, key, meter, or culture? What is appropriate for your circumstances? Would your students benefit from a musical closet-purging? Are you avoiding certain experiences because of lack of familiarity? How would you rate your own growth when it comes to learning new and different music? What about your students? Being aware of students’ preferences and musical habits might enrich school music instruction. • Ask students to share their favorite current music (with school-suitable lyrics) and use that music to help teach a concept. • Use multiple musical examples that emphasize music from cultures outside of the familiar, comparing and contrasting to encourage understanding.
56 Southwestern Musician | October 2019
How do you ensure equal access to the benefit of music education technology? Technology is costly and amplifies the haves and have nots. Only those children with access are digital natives. Equity in music education begins with access—to teachers, time, materials, equipment, and technology. • Consider adding one new music or multimedia tech skill to your toolkit. • If your students have limited access to equipment, learn more about grant writing—you have everything to gain. • Teach administrators about the benefits of electronic and digital music education tools as they relate to meaningful musical experiences for students. • Make a personal investment or donation to help one child.
• Become involved in external events or organizations in which you can share musical and leadership skills. • Encourage your students to be good stewards through community participation. • Provide music to community members through a variety of means— include your students in this practice, too. Expand Your Role If you decide to see what is happening outside school music, you might be asked to lead, advise, or participate. Share what you know and be open to learning what others can teach you. Many community opportunities can benefit from your participation. Some can be very different from the more formal aspects of traditional music teaching. Let go of the reins to celebrate the musical life in your community. Get and Keep New Music Teachers As committed, caring music educators, we should insist on the best in our next generation of educators.
Share what you know and be open to learning what others can teach you.
Who needs us to find the person who will replace and exceed us? Our students do! We are responsible for finding those people and for ensuring that we encourage and prepare prospective music educators from all backgrounds. If you watch someone teach or conduct a rehearsal, you can likely determine whether they are a good teacher. Similarly, you can identify a student musician who might become an exceptional teacher. Do what you can to help qualified young people attain that goal. • Give these students leadership responsibilities in your classroom and rehearsal, suggest methods for working with others, help them reflect, and guide them in ways to improve. • Talk with music teacher educators to improve recruitment and admission processes. • Be a mentor to novice teachers to help them become more secure in the profession. • Continue to participate in professional development—stay fresh, invigorated, and motivated by implementing something new in your work.
• Collaborate with a researcher on a project to learn more about research benefits. Strengthen Music Participation At the turn of the 21st century, music educators were tasked with broadening our interpretation of what it means to make music. For relatively new music educators, the inclusion of composing, improvising, listening to and interpreting music, as well as critiquing, probably seems natural and unremarkable. At the time, though, this constituted a shift in thinking and doing
among the more seasoned educators. Does your institution reflect a broader music education concept? Consider the following as you assess your approach: • Review your curriculum to answer whether these concepts have a place in, for example, your performance ensembles. • To what degree do these concepts occupy instructional time?
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• Read more research. If it intimidates you, find a colleague to discuss it with. • After some reading, try to implement a finding from research into your own teaching. Did it make a difference? • List your questions and curiosities about music teaching and learning. Ask a music researcher if some could be answered through research.
For general scholarship questions contact: Undergraduate Advisor Dr. Michael Hix mhix@unm.edu
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Southwestern Musician | October 2019 57
• Revisit your personal philosophy. Do you embrace these aspects of music participation? • Compare your philosophy with your program. Are you doing what you say you value? If not, why not, and how can you modify to match ideas to behaviors? Foster Lifelong Music Participation We must view our role as musical guides for all—from the youngest to the oldest.
How do we perceive our students? As third graders who can keep a fairly steady beat? As middle school trombonists who can’t quite yet reach seventh position? A high school last chair second violinist who could have been really good if she’d only practiced? Thinking about our students as complete, adult musicians puts the onus on us to get them there. Aren’t you thrilled when, after many years, a former student gets in touch and you learn she’s still singing in her church choir or that she’s joined
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a community band! Our vision of our students should extend through life, not just through high school graduation. • Provide information about university music opportunities for your high school students, even if they aren’t going to major in music. • Volunteer some time in a preschool where music is not regularly offered by a certified teacher. • Visit a nursing home with a student group or ask permission to visit with a resident to talk and sing (note: this isn’t music therapy but a social connection with music as a common bond). How did you fare after answering the questions above that originated 20 years ago in the Housewright Declaration? We must be the best music educators possible for our current students and for those yet to come. Whatever your self-assessment yielded, always focus on improving, developing, and growing. Then act on that plan, one step at a time.
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58 Southwestern Musician | October 2019
Deborah Confredo is Professor of Music Education at Temple University (Penn.) and Chair of the Society for Research in Music Education. She is also a 2020 TMEA College Division Featured Clinician. Resources Hinckley, J. (2000). Why Vision 2020?: The philosophical importance of planning for the future cannot be underestimated. Vision 2020 focuses on the future, as the Tanglewood Symposium did in the 1960s. Music Educators Journal, 86(5), 21–66. https://doi.org/10.2307/3399631 The Housewright Declaration (2000). https://nafme.org/wp-content/ files/2015/12/18-HousewrightDeclaration. pdf Vision 2020: The Housewright Symposium on the Future of Music Education (2000). https://nafme.org/ about/history/vision-2020-the-housewright-symposium-on-the-future-ofmusic-education/ h t t p s : // n a f m e . o r g / w p - c o n t e n t / f i l e s / 2 015/1 2 /14 - H owW i l l S o c i e t a l andTechChangesAffectTeachingofMusicby-Carlesta-Elliott-Spearman.pdf
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A storm is coming—are you prepared?
R
esidents in various areas of Texas are accustomed to dealing with the occasional severe weather alert. I recall one evening when my husband, son, our two dogs, and I were gathered in our family room, enjoying a lively conversation in competition with a television program. Suddenly, a weather alert appeared on the screen and our cell phones began to chime. Areas of rotation had been identified, which upgraded our weather status from tornado watch to tornado warning. The local siren sounded, signaling the seriousness of the threat. Interestingly, each of us responded to the potential crisis in a unique manner. The first member of the family to react to the storm was Annabelle, our six-year-old, 65-pound rescue dog, who is terrified of thunder and gunfire (we know this because the people living behind us have a skeet shooting range). At the first clap of thunder, Annabelle retired to her safe place—under the desk in the upstairs tech center. My husband, Mark, went outside and stood on the front porch to keep watch. He returned inside occasionally to regale us with tales from his college days in Kansas when he and his buddies would sit in lawn chairs and enjoy tornadosighting parties. It was then I realized that he was not being protective—he was being entertained. I suppose I shouldn’t fault him. After all, his television show
We must prepare our students for the onslaught of these “severe weather days,” and teach them how to respond in a positive, proactive, and productive manner. 60 Southwestern Musician | October 2019
October—Renew your membership and register for the convention. October 3, 6 a.m. CT—Convention housing reservation system opens for members. October 11—College Division Fall Conference in Austin. October 15—College Division Call for Papers online submission deadline. November 1—Deadline for Collegiate Music Educator Award nominations. November 1—TMEA scholarship online application deadline. December 31—TMEA email/mail/fax convention preregistration deadline. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.
had been preempted. Our son, Ben, with an encyclopedic mind, who reads voraciously and has an eidetic memory, proceeded to share various scientific and historical facts about tornados, which I alternately found confusing and discomforting. During one of Mark’s visits indoors, Ben was trying to determine what we should use as our shelter in place location. Mark explained we would all gather in the space under the stairs. As Ben computed the proximity between three adults and two dogs in the Statement of Ownership, Management, and Circulation (All Periodicals Publications Except Requester Publications) 1. Publication Title
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confined space, I could see a look of panic forming. He then gallantly offered to go into the downstairs powder room to give us more space. The thought of Annabelle whimpering, shaking, and trying to sit on his lap was probably what drove him to consider an alternate safe place. After we had exhausted the subject of a safe place, Ben switched to aftermath mode. He determined that his shorts and flip flops would be inadequate to navigate the ruins of the house after the tornado struck, so he changed into jeans and tennis shoes. He then expressed concern that he did not have a BOB. I asked him to repeat what he said, thinking my hearing was failing me. When he clearly enunciated “BOB,” I found that it was not my hearing that was lacking, but rather my familiarity with survivalist training (it’s your survival Bug-Out Bag). He then began to list the things he would put in his BOB—allergy medication, bug repellent—a rather sensible start, I thought. He paused in his deliberation, looked at me closely and said, “Look at you. You aren’t even concerned about the weather!” Throughout the tornado watch and warning (Ben explained the difference at length), I sat in my recliner, iPad in hand, with my chihuahua, Sammie, asleep in my lap. I explained to Ben that I was wearing my most comfortable clothes (pajamas) because if we lost everything, I wanted to be comfortable at the Red Cross shelter, and I had my comfortable shoes beside my chair, which I would slip on en route to the safe room. As I reflected upon the evening (we obviously survived), it occurred to me that music educators continually face some type of crisis on the horizon. It can be concerns about the sustainability of their music program, adequate staff, an inadequate budget, recruitment and retention of students, lack of administrative support, issues with parents, school safety, and more. As music teacher trainers, I believe it is imperative that we prepare our students for the onslaught of these “severe weather days,” and teach them how to respond in a positive, proactive, and productive manner. Annabelle’s Response: The last thing we want is for early career teachers to try to hide from the problems. At the same time, when they confront the issues, we want them to be able to do so without fear or uncertainty. We can strengthen our future
educators’ confidence to face a crisis by teaching them problem-solving strategies and helping them to reframe past negative experiences that may paralyze them from action. Our goal is to empower them with the self-assurance that they can face the storm and emerge unscathed. Sammie’s Response: It is unhealthy for early career teachers to simply curl up, sleep, and feign oblivion to the problems confronting them. This passive approach places the students, teacher, and program at the mercy of administrative policies, school faculty, parents, and other programs seeking to promote their agenda, regardless of the impact on the music program. Future music educators must be taught the importance of staying awake, alert, and aware of any actions negatively affecting their program. Further, they need to be willing and prepared to fight for their program, rather than retreating in denial or defeat. Mark’s Response: Vigilance is an important aspect of being an effective music educator. You need to always be listening and watching for potential problems. To be forewarned is to be forearmed, but that does not mean to be paranoid. Mark does not stand on the front porch every day with his eyes peeled on the sky. However, when he hears a rumble, he investigates it. TMEA does an excellent job keeping Texas music educators abreast of proposed legislation that could impact school music. Hopefully you have a fine arts director who maintains that same level of watchfulness on the district level. Music educators must also be alert to campus events and policy changes that directly impact their program and be prepared to advocate on behalf of their students. Ben’s Response: Being well-versed in the facts and information surrounding the issues you are facing as a music educator is key. You cannot advocate for your side if you are unfamiliar with the history of the conflict or the factors that are at stake. Doing your homework and staying current on issues impacting music education is required to effectively debate the issues. What About BOB? We all need to develop a survival strategy and keep it up-to-date and supplied. What should be included in a music teacher’s BOB? 1. A strong philosophy. No matter the
topic being debated, at the heart of the matter is your belief in the importance of music education in shaping the lives of our students and your passionate commitment to being a music educator. 2. Advocacy tools. When the storms of budget and personnel cuts come, you need to have some materials and resources on hand so you can respond quickly and decisively. The TMEA website contains excellent resources: www.tmea.org/resources. 3. Words of encouragement. I keep handwritten notes, emails, pictures, and other mementos from my students. When the difficult days come, I pull out my file and start reading to remind myself of the incalculable rewards of being a music educator. 4. Mentors. Music teachers often feel isolated because they are the only one teaching their subject on their campus. Develop a network of music colleagues and reach out to them. TMEA offers an excellent mentoring program, designed to match early career teachers and veteran teachers. For further information, go to www. tmea.org/mentor.
5. Information. Storms are constantly lurking on the horizon. Be proactive and prepared by staying abreast of legislation and policies that could potentially endanger your program. Watch for emails from TMEA and read Executive Director Robert Floydâ&#x20AC;&#x2122;s column, where he often informs us about possible legislation that could affect music education. You might have noticed that I did not include my response in the subheading list. I guess you could categorize me as being the watchful overseer. I positioned myself at Ground Zero and kept an eye on terrified Annabelle, vigilant Mark, comatose Sammie, and contemplative Ben. It was important for me to know that my family was doing all right. In the same way, when music educators face critical circumstances, the first and foremost concern should be the welfare of the students. The music classroom should be their safe place, protected and secured by their music educator. College Division Fall Conference The annual College Division Fall Conference will be held on Friday, October 11, at the TMEA headquarters in Austin. The meeting will begin at 10 a.m.
2020 TMEA CLINIC/CONVENTION Pedagogical Clinics Research Poster Session College Division Meeting Extraordinary Concerts Networking Opportunities Huge Exhibit Hall
TMEA.ORG/CONVENTION
REGISTER TODAY! 64 Southwestern Musician | October 2019
and will end around 3 p.m. Lunch will be provided. If you plan to attend the Fall Conference, please make your reservation as soon as possible by emailing collegevp@ tmea.org. If you have any dietary restrictions, include them in the email. The agenda will include important legislative updates and reports from the Higher Education Coordinating Board, Texas Board for Educator Certification, and the Texas Education Agency. Committees will meet during breakout sessions. If you have a specific topic that you would like to be included in the group discussion, please email me as soon as possible (collegevp@ tmea.org) and I will include it on the agenda. If you are unable to be in Austin for this event but want to benefit from the information presented live, know that we can include you on a Skype conference call. There is a limited number for this call, so if you want to be included, please email me soon with the contact information for us to use. Call for Research Poster Proposals The submission portal is open for original research projects to be considered for inclusion at the annual Research Poster Session during the 2020 TMEA Clinic/ Convention. Simply go to www.tmea.org/ papers to submit your proposal. The deadline for submission is October 15. You are required to be a current member of TMEA in order to access the submission portal, so renew your membership well in advance of the deadline. For further information, contact Amy Simmons at asimmons@ austin.utexas.edu. TMEA Collegiate Music Educator Award If you have outstanding undergraduate music education majors who are graduating in December 2019, go to www.tmea .org/collegiateaward to see if they qualify for the Collegiate Music Educator Award. Nominations opened September 1 and close November 1. Award recipients represent the finest and most dedicated future music educators in the state. The designation of TMEA Collegiate Music Educator includes a letter of congratulations, a certificate, and a cord to be worn at commencement ceremonies.