August 2019 Southwestern Musician by Texas Music Educators Association

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202

AUGUST 2019

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Contents VO LU M E 8 8 ɵ I S S U E 1 ɵ AU G U ST 2019

Features 86th Session in Review . . . . . . . . . . . . . . . . . . . . . . . . 13 While the primary focus was on the school finance bill, learn how the 86th session of the Texas Legislature will affect fine arts education. [R O B E R T F LOY D]

Celebrating TMEA’s Centennial. . . . . . . . . . . . . . . . . . 18 With its beginnings dating back to April 1920, TMEA will observe its centennial throughout this 2019–2020 school year, with a focus on advocating for the future of music education.

Reinforce Learning with Rehearsal Cross-Training . . 29 Shake things up with a change in your rehearsal approach that’s proven to yield positive long-term results for learning and retention. [R YA N R O S S A N D A M Y G R O S S]

Improving Recruiting and Retention . . . . . . . . . . . . . . 37 It’s not too early to begin focusing on how to improve this critical component of your music program. [J O H N D E N I S A N D M A R TA F R E Y- C L A R K]

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

Positive Classroom Management . . . . . . . . . . . . . . . . 44

[J O E

M U Ñ OZ]

It’s crucial to establish a positive learning environment starting on Day 1. Read about several strategies for staying positive throughout the year. [T H ER ES A T U R N ER]

Executive Director’s Notes . . .8 [R O B ER T

F LOY D]

Updates

Band Notes . . . . . . . . . . . . . 16

Attend Your Fall Region Meeting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Orchestra Notes . . . . . . . . . 25

Update Your Record in the New Membership System . . . . . . . . . . . . . 10 Invest in Our Future: Start a TFME Chapter . . . . . . . . . . . . . . . . . . . . . 10 Time to Renew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 TMEA 2020 Clinic/Convention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

[J O H N

CA R R O L L]

[M IC H A EL

S T R I N G ER]

Vocal Notes . . . . . . . . . . . . . 33 [J E D

R AG S DA L E]

Elementary Notes. . . . . . . . 40 [A B I G A I L

H AW ES]

Everyone Can Use a Hand: TMEA Mentoring Network. . . . . . . . . . . . . 35

College Notes . . . . . . . . . . . 46

on the cover

Donovan Neal, a senior at Summit HS (Mansfield ISD), rehearses with the 2019 TMEA All-State Concert Band. Photo by Karen Cross.

[V I C K I

BAKER]

Southwestern Musician | August 2019

Editor-in-Chief: Robert Floyd

Attend Your Fall TMEA Region Meeting

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

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

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

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

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

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

Check for schedule updates online at www.tmea.org/regionmeeting. Region Date

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

Location

Aug. 10

10:00 a.m. meeting, Amarillo HS Cafeteria 9:30 a.m. food

Aug. 10

10:00 a.m.

*X\HU +6 'HQWRQ

Aug. 10

10:00 a.m.

%HUNQHU+6

Aug. 16

5:30 p.m.

Mt. Pleasant HS

Aug. 17

9:00 a.m.

Terrell Academy for STEM/VPA

Aug. 10

1:00 p.m.

3HUPLDQ +6 %DQG +DOO

Aug. 10

10:00 a.m.

*UDKDP +6

Aug. 10

10:00 a.m. meeting, Temple College, Fine Arts 9:30 a.m. food

Aug. 10

9:00 a.m.

Tomball Memorial HS

Aug. 5

6:30 p.m.

/DPDU 8QLY 0XVLF %OGJ

Aug. 17

12:00 p.m.

Harlandale HS

Aug. 10

10:00 a.m.

Madison HS, San Antonio

Aug. 10

10:00 a.m.

*HRUJH 5DQFK +6

Aug. 10

10:00 a.m.

Del Mar College

Aug. 10

10:00 a.m.

McAllen Memorial HS

Aug. 3

10:00 a.m. meeting; Frenship HS 9:00 a.m. steering committee

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

Time

Aug. 10

9:30 a.m

Clear Springs HS

Aug. 10

10:00 a.m.

Austin HS

Aug. 10

10:00 a.m.

6DP 5D\EXUQ +6

Aug. 10

9:00 a.m.

Adamson HS, Dallas ISD

Aug. 17

10:00 a.m.

:KLWHKRXVH -+6

Aug. 24

10:00 a.m. meeting, Eastwood HS 9:00 a.m. UIL

Deputy Director: Frank Coachman | fcoachman@tmea.org

Aug. 10

9:00 a.m.

Sharpstown HS

Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org

Aug. 10

10:00 a.m.

5HHG\ +6 )ULVFR

TMEA Staff Executive Director: 5REHUW )OR\G | UĂ R\G@tmea.org

Advertising/Exhibits Manager: =DFKDU\ *HUVFK | ]JHUVFK@tmea.org

Aug. 10

10:00 a.m.

Allen HS

Aug. 10

10:00 a.m.

Connally HS

Financial Manager: &ULVWLQ *DIIQH\ | cgaffney@tmea.org

Aug. 10

9:00 a.m.

Cypress Falls HS

Information Technologist: Andrew Denman | adenman@tmea.org

Aug. 10

10:00 a.m. meeting, Harlingen CISD PAC 9:30 a.m. food

Aug. 10

10:00 a.m.

Holmes HS

Aug. 10

10:00 a.m.

Saginaw HS

Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org

Administrative Assistant: 5LWD (OOLQJHU | rellinger@tmea.org

70($ 2IĂ&#x20AC;FH Mailing Address: 3 2 %R[ $XVWLQ Physical Address: 7900 Centre Park Drive, Austin, 78754 Phone: 512-452-0710 | Toll-Free: 888-318-TMEA | Fax: 512-451-9213 Website: www.tmea.org 2IĂ&#x20AC;FH +RXUV Mondayâ&#x20AC;&#x201C;Friday, 8:30 A.M.â&#x20AC;&#x201C;4:30 P.M.

Aug. 10

10:00 a.m.

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Aug. 18

4:00 p.m.

9LVWD 5LGJH +6

Aug. 10

10:00 a.m.

Porter HS

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Southwestern Musician | August 2019

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Southwestern Musician | August 2019

B Y

J O E

M U Ñ O Z

PRESIDENT’S NOTES

Let visibility be advocacy

August—Renew your membership and register for the convention. August—Attend your Region meeting (see page 2). August 1—Deadline for waivers to the audition process to be received at TMEA headquarters. August 20—Liability insurance purchased through TMEA expires. 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, 2020—TMEA Clinic/ Convention in San Antonio.

he beginning of each school year is one of our most exciting times. New students arrive with great energy and returning students are ready for the next step in their musical development. It all creates a buzz in the classroom. In Texas, returning for this school year can take on another level of excitement as we begin celebrating our association’s centennial! It’s time to look at how far we’ve come and what lies on the horizon. Our students are the foundation of our music classrooms. Without their interest and thirst for musical growth, we would not have a profession. This has been a constant from the inception of our association. The students themselves may approach what they do in a different way. Technology is something that has evolved from our early years. Students today learn in different ways, and we as educators have a variety of tools to help them strive for a higher level of understanding. How we use this technology can help reach students who might not have remained interested in their musical development otherwise. Technology can also present some issues. We must guide our students on the safe and proper use of social media. Kids are still kids, and they will make mistakes. How we respond to those mistakes makes a difference to our students. Student-to-student interactions are not that different from decades ago; however, social media has made that interaction more public and permanent. Making social media ethics part of your yearly educational program is a

Each of us is responsible for promoting the importance of music education in every child’s educational development. Southwestern Musician | August 2019

vital part of our students’ character development that we can address in our music education classes. TMEA has grown to over 13,000 active members and added divisions to serve all music educators. Every division has its unique contributions to our association, but the real impact comes from all divisions working together to promote quality music education in our state. We need to continue to work to showcase the importance of a music curriculum for all students at all levels. One of the ways this can be done is by making sure our programs are valued on our campus and in our community. I often hear colleagues talk about not feeling valued on their campuses. Even some of our state’s very successful programs don’t believe their programs get the local recognition they deserve. Changing our perspective might help us in this endeavor. How have you made your program a part of your school community? Does your program only go to contests and give concerts while they are preparing for the UIL Evaluation or another contest? These activities are important, but they are not very visible to our local community or campus administration. Many more community members will see your band march in a local parade than will attend a UIL Concert and Sightreading Evaluation. “We don’t march parades!” is a common response from directors. Changing one’s perspective on these types of performances can increase the local engagement of your

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Southwestern Musician | August 2019

campus administration and community leaders. Other types of local engagement would be strolling carolers during the holidays, elementary programs at PTA meetings, chamber music performances before a school board meeting, or a performance at the state capitol. Having a vibrant, visible music presence in our community provides a way for your local stakeholders to buy into our students and your program. Building this positive atmosphere can help when these stakeholders are involved in making decisions that benefit our programs. Each of us is responsible for promoting the importance of music education in every child’s educational development. Using the advocacy information on the TMEA website is a good way to get ideas on how to share the importance of music education with your district/campus administration and your local community. It is increasingly important for every music educator to be an advocate not only for our programs and music education but also for a quality fine arts education for all students. Collaborating with other music and fine arts programs on your campus is a great way to advocate for fine arts education in your school. Do not take for granted your standing on your campus. A change in leadership can often completely change the dynamic of the fine arts program in a short time. Having parents be partners in promoting fine arts programs in the community highlights their importance to district/campus administrations. Use social media to share positive stories about your program and music education in general with your community. Capitalizing on the excitement of the new school year to establish greater visibility for your program, music education, and fine arts can set the foundation for future support in your local community and in the next legislative session.

TMEA Policies The new school year is a great time to get acquainted or reacquainted with the TMEA Code of Ethics and TMEA policies that govern our activities and audition processes. Go to www.tmea.org/policies for a refresher on this very important document that guides our professional behavior. Additional Programs The TMEA Executive Board has approved pilot programs for an Invited Mariachi Ensemble and Invited Percussion Ensemble for the 2020 Clinic/Convention. The Executive Board also approved pilot programs for the 2021 Clinic/Convention for an All-State Mariachi Ensemble and 6A and 5A All-State Percussion Ensembles. The two All-State Percussion Ensembles will share an All-State concert. The Executive Board appreciates the input and dialogue from the general membership that led to the formation of these new groups. Please visit the TMEA website (Band and Orchestra Division areas) for more information on the added ensembles. Region/Area Alignment and Apportionment In the spring of 2014, the TMEA Executive Board and staff initiated a comprehensive review and reformulation of our Region/Area alignment that went into effect in the fall of 2016. The Executive Board committed to reviewing the Region/ Area alignment and resulting All-State apportionment data every two years. In spring of 2020, the TMEA Executive Board will evaluate the online audition entry data from the past two years and the UIL’s biennial enrollment and classification report to determine the 2020–2022 Region/Area alignment and All-State apportionment. A preliminary timeline for this review is outlined below. The two State Board meetings, Divisional Region and Area Chairs luncheons, and the

Save the Date! February 12–15, 2020 San Antonio, Texas Celebrating TMEA’s Centennial!

Region meetings during the 2020 Clinic/ Convention will provide opportunities for information and member feedback. Final revisions to the proposed alignment and All-State apportionment will need to be approved and adopted by the TMEA Executive Board no later than mid-April 2020 so that important agenda items like election of Region officers and the selection of Region sites and dates may be conducted at the spring Region meetings. Region variance requests or waivers will still be due by August 1, 2020. Preliminary Timetable for the Biennial Review of Region/ Area Alignment and All-State Apportionment The following is the schedule for the biennial review and adoption of our Region/Area alignment. December 2019: UIL releases biennial enrollment/classification data. January 2020: TMEA Executive Board Meeting. TMEA Executive Board and staff review the two-year audition data and, with input from the UIL ex offico member, propose the TMEA Region/Area alignment and All-State apportionment for the next biennial audition cycle. The proposed plan is published on the TMEA website

and sent to the TMEA State Board for member review and feedback. February 2020: TMEA Clinic/ Convention. State Board meetings, Divisional Region/Area Chairs luncheons, and Region meetings will offer opportunities for feedback and discussion from the general membership of TMEA. March 2020: TMEA Executive Board Meeting. Based on feedback and input from the membership, TMEA Executive Board and staff, with input from the UIL ex officio member, will finalize and adopt the proposal. April/May 2020: Spring Region Meetings. The adopted Region/Area alignment and apportionment is published on the TMEA website by mid-April and sent to the TMEA State Board for the spring Region meetings. Members attend their spring Region meetings based on the adopted 2020–2022 TMEA Region/Area Alignment. July 2020: TMEA State Board Training and Summer Conventions. The 2020–2022 TMEA Region/Area alignment and AllState apportionment is presented at the summer training for TMEA State Board and Region/Area Chairs. August 1, 2020: Deadline for audition Variances and Waiver submissions to the TMEA Office.

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EXECUTIVE DIRECTOR’S NOTES

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TMEA’s 100 years

ven if you have been to many TMEA conventions, you likely remember your first. While mine was not 100 years ago, it seems like it! Having graduated from Southern Methodist University in 1966 with a degree in mathematics, I re-enrolled in undergraduate school to pursue a music education degree (forgoing graduate school in statistics and a position with IBM at NASA). That next February of 1967, my college marching band director, Irving Dreibrodt, told me I had to go to the TMEA convention in Houston and I could ride with him and his wife. That experience forever changed my life. Attending the clinics and concerts, exploring the exhibit show, and meeting icons of our profession up close made this a true kid-in-a-candy-shop experience for me. The convention structure is not much different today—only much, much larger. Hopefully your first convention experience brought similar feelings and lasting memories (or hopefully it will if this is your first!). We hope the 2020 Clinic/Convention, where we celebrate TMEA’s Centennial, will live up to or exceed those initial expectations.

Reflecting on the factors that have contributed to 100 years of longevity and growth in our profession, the first and most significant contributor is high-quality teaching by dedicated, passionate music educators. 8

Southwestern Musician | August 2019

Our Centennial Focus Centennial celebrations can take on many looks with varied focus. When we began discussions over three years ago, the emphasis initially gravitated to a three-day birthday party during the 2020 convention, complete with an Alamodome blowout and splashy celebrations. Its emphasis was on the now of TMEA. In refining the plan, however, it became clear that our amazing history should be an integral part of the celebration, and we look forward to sharing it throughout this centennial year via Southwestern Musician, our website, and social media. While the convention is sure to be a central part of our centennial observance, during our early planning stages we determined it would be a big mistake for celebratory events to diminish what’s truly valuable about our annual gathering. We committed to maintain those activities that keep us motivated and inspired throughout the spring semester and that have been the basis of our consistent increase in attendees—exceeding 30,000 last year. Those components include the All-State process, honor bands and orchestras, invited choirs, elementary and college ensemble performances, amazing workshops, a 1,350-booth exhibit show, music showcases, general sessions, continued emphasis on urban schools, and more. Rest assured those events will continue to

be the heart of our celebration. The Executive Board is working to give this convention a greater Texas focus. Conducting the Symphony Orchestra will be Carl St. Clair, and conducting the Symphonic Band will be Frank Ticheli, each of whom received music instruction in Texas public schools. In addition, the Dallas Winds, under music director Jerry Junkin, will be presenting the President’s Concert. The Dallas Winds is the leading professional civilian wind band in the United States today. A highlight of Friday morning’s general session will be a performance of a commissioned work by Frank Ticheli written for band, orchestra, and choir to celebrate our centennial. Additionally, each TMEA Division will feature presenters with Texas ties in their special events. More importantly, though, our centennial celebration is an opportunity to envision the future of music education and share that information with the students, parents, school administrators, legislature, and business community. We will look to you to become active partners in sharing the message and will provide you information, data, and tools to help you advocate for music education in your local setting. Social media will be a big part of that effort, and other resources will be provided in an online digital toolkit. It’s not too late to share your ideas about what you

would like to see as a part of this centennial celebration. Reflecting on the factors that have contributed to 100 years of longevity and growth in our profession, the first and most significant contributor is high-quality teaching by dedicated, passionate music educators. These educators don’t hesitate to share their successful teaching strategies with colleagues and base all decisions on the best interests of their students. As we begin this centennial year, I encourage you to look beyond the distractions and noise that you encounter daily in this profession and remember that we teach young people (not band, orchestra, choir, or elementary music) through a subject that nurtures the human spirit and stimulates, challenges, and enriches like no other academic discipline in our schools. We look forward to having you join in TMEA’s Centennial celebration this February in San Antonio and encourage you to continually share at your local level the message of the power of music education for all schoolchildren of Texas. The sidebar on this page eloquently states the theme and purpose of our centennial celebration: it starts with music.

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Over the last hundred years, we have come a long way as a profession and as an association. Our purpose started with music. Our commitment as music educators enriches our students and prepares them for any path in life they choose, because music contributes to lifelong success. As we begin our next 100 years, there is much more ahead on the journey for music educators and music education in Texas. And it starts with music.

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Southwestern Musician | August 2019

Update Your Record in the New Membership System

ith the implementation of a new membership system, TMEA’s online membership pages have changed. For members, an obvious difference is that those pages are now mobile friendly. You can easily update your record and renew anywhere you can connect to the website (www.tmea.org/renew). TMEA Directory Options The TMEA Member Directory is a great member benefit, allowing you to connect with your colleagues locally and around the state. Our new membership software gives you more control over what information to show in the member directory (you can even add a headshot!). If you choose to be included in the TMEA Directory, you also get to choose which contact data items you want displayed in the directory. Note that

changes you make to your directory listing take place overnight. We made no assumptions about your privacy decisions, so the default setting for your contact information being in the Member Directory is off. To be included in the Member Directory, you must go to your member record and update the settings on the Security and Privacy tab. Check Show My Personal Information. Then you will make further selections to choose what displays. Save those changes. First Time Logging In? If it’s your first time to access your record in the new system, you must first set a password. You can keep using the password you used before, but you will still have to establish it in the new system. You can access membership pages from the TMEA website, or go to https://my.tmea.org/account/profile.aspx.

Invest

in our future

Texas Future Music Educators offers students who have an interest in a music education career the support and information they need to help them prepare for their future. TFME members who preregister may attend the annual TMEA Clinic/ Convention on Friday and Saturday. 1. Go to www.tmea.org/tfme to create a chapter—it’s easy! 2. Market TFME to all high school music students. 3. Submit your chapter charter and dues to TMEA.

www.tmea.org/tfme For more information, email kvanlandingham@tmea.org

10 Southwestern Musician | August 2019

4. Request a grant to help your chapter get started. 5. Support TFME members and enjoy the significant return on your investment!

Sta r t a er chapt ll! this fa

Convention Travel Reimbursement Chapters can request reimbursement of $50 per student for up to 10 chapter members for convention travel expenses. Take advantage of this great opportunity to reduce costs!

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.

SCHOOL OF MUSIC DEPARTMENT HEADS

Wei Chen Bruce Lin Asst. Professor, Piano

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

Deborah Mayes Choral Accompanist

Beth Bronk Director of Bands bbronk@tlu.edu

Carla McElhaney Asst. Professor, General Music

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu Eric Daub Director of Piano Studies edaub@tlu.edu Eliza Jeffords Director of Strings ejeffords@tlu.edu FACULTY Mark Ackerman Instructor, Oboe Adam Bedell Instructor, Percussion Carol Chambers Instructor, Music Education

Individual audition dates may be requested if necessary.

Paula Corley Instructor, Clarinet Jeanne Gnecco Instructor, Flute

WWW.TLU.EDU/MUSIC BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION | BACHELOR OF MUSIC IN PERFORMANCE | BACHELOR OF ARTS IN MUSIC

Scott McDonald Instructor, Saxophone & Jazz Band

David Milburn Instructor, Double Bass Kurt Moede Instructor, Horn Sung-Eun Park Asst. Professor, Collaborative Pianist Keith Robinson Instructor, Tuba & Music Education 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

Chad Ibison Asst. Professor, Guitar

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

Monica Kang-Sasaki Asst. Professor, Piano

Lance Witty Asst. Professor, Trumpet

Elizabeth Lee Asst. Professor, Cello

Simeng Wu Asst. Professor, Collaborative Pianist

86th Session in Review BY ROBERT FLOYD

he 86th legislative session began with Governor Abbott, Lt. Governor Dan Patrick, and House Speaker Dennis Bonnen declaring that a major priority of the session would be public school finance reform and property tax relief, and they did not disappoint, with the passing of the 308-page $11.6 billion HB 3. Commissioner of Education Mike Morath called it “a big deal for the state of Texas” and predicted, “We will likely have the most equitable school system in the United States when all is said and done.” The degree of success in the above-mentioned goals depends on whom you talk to, but an infusion of $11.6 billion into public education is an undeniable reality, starting with a $1,020 increase in the basic student allotment. Much of the new money will go into early childhood, support for students with autism and dyslexia, CTE and Technology Applications weighted funding for grades 7–8, and incentive pay for teachers, as well as for serving students in high-poverty areas of the state with increased compensatory education funding. Impact to Fine Arts Education So, what is in the bill for fine arts programs and those who teach fine arts? Hopefully there will be more funding through the basic allotment to support your program. I certainly encourage you to ask for it. Also, if you are a public school teacher, you should receive an increased salary based on supplemental dollars

allocated for such distribution. In the reform portions of the bill, no changes were proposed that would eliminate any requirements put in place during past sessions to ensure exposure to fine arts throughout K–12. A policy change that would allow a CTE course to meet the fine arts requirement was discussed; however, it never appeared in any bill language. As a reminder, TEKS-based instruction is required to be delivered in music, art, and theatre in grades K–5; there remains a requirement in grades 6–8 that every student complete at least one TEKS-based fine arts course; and at the high school level every student must earn one credit in fine arts to graduate on any Foundation High School Program. In my May Southwestern Musician column, I explained how expanding weighted funding for CTE and Technology Applications courses down into grades 6–8, if passed, could have a negative impact on our programs. In the final bill language, such funding was expanded to grades 7 and 8 but not grade 6. With training our state’s workforce becoming another high priority for public schools, this was a challenge we could not completely overcome despite our efforts at the capitol. At the bill signing, Governor Abbott made it clear that the goal of our public schools was to graduate every student from high school on a pathway to a four-year college degree or to have completed the coursework for or earned an associate degree in a workforce career that would earn them a living wage. Southwestern Musician | August 2019 13

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I encourage you to ask questions in your district and on your campus about what new tactics or strategies might be implemented based on this new funding source. Districts are required to spend only 55% of dollars generated by CTE weighted funding on CTE. A reasonable request would be to ask for the remaining 45% of those dollars to be spent on your program to reduce the dependence on fundraising and student fees to fund costly materials and equipment needed to deliver high-quality instruction. As I stated in the May column, we must first advocate and tell our story that in our classrooms students learn valuable skills that contribute to career success. There are numerous materials on our website that support such effort. Secondly, we must recruit students into our programs in sixth grade and make their experience something they are not willing to give up if a counselor suggests they drop music and take a CTE-related or other elective course. What other bills could have impacted fine arts and what was the outcome? HB 455 would have required local district health committees to recommend a daily

recess policy in elementary school that could have impacted instructional time in music. We gave tacit support to this bill since a similar piece of legislation would have required 30 minutes of unstructured recess a day—much more damaging. Even though HB 455 passed, the governor vetoed it on the premise that it was “bureaucracy for bureaucracy’s sake.” Finally, we worked with Texas Association of School Administrators (TASA) to amend SB 686, which, as filed, would have increased graduation requirements in the Recommended and Distinguished Achievement Programs to 26½ credits, requiring every student to earn 1/2 credit in Personal Financial Literacy. Though only 1/2 credit, this requirement would have eliminated a fullyear elective for our students who already struggle to be a part of our classes four years while participating in other areas of interest such as athletics or pursuing a second endorsement. The compromise language signed into law will allow students to choose between 1/2 credit of economics (currently required) and 1/2 credit of personal financial literacy and economics (new course). The num-

ber of credits required for graduation in the Recommended and Distinguished Achievement Programs will remain at 26. Stay Focused on Your Passion As usual, fine arts courses get caught up in the fallout and unintended consequences of other well-meaning legislation, such as the bills described above. A young teacher approached me at the February convention and exclaimed how high school credits being pushed down to middle school, early college high school, double-blocking STAAR-assessed subjects, and more were negatively affecting his program. My advice was to remember there will always be things that you cannot control, but that you can’t let those distractions diminish your passion from your purpose. Instead, you must just keep your head down and teach. I later ran into him at a workshop in June, and he thanked me for that advice. He had a much more enjoyable spring and the problems he was fretting did not actually materialize to any significant degree. I hope you have an enjoyable and successful start to this new school year. Contact us whenever we can help you.

Southwestern Musician | August 2019 15

BAND NOTES

B Y

J O H N

C A R R O L L

In Memoriam Nathan Monk September 27, 1953–April 10, 2019 Gary DeShazo June 10, 1929–April 14, 2019 Lee South June 11, 1939–April 30, 2019

Teachers who care

e are just a few days from the beginning of school, and many of us have already begun the exciting times of daily rehearsals with our students. I sincerely hope you had a good summer and that it included some rejuvenation. Time away from our students can help us appreciate them even more. The year 2019–2020 is upon us, and I am definitely looking forward to it! At this point in the year, I always feel like I need to hit the ground running. Students are eager, and it’s in our best interest if we capitalize on their excitement now before it begins to wane. I’ve realized that the more organized a teacher is, the better the students respond. In my opinion, this is no truer than at the beginning of the school year. If we have our administrative and logistical tasks organized and set, we can teach the daily lessons better. In my opinion, organization goes a long way toward giving me a clearer mind to teach. There are many apps one can use in becoming more organized that have proven beneficial to many directors. We are all familiar with websites that organize our personnel, inventories, uniforms, libraries, and a myriad of other things that can help us manage our band programs. There are text messaging services available for a teacher’s use, to better communicate with students and parents. I know there are so many directors in our state who could give great clinics

I witnessed band directors who have been in the heat of our profession for many years express that the most vital thing we do is to teach our young people music and life skills that will go far beyond special recognitions in high school. 16 Southwestern Musician | August 2019

Glenn Wells September 24, 1956–June 24, 2019

August—Renew your membership and register for the convention. August—Attend your Region meeting (see page 2). August 1—Deadline for waivers to the audition process to be received at TMEA headquarters. August 20—Liability insurance purchased through TMEA expires. September 1—Deadline to submit All-State etude errata to the Band Division Chair. September 21–October 19—All-State Jazz audition recordings may be uploaded. 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 Band and Vocal auditions. January 23—TMEA convention online early registration deadline. February 12–15—TMEA Clinic/ Convention in San Antonio.

on organizational skills. And even though that might not be the most fun part of our job, good organization has helped many directors perform better on that most fun part of our jobs—making music with our students. On another note, I was fortunate to be in a few settings this summer with successful band directors. I believe our profession is in magnificent shape in the sense of having teachers who truly care about the students. I witnessed teachers of high achievement when it comes to contests and assessments, and who also realize the most important part of the job is those young people. I witnessed band directors who have been in the heat of our profession for many years express that the most vital thing we do is to teach our young people music and life skills that will go far beyond special recognitions in high school. I became more conscious of students who hang out in our band halls because their director created a home and a safe place for them. We have so many students—probably more than we realize—who experience a secure space in the band hall that they don’t have elsewhere. This is sad to think about, but it motivates me to try to make any environment I help create be one that is caring, nurturing, and understanding. I was in the presence of different teachers who showed that their passion was not “band-ing” and its assorted prizes and honors, as much as it was teaching and caring through the medium of band. I was inspired this summer by these experiences, and I plan to try to make myself better because of them. Texas Bandmasters Association Convention/Clinic Thanks are due to the Texas Bandmasters Association and its fine leaders for hosting an annual summer slate of clinics. These are clinics offered by leaders of our profession, in areas of marching band, concert band, instrumental pedagogy, and many other timely topics. Even though this event took place after I submitted this column, I’m confident in praising it because TBA always hosts a high-quality conference. The TMEA Band Division thanks TBA for providing time during the convention for our Honor Band sessions, All-State Audition etudes presentations, and our organizational meetings.

TMEA Honor Band Review Committee On June 10–11, a committee met at TMEA headquarters in Austin to review the Honor Band process. By tradition, this is done every few years. By the time you read this, new ideas will have been presented to your Region Chairs. I have asked them to bring these to you at your fall Region meeting. You will have the opportunity to give feedback to the Region Chairs, and they will report any feedback to me. Nothing has changed at this time. Everything is still currently in the discussion stages. And of course, by the time you read this, the Honor Bands for the 2020 Clinic/Convention will have been announced. I look forward to listing them in our September issue. 2020 TMEA Clinic/Convention TMEA’s Centennial is upon us. The year 2020 marks a century for TMEA. Think about who and what has come before us, and how that has shaped us. I am grateful for these past 100 years of wonderful clinics, concerts, All-Region and All-State experiences, exhibits, and pioneers who helped us get to where we are. This is a year of celebration! I’m pleased to announce our 2020 AllState Conductors and Featured Clinician. More information about each will be offered in future issues of the magazine. • Frank Ticheli, University of Southern California (Symphonic Band) • Robert Ambrose, Georgia State University (Concert Band) • Kevin Geraldi, University of North Carolina at Greensboro (5A Symphonic Band) • Robert Lark, DePaul University (Jazz Ensemble I) • Chip Crotts, Georgia Institute of Technology (Jazz Ensemble II) Our featured clinician will be Travis Cross, Chair of Music Department and Wind Ensemble Conductor, University of California at Los Angeles. Invited High School Percussion Ensemble In mid-spring, an email was sent to our membership announcing the new initiative for an Invited High School

Percussion Ensemble to perform at our Clinic/Convention. We are excited about this new opportunity and are pleased with the number of ensembles that entered the process. All-State Percussion Ensemble and All-State Mariachi Ensemble During its June meeting, the TMEA Executive Board voted to formulate a pilot program for an All-State Percussion Ensemble and an All-State Mariachi Ensemble. Auditions will be in the fall of 2020 for performance at the 2021 Clinic/ Convention. The percussion group will be administered by the Band Division and the Mariachi Ensemble by the Orchestra Division. As in any pilot program, the process will be reviewed following the term of the pilot plan. Band Division Volunteers Please consider serving as a volunteer for the 2020 Clinic/Convention, when we will celebrate TMEA’s Centennial! It takes many individuals to produce a successful convention experience for our membership. We need you! Please go to www.tmea.org/bandvolunteer to submit your information and availability. Updates It’s very important to attend your fall Region meeting (see page 2 for details). There are always important dates, agenda items, and much more to discuss and learn. By the time you read this, the TMEA All-State audition etudes will be posted on the website along with performance guides and errata. The website is the official posting of these items. September 1 is the deadline for errata submissions. Our thanks go to this year’s selectors for their musical excellence and presentations at the TBA Convention. The All-State entry will be available online when your Region Chair creates the contest for your Region. Thanks also go to those dedicated educators who served as judges, Area Listening Center Chairs, contest hosts, playback operators, and room monitors for the TMEA Honor Band process. Next month, we will announce the finalists and the ensembles that will present concerts at the 2020 Clinic/Convention.

Southwestern Musician | August 2019 17

1920

Celebrating

ith a new school year upon us, we invite you to actively participate in a yearlong observance of TMEA’s Centennial (1920–2020). While being 100 years old is clearly worth celebrating, TMEA’s focus during this year will be to further the work of our earliest members—improving music education in our state and elevating public understanding of the value of high-quality music education for all. The origins of our association date back to 1920, when municipal bands competed for cash prizes and community pride. Over the past 100 years, our name has changed three times, our purpose has evolved, and our membership has grown from 7 pioneering band leaders to over 13,000 music educators.

Organized by TMEA’s founder, James E. King, the famous Lone Star Band from Waxahachie made concert trips around the nation, including to Washington D.C. to play for President Woodrow Wilson. 18 Southwestern Musician | August 2019

2020

TMEAâ&#x20AC;&#x2122;s Centennial

Southwestern Musician | August 2019 19

Celebrating TMEA’s Centennial Continuing Education Our annual convention started during the initial years of our association as an educational opportunity, and we remain focused on providing exceptional professional development for music educators through it. As the planning of our 2020 TMEA Clinic/Convention continues, know that the TMEA Executive Board and staff are committed to amplifying this educational experience in honor of our centennial. There will be much to come in future issues about this convention that you cannot miss! Increased Advocacy Throughout the year, TMEA will increase its efforts to spread our message across the state, nation, and world! As part of a targeted advocacy campaign, we will equip you with ready-to-distribute messages and materials so that you can play an active and effective role in elevating our principal centennial message: Across cultures, generations, languages, and beliefs, music shapes our lives and creates endless possibilities to connect with others. Music education leads us to a better understanding of ourselves and how to navigate the world around us. Every child in Texas deserves the opportunity

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to explore this most elemental aspect of human existence, and every child benefits when they can make music part of their school day. We have a responsibility to ensure every child in Texas develops self-confidence, critical-thinking skills, and the ability to connect with the world around them. We have before us the way to make this happen. And it starts with music. Our Beginnings As you consider the importance of music education in your life and the lives of your students, imagine a time when school music education as we know it simply didn’t exist. Even though structured music education wasn’t part of Texas schools in the early 1900s, it was during that time that our association got its start. TMEA’s roots were established on April 21, 1920, when James E. King, bandmaster of the Lone Star Band from Waxahachie, met with six other prominent Texas municipal band leaders. They discussed measures that could better the band conditions and band leaders in our state and were especially focused on how municipal band contests were run. They even began authoring a constitution and

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bylaws for the association they formed that day—Texas Bandmasters Association. The group elected King to become their first president (and we ultimately recognized him as our association’s first president). If you aren’t familiar with TMEA’s past, you might be wondering why the formation of Texas Bandmasters Association signifies the beginning of TMEA’s history. And while we’re going to save some of the more interesting details for future issues, we’ll give you the short answer here: April 21, 1920 Texas Bandmasters Association was formed by seven Texas bandmasters, led by James E. King (on the 86th anniversary of San Jacinto Day, the date of Texas Independence). In those days band contests awarded significant cash prizes, and community pride was on the line—and with that came intense controversy over how some bands competed. Thus, these association leaders were first focused on establishing rules to govern their contests and a process for filing grievances when a director violated those rules (sound familiar?). January 1925 The association was chartered under a new name, Texas Band Teachers Association (TBTA), reflecting a greater emphasis on instruction. February 1936 TBTA members voted during the convention to invite orchestra members and changed the association name to Texas School Band and Orchestra Association (TSBOA). May 1938 At a special called meeting, TSBOA members voted to include choral directors and to change the association name to Texas Music Educators Association (TMEA). In 1949, TMEA President Jack H. Mahan wrote this reflection on these pioneering years of our association: This was possibly the most allinclusive single step ever taken by the association. It meant the unification essential to the possibilities of proper motivation and the all-around growth

of the high school music program . . . The die for the administrative pattern of the all-inclusive music teachers professional organization, conducive to the proper educational development of music in the Texas public schools, was now cast, even though there were to be adjustments made to meet the needs of the time. —Texas Music Educators Association: 1920–1949, Jack H. Mahan, masters thesis, Southern Methodist University, 1949. February 1950 At the general membership meeting, a motion passed to create an Elementary Division. August 1952 First record of the TMEA College Division is documented (and they remain the last official TMEA Division to date). Exposing Our Roots We look forward to sharing more about TMEA’s 100 years with you via social media and in future issues of this magazine. We also plan to offer you resources and messages to share so that you can join us in advocating for high-quality music education for all!

Have any TMEA history to share? If you have historical images or documents you believe TMEA could house in its archives, email a description of them to kcross@ tmea.org. We have cabinets and bookshelves full of documents, but you might have something we don’t. Do you have copies of these original publications from the 1920s? We want to know!

—19 923 2 Wesst Te T xa xass Ch Cham ham ambe b r of be o Com omme merc me rc ce C Co onv nven e ti en tion on

Contests & Controversy In the early 1920s, contests were springing up around the state, offering municipal bands attractive cash prizes, and communities took great pride in being the home of a winning band. Chambers of commerce hosted band contests, finding that this was an economical source of entertainment at their conventions. In a 1923 West Texas Chamber of Commerce contest, 20 bands participated. Held in San Angelo, this contest offered thousands of dollars in prizes. The Weatherford Band won $500 and the title of “Official Band of the West Texas Chamber of Commerce.” The Fort Worth Cadet Band, a high school organization, won $350, and the John Tarleton College Band won a $250 cash award. With the prizes inflated, the judges splitting digits in grading, and the directors “importing” professional musicians to play in their contest bands, the contest situation was becoming a very touchy one. It was common knowledge that some bands imported as many as ten or twelve musicians to play with them. Directors were beginning to feel that they were being discriminated against. The year 1924 brought about a great change in the general character of progress. The organization was still known as the Texas Bandmasters Association, but contests and the band directors’ meetings were separated. The Chamber of Commerce contests still held sway. The only official contest for 1924 was the West Texas Chamber of Commerce Contest. The Chamber had offered some $3,000 in prizes, but with the stipulation that the contest would be conducted according to the contest rules of the Texas Bandmasters Association. This action was a step away from exploitation of bands and toward director improvement. Among the rules was one stating: “The Band Director who plays with his band in contest will be fined fifteen (15) points for the offense.” The following is an amusing incident recorded in 1924 concerning this rule: I remember one fellow, who, despite the above rule, walked onto the stage with his cornet in hand, bowed to the audience in response to the usual applause, and as he bowed, he spat tobacco juice from the stage. He then turned to his band and played with them while they played The Booster March as fast as they could go, with him directing all the time with his left hand.

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Source: Jack H. Mahan, “Texas Music Educators Association: 1920–1949” (Master’s thesis, Southern Methodist University, 1949). Mahan was TMEA President in 1949. Southwestern Musician | August 2019 21

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2018â&#x20AC;&#x201C;2019 Memberships Have Expired! All 2018â&#x20AC;&#x201C;2019 TMEA memberships expired June 30. Also, if covered, liability insurance expires August 20. Renew now to ensure you receive the benefits of your TMEA membership for the entire year.

Our association continues to be the largest state music educators association in the country, and for that we are justly proud. The strength of TMEA, however, is not only in its size but in the quality of its membership. The strength of music programs in our schools is rooted in the dedication of its teachers, all united in a mission to provide the best music education for all Texas schoolchildren. Membership in an organization of over 13,000 music educators carries with it benefits inherent from this strength in numbers. TMEA is your voice to the Texas Legislature and the State Board of Education. In addition to representation by TMEA leaders, members enjoy a myr-

iad of benefits, including access to group health insurance, low-cost liability insurance, professional development opportunities, online and printed pedagogical and advocacy resources, and more. TMEA strives to provide meaningful professional development for our members and wonderful opportunities for our high school students through the audition process and through Texas Future Music Educators. Renew today to continue supporting the future of music education in Texas. If you have any questions about renewing or about TMEA programs available to members, contact Membership Manager Susan Daugherty at susand@tmea.org or call TMEA at 888-318-8632, ext 105.

Renewing annually shows you support music education for all Texas students!

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www.tmea.org/renew Southwestern Musician | August 2019 23

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.

B Y

M I C H A E L

S T R I N G E R

ORCHESTRA NOTES

Next-level planning August—Renew your membership and register for the convention. August—Attend your Region meeting (see page 2). August 1—Deadline for waivers to the audition process to be received at TMEA headquarters. August 20—Liability insurance purchased through TMEA expires. September 1—Deadline to submit AllState etude errata to the Orchestra Division Chair. September 15—HS String Honor Orchestra Part A online submission deadline. 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.

elcome back! I hope you were able to rest and rejuvenate during your summer break and find some content-specific professional learning that will help transform your instruction during this school year. As you enter these final days of summer, take some time to plan every part of your year. When you hear “plan for your year” I know many might think immediately of planning your instruction for this year. What music will be played? What technique drills will we use? While that is probably the most important planning you will do, take your plan to the next level by planning every aspect of your program. Planning for Your Students These last few weeks of summer are a great time to change the look of your instructional space. New bulletin boards, posters, and calendars can keep the look of your orchestra room fresh and interesting to students both old and new! I found that moving our awards, student recognition plaques, and trophies to a new spot in the room kept returning students looking around the room the first day of school and helped them interact with our new students. Conversations began between students as they looked at the new birthday calendar, where

In just a few weeks, you will have a fresh set of students looking to you for phenomenal instruction, leadership, and guidance. Southwestern Musician | August 2019 25

the returning students told the new students to make sure they updated their birthday online so they would be included, or the explanation of the All-State plaque, where students would talk about how they were working hard on the music so they can see their name engraved with all the other magnificent players who came before them. Take time to plan out the first things you will say to your ensemble. These first words will set the tone for the year. With my students, I would always start with words that motivate, inspire, and let them know about our ultimate goals for the year. Choosing a single word that describes your goals helps students understand your vision and focus for the year. Over the years we chose many words for our program such as consistency, achieve, determination, and inspire. From a simple hashtag on every tweet to having our word of the year printed on our program shirt sleeve, it became our theme of the year and affected every decision made for the orchestra. Planning for Your Instruction Of course, a solid plan for instruction cannot be overlooked. If you were able

to reflect on last yearâ&#x20AC;&#x2122;s instruction during your break, use those notes to get you started on your plan. What were the areas you identified as areas of growth for your program? What were the areas of strength? I know I always had a wealth of information that I gained from TODA and other workshops I was able to attend over the summer, and sometimes that information seemed overwhelming to implement. Remember that you donâ&#x20AC;&#x2122;t have to implement all the new strategies at once. Find the one strategy you believe will help your identified area of weakness. To make a seamless transition for your students, add the new strategy to an existing lesson plan with which you and the students are already comfortable. As you continue to adjust and monitor your plans during the school year, remember to add more and more of these new strategies to your lessons. I found it convenient to keep a file with the new ideas that I intended to implement during each school year. As I wanted to try new things or found other strategies that were not effective, I would look back into this folder and find new ideas to try with my students. I also found it effective to organize this

folder into content-specific techniques. As I found myself needing or wanting new exercises to try, I would easily find the one that would address the specific technique I was trying to teach. Planning for Student Interaction It was always one of my goals for our program to provide a family atmosphere where students felt at home and where they wanted to work together for our common goals. Planning for social activities was the one aspect of my program I gave almost no thought to during my first years of teaching. These activities would generally be thrown together at the last minute and poorly attended, and they didnâ&#x20AC;&#x2122;t seem to serve any purpose beyond keeping me at school another night! As I realized the importance of activities outside the school day, I had our orchestra leadership team meet and determine dates, times, and purpose of these social events. I passed out calendars to each leadership team member and told them we were going to have one social event each six-week period. Having one event each six-week period allowed enough events during the school year for adequate student interaction but not too

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

many events that would wear out both student leadership and directors. Once an event was on the calendar, I would follow up with student leadership to make sure it was planned and executed and would only step in when the event was dangerous, was overly complicated, or would fall outside the budget for social events. Giving the planning of these events to student leadership helped improve attendance and interaction at all events, and it took one part of program planning partially off my plate. Plan for Yourself One very often overlooked plan for the school year is the plan for yourself. Your life must be more than your profession to have a balanced and healthy lifestyle. I will openly admit this is one area in which I was not very effective during my teaching career. However, it is the most essential plan to make you the best version of yourself for your students. Find those activities that help you unwind or make you completely forget about orchestra for a few minutes and plan them into your calendar. The school year can be long and arduous. You risk burnout if you don’t plan enough time to get away from the classroom. Work will always be there. Taking a night or weekend off is not disloyal to your school or your students. Think back to how you felt in June. Were you too tired to go another day? Did you count down to the days of summer and think it would never arrive? Now, think ahead to next June and imagine what it would feel like if you left the school year more balanced and, while still exhausted, you were ready to reflect and begin work on the next school year. Making time for yourself during this year can help you stay focused on your students and your instruction throughout this year. Just a few years ago TMEA surveyed members and published some great advice from them about maintaining better balance. If you’ve ever felt burned out or out of balance, take time and review this valuable feedback. Go to www.tmea.org/balance to read the May 2016 article. As you are returning to school for a new year, I hope you are looking forward to all that a new year brings. Remember, in just a few weeks, you will have a fresh set of students looking to you for phenomenal instruction, leadership, and guidance. Plan to give them the best version of you.

Give them the beginning of school year excitement and passion from the first day of school to the last. Have a great year! All-State Mariachi I am pleased and excited to announce that, at the June meeting of the TMEA Executive Board, the board voted to enact a one-year pilot program for an All-State Mariachi Ensemble at the 2021 TMEA Clinic/Convention. Many thanks to the committee, headed by President-Elect Brian Coatney, for their work and recommendations that led to this wonderful addition. More information will be shared with the Region Chairs at their July meetings. Look for specific information on the TMEA website in the coming months. Honor Orchestra Change Starting with the 2020–2021 school year, Honor Orchestra rules will be amended to state that a campus (including all ensemble types) will not be eligible to enter any Honor Orchestra competition for one year following a convention performance as an Honor Orchestra. For example, the campus of the 2020 HS Full Honor Orchestra (selected in 2019 that performs in 2020) will not be eligible to enter the HS String Honor Orchestra competition in 2020 for performance in 2021. This school would be eligible for performance at the convention again in 2022. This rule change will apply to both high school and junior high competitions. This new rule is in addition to the existing rule that an Honor Orchestra cannot enter the same competition the year following their selection. Summer Conventions Thanks go to the Board of the Texas Orchestra Directors Association on another fabulous convention! The hours dedicated to the planning and execution of a convention that offers so much does not go unnoticed. While this convention is still underway during the printing of this issue, I am confident that the impact on instruction from this event will be felt all over Texas in just a few weeks. Thank you for being willing to host the TMEA Region Chair trainings and our Honor Orchestra competitions during your convention.

Region Chairs were given much information regarding new policies and procedures for this school year. Please make sure to attend your fall Region meeting so you can be apprised on the latest information from TMEA (see page 2 for dates and locations). Honor Orchestra Listening Sessions If you have never attended an Honor Orchestra listening session, I highly encourage you to do so. The level of outstanding talent that is found in orchestra rooms across Texas is unmatched. I am blown away each summer by the performances heard, and I know orchestral education is truly alive and well in Texas schools! I would like to extend a special thanks to the hosts, judges, and all the volunteers who helped run these extraordinary events. Renew Your Membership and Liability Insurance If you haven’t yet renewed your TMEA membership, be sure to do so now and purchase the low-cost liability insurance that TMEA makes available as a benefit to members. Go to www.tmea.org/renew today. Even though you received this magazine, your membership in TMEA expired on June 30 and liability insurance policies expire August 20.

Attend Your Fall Region Meeting STAY CONNECTED & INFORMED See page 2 for details.

Attend Your Region Meeting During the summer convention the Southwestern Musician | August 2019 27

Vastly different.

Vast opportunities. 11 fields of study | over 26 major ensembles | 100% passion Find Out More: www.depts.ttu.edu/music

@ttuschoolofmusic

Reinforce Learning with Rehearsal Cross-Training BY RYAN ROSS AND AMY GROSS

very ensemble teacher has had the experience of rehearsing a passage of music with their class, only to see the apparent progress vanish by the next rehearsal. It’s frustrating, and it can be easy to fault the students for not trying hard enough to solidify their progress. However, 30 years of cognitive and motor skills research suggests there is a way to significantly increase our students’ retention, regardless of their ability level. This process is called interleaved practice, but with our orchestras, we call it cross-training. Blocked Practice vs. Interleaved Practice The traditional rehearsal and individual practice methodology we all likely grew up on is best described as “blocked practice.” In blocked practice, students focus on one rehearsal objective for several minutes, repeating the drill multiple times until satisfactory improvement is evident. Then, assuming that the material is learned, they continue to the next goal. While progress in the short term is significant, research shows that retention can be quite poor. An alternate method is interleaved practice, also called variable practice, mixed practice, or contextual interference. In this process, students work through a number of practice objectives in the style of a cross-training circuit. Each passage is practiced for only a short period of time before moving on. Critically, the next step is circling back and returning to each practice objective multiple times in the same session. Researchers believe it is the act of returning to the previously practiced material that helps reinforce the learning process in the brain. Blocked Practice: AAAA BBBB CCCC DDDD Interleaved Practice, version 1: ABCD ABCD ABCD ABCD Interleaved Practice, version 2: ABCD CBAD DBCA BDAC Imagine someone wants to learn about robins, cardinals, and mockingbirds. A blocked learner might study robins on day one, cardinals on day two, and mockingbirds on day three, mastering each before moving on. An interleaved learner would move several times between the three birds each day. In both cases, the ultimate amount of study time per bird is more or less the same.

What the Research Shows Many teachers have likely stumbled on interleaved practice at some point in their musical lives, perhaps not aware of the term or the research that supports it—after all, there is an obvious logic to the process. Indeed, dozens of studies for over three decades have shown the gains possible through the approach. Much of the original research on interleaving comes from motor development researchers. In 1986, Goode and Magill had badminton players practice three types of serves, three days a week for three weeks. One group practiced the serves in a blocked manner while the other group interleaved the serves. On assessment, the interleaved group performed 36% better than the blocked group. Perhaps more interestingly, the interleaved group benefited from additional skill transfer. When the blocked group was asked to serve from the other side of the court, they showed no improvement. The interleavers, however, had improved their serving from the other side of the court, despite not having practiced that during their practice sessions. Other studies have shown similar effects. A 1994 study in the Journal of Perceptual and Motor Skills had three groups of elite college baseball players engage in batting practice. After assessment, the control group with no practice showed essentially no change; the blocked group improved 25%, and the interleaved group improved 57%. Similar results have been found in academic fields. A 2003 study found that interleaving helped medical students interpret electrocardiograms 16% more accurately, and a 2015 study of seventh-grade math students found that an interleaved group, when tested a month after learning the material, scored 76% better than those in the block group. A 2010 study by Stambaugh found that beginning clarinetists showed speed and accuracy improvements as the result of interleaved practice. A Warning Before continuing, it’s important to note that in the short term, interleaved learners perform slightly worse than those block practicing. Since interleaving doesn’t provide the ability to tackle a problem passage with brute force, and since the learner must Southwestern Musician | August 2019 29

constantly return to a passage and redevelop mastery over the passage, the gains are not evident until a few days down the road. Thus directors and students (especially those who are perfectionists) must fully understand the process so that they can come to terms with the initially diminished returns. Interestingly, studies have found that when questioned, learners report they learn better through block practicing. However, the research results of those very studies show that in reality, those individuals learned and retained more through interleaving! Selecting Material for Interleaved Practice Setting up an interleaved practice cycle in the solo practice room is easy, but applying this technique in the large group rehearsal requires advanced planning. However, the results that can be registered are significant and worthwhile. The first step is to select the musical excerpts or skill to be practiced. If you use interleaving to practice excerpts from the repertoire, you should adhere to the following three guidelines as much as possible: 1) Approximately three to five cuts are best. If too many excerpts are selected, the process becomes cumbersome and unwieldy. With fewer cuts, the cross-training circuit can proceed quickly and be repeated several times throughout the class period. 2) Shorter cuts are best. Excerpts that are two to eight measures in length work well so that the students are focusing on very specific objectives. If the excerpts are too long, it is easy to lose focus on why a passage is being practiced. 3) Don’t begin cross-training too soon. Students need a basic familiarity with the music before they benefit from interleaving. In our high school classroom, we don’t start interleaving until at least the third week of a new concert cycle. Some students may need even more time before utilizing this method. Cross-training passages can be shared with the class in many ways. We often distribute half sheets of paper with that week’s interleaving objectives, but these could just as easily be verbally announced or written on a board. Students who lightly mark the cuts in their music will be able to 30 Southwestern Musician | August 2019

more quickly access and move between the various cuts as needed. Using Interleaved Practice within the Large Group Rehearsal As mentioned, interleaved practice isn’t intended to replace the bulk of your standard rehearsal. Instead, the idea is that a cross-training circuit is revisited, perhaps two or three times during the class period. One circuit may be completed during the warmup process, another while transitioning between pieces, and another before the bell rings. If cuts are sufficiently succinct, each complete circuit should take only 2–3 minutes. During the process, directors can still offer feedback and conduct a mini-rehearsal on each cut. However, it is important that directors continue moving and not obsess with any single cut for too long. At first, this is easier said than done, since it’s natural to want to fix every mistake detected. Once a teacher has begun to see the long-term results of interleaving, it becomes easier to trust in the process and move on even when some mistakes persist. The first time we begin a new crosstraining circuit with a class, we spend significantly longer rehearsing each cut before moving on—even up to five minutes. This looks very much like any other rehearsal you might conduct. It’s important to spend extra time on the initial cycles so that students can learn and internalize the rehearsal goal for each individual excerpt. In these initial cycles, students need to experience some obvious success on improving each cut. This helps them establish their own expectations and allows them to begin to develop their own internal strategies to make that happen. An alternate interleaving strategy is to focus on only a single rehearsal objective but still return to it several times through the class. We sometimes set a timer for six minutes. No matter what is happening, when the timer sounds, we immediately stop and play the cut. The more disruptive, the better! After 30 seconds to one minute of work on that cut, we return to normal rehearsal and the timer is restarted. Teachers can get creative with the process and make a game out of interleaving. In our orchestra, we have had success sending students away with six cross-training objectives and a standard six-sided die. They roll the die to determine the next section to practice for no longer than 90 seconds. Keeping the cuts short and succinct

helps the students focus on the prescribed task and avoid falling into the trap of mindlessly playing through each cut. In addition to improving excerpts taken from repertoire, interleaving can just as easily be used to address skills development. An orchestra teacher interested in applying interleaved principles could schedule five one-minute vibrato practice sessions throughout the class period instead of a single five-minute vibrato lesson at the beginning of class. A middle school band director might revisit the chromatic scale in six or seven brief sessions throughout rehearsal instead of in a single, intensive warmup period. An Example Timeline Every program is unique. We use the timeline below with our high school orchestra program, serving only juniors and seniors. Young students should certainly move at a slightly slower pace: Weeks 1–2: Normal rehearsal with no cross-training. At this point students are simply getting acquainted with the new music. Weeks 3–4: One or two full crosstraining cycles, with up to five cuts per cycle, focused on the most problematic and difficult issues in the current concert repertoire. Weeks 4–6: Updated smaller cycles to reflect current needs. During this time, we still briefly revisit old crosstraining cycles one day per week, in order to permanently lock in those gains. Weeks 6–7: Reduced dependence on full cycles. Instead, we interleave only one or two cuts into an otherwise normal rehearsal as needed. As performers, our goal is to develop the ability to do it right the first time. Interleaved practice is more taxing on the brain because it is difficult to recall and return to a previous musical goal several times, but it has the benefit of helping the student more fully lock in their practice gains. With a little additional planning, it is a process for progress that a director can employ in their large group rehearsal that will pay dividends. Ryan Ross and Amy Gross are the orchestra directors at Plano West Senior High School.

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Grades 4-12

B Y

J E D

VOCAL NOTES

R A G S D A L E

In Memoriam Kathy Hackett January 16, 1949–April 19, 2019

Learn from each other

August—Renew your membership and register for the convention. August—Attend your Region meeting (see page 2). August 1—Deadline for waivers to the audition process to be received at TMEA headquarters. August 20—Liability insurance purchased through TMEA expires. 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.

s you approach a new school year, does your thinking align with one of the following statements? Summer was too short. I’m ready to get back to work! I’m apprehensive because I don’t know what to expect in this new position. It’s my first year teaching—I’m excited and scared at the same time. Wherever you are and in whatever situation, one thing is certain—students will be looking to you for direction every day! They will feed off your energy! Or they’ll go hungry as you stand there in the middle of rehearsal, dazed and confused, wondering how to handle their choir this year. It doesn’t matter if you’ve been teaching 2 or 32 years, sometimes there’s an ensemble that’s just a complete mystery. It could even be your varsity choir. You’ve auditioned them. You discussed your vision back in the spring to eager ears. You’re certain you’ve molded them into everything you want. Then after the first few days in August, you find yourself wondering what happened and why they’re so complacent. You might be a director who is fortunate to lead a highly successful program, so some of the following may not pertain to you, but I hope you’ll read on and consider how you can help others. If we don’t allow our programs to evolve—not necessarily through a complete makeover, but with some alterations along the way—I believe we risk becoming complacent. In some situations, we’ve become very formulaic with our programs and follow the template we’ve developed through trial and error, and it’s worked. We demand our students meet us where we are, because the system in place works—or does it?

There’s so much we can learn from other people’s struggles, as well as their successes, which will ultimately lead to your students’ success. Southwestern Musician | August 2019 33

I’m sure most of us have sat through faculty meetings and heard a teacher complain about how students don’t meet their expectations and wonder why they should change the system when it’s been in place and working for 20 years. We must keep in mind the changes that have taken place during those decades. We’re three boy bands removed. We’ve progressed from landline phones, to brick cell phones, to the flip phone, and on to today’s smarterthan-we-are phones. Students have the world, real and virtual, at their fingertips. Most no longer wish for more of the same in our classrooms. They don’t have to. Some students would rather take a class where they can finish their work quickly and return to the world in which they have control via their device. How do we compete with this? For starters, pick up your smartphone and become smarter. Call for help. Don’t try to fix it in isolation. Others will have had the same issue and can offer strategies for you to try, sparing you frustration and the energy you can better spend elsewhere. More than a few times, I tried to fix a leak, only to have others spring up. Then it’s back to the hardware store I go. Plan for the worst-case scenario, knowing you can later return stuff (share the idea) or store it (the idea) for another time. Communication Is Key: For Everyone. For Everything. The exchange of ideas, repertoire, strategies, uses for technology in the classroom, and discussions in real time are invaluable. That’s why I find the summer conventions refreshing, reinvigorating, and sometimes reinventing. Whether you attended TCDA’s convention or not, don’t let it stop there. Continue to keep the lines of communication open. Reach out and con-

34 Southwestern Musician | August 2019

nect with others. We see many successes on social media. Ask them how they got there. Sometimes we have to fail to learn, but if you can prevent this from happening, your students and your sanity will be very appreciative. Talk with teachers of all ages and see what they have scheduled for their groups and what’s working for them. Additionally, share what you’re doing. Perhaps someone can help you add a layer or different twist to it. Maybe they’ll say you’re the brilliant one they’re stealing from! If you share something that helps someone else be successful, be proud of that. It’s like being a teacher to teachers. The Struggle Is Real Struggle and doubt are nothing new. To our wonderful new teachers, know that head directors and other veterans have often had their own pitfalls and dry spells. Talk with them and find out how they made it through their challenges. Every year is different, with different ensembles and a different set of challenges. Ask veteran teachers about goal-setting. Discuss how they dealt with helicopter or absent parents, or how they react when a fight breaks out during rehearsal. Whatever question you have, someone, somewhere, has experienced it. Another common thread among teachers is we never stop learning. If we believe there’s nothing else to learn, we’ve become complacent. There’s so much we can learn from other people’s struggles, as well as their successes, all of which will ultimately lead to your students’ success. Veteran teachers, don’t shut your ears to new teachers’ suggestions. They may bring something truly fresh, especially when it comes to utilizing technology. Be willing to try something new or different and call it a pilot program/performance. Set the expectation that it may not become policy or tradition, but a pilot to see where it goes. Something I’ve tried and now use is Google Classroom, and it’s been a blast and a blessing. Students can submit documents and audio or video assignments. When you are out for the day, someone from class can submit a video of the group’s sightreading effort. My students surprised me. Each of my classes actually accomplished something the day I was out! Some students may have extreme difficulty sightreading or singing an excerpt alone in front of you. We must assess their ability for grades and data compilation.

Video recording can be a good step. When they use their phone to video and upload it to Google Classroom, you may have a different outcome. Allow them to build confidence, and then hopefully they’ll find the security to perform in front of you or even the class. This is just one example of an assessment strategy I picked up from someone else and it has been a true gamechanger for me. Keep communicating with as many other directors as you can—we are a community. Then, set the repeat playback in your head that says you can do it. Summer Learning I hope you were able to attend the TCDA convention. While it’s in progress at the time this magazine will be in the mail, it’s always been such a positive offering of ideas and connection with colleagues that I hope it’s on your schedule annually. Be a Vocal Volunteer Volunteering helps you connect with other teachers and establish a wider network of support! There are many roles to fill, so go to www.tmea.org/vocalvolunteer to submit your information. All-State Audition Material The All-State audition music for the Mixed, Treble, Tenor-Bass, and Small School Mixed Choirs can be found online (www.tmea.org). As a reminder, Region Vocal Chairs create the contests, and once contests are available, you may begin entering your singers into the process. Attend Your Region Meeting During the summer convention, Region Chairs were given much information regarding new policies and procedures for this school year. Attend your fall Region meeting so you can be apprised on the latest information from TMEA (see page 2 for dates/locations). Renew Your Membership and Liability Insurance If you haven’t yet renewed your TMEA membership, do so now and purchase the low-cost liability insurance that TMEA makes available as a benefit to members. Go to www.tmea.org/renew today. Even though you received this magazine, your membership in TMEA expired on June 30 and liability insurance policies expire August 20.

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 | August 2019 35

School of Music COME CREATE YOUR WORLD.

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IMPROVING RECRUITMENT & RETENTION By John Denis and Marta Frey-Clark

he essential element of any ensemble program is its students. As budgets continue to tighten and electives options expand, recruiting and retaining students takes on an ever-increasing importance for ensemble directors. Given how critical this component of our work has become, it’s not too early to begin considering how we can improve our recruiting and retention efforts.

• Offer your services as a clinician (this is a great way for students to see you as their teacher).

Connect with Feeder Schools While it’s common practice, it’s important to remember that connecting with feeder schools is the first step to effective recruitment. Directors build connections by allowing prospective students to become acquainted with you, your students, and your students’ work (i.e., musical performances). Students have varied motivations for joining an ensemble; some are attracted to your program for social reasons, including affection for the director or peers, others are attracted to the music itself, and still others look for both social and musical elements (Adderly, Kennedy, & Berz, 2003). As such, sharing all three elements of the music program with prospective students enables a director to maximize a program’s appeal. Tools for recruiting students by traveling to feeder schools include:

• Promote a joint rehearsal night.

• Do a recruitment tour (live performance or video). • Attend feeder concerts.

Tools for recruiting students by hosting include: • Perform joint pieces at concerts (select music that is appropriate for younger students). • Host social events for prospective students and your youngest current students.

As this process will require trial and error, don’t get discouraged if any one tool isn’t effective. Regardless of which recruitment tools you utilize, an early start is key to forging connections with feeder schools. Ideally, directors should begin building relationships with feeder programs in the fall, months before students choose their elective courses for the following school year. By forming connections early, directors ensure repeated exposure to the music program, offering prospective students more opportunities to become acquainted with the program and to consider membership. Market Your Program Know what you are selling. Many of us have heard of the Mozart Effect, and its erroneous claims that “music makes you smarter.” Unfortunately, these claims don’t hold up under scrutiny, and both administrators and parents can see greater academic results Southwestern Musician | August 2019 37

from the students through other means. Instead, present the meaningful benefits of continued participation in music ensembles as the primary reason for students to enroll. For instance, being successful in music requires a high level of self-discipline. There are no shortcuts to musical performance, and students who learn to sing or play an instrument well have dedicated considerable time and effort to developing performance skills. This discipline transfers to many other aspects of life, both academic and personal, and is a significant benefit of ensemble participation. Furthermore, the delayed gratification inherent in learning music is largely absent from many activities—an important lesson for any student. Music ensembles also provide opportunities for emotional expression sorely needed in today’s schools. Teaching creativity in the ensemble by allowing students to make musical decisions and develop their own expressive voice may provide outlets for the increased stresses currently overwhelming many teenagers. To do this, music educators may have to take a leap of faith and let go of some of the control they desire in their classrooms, yet the potential benefits are incredible. Inviting student participation in repertoire selection or allowing students to make expressive decisions, such as deciding on ensemble phrasing, may increase creativity in the classroom. Students not

only feel more connected to programs where they have creative input, but they also may learn healthier, authentic ways to express themselves and are often more inclined to extoll the virtues of joining the ensemble to others. Make Yours a Safe Space Furthermore, students appreciate the supportive community generally found in music education. Building authentic spaces for students to grow and share in a secure environment can further student engagement in the program. Establishing classroom environments is primarily the responsibility of the teacher, and music educators may wish to dedicate time early in the school year to clearly communicating behavioral expectations and developing a culture of encouragement. Keep in mind that establishing classroom environment and culture is often a multi-year process, and directors need to be patient with the students and themselves. In essence, the goal is for the program to become the students’ program too, a place where they experience music and belonging (Adderly et al., 2003; Stewart, 2005). Such connection can provide support for the increasing stresses and challenges students face during their secondary education. As administrators and parents give greater focus to mental health, any coping mechanisms and expression opportunities serve as consequential benefits of music education.

Know Your Audience To market your program effectively, you must keep your audience in mind. It can become complex, however, because there are multiple audiences each with their own goals and motivations. Furthermore, these goals and motivations often do not align and might even compete. Audience #1 is the students themselves, who often focus on having fun with friends while also learning music. Social realities are a significant motivator for students, and providing a smooth way for them to transition into the program facilitates future recruitment. Audience #2 comprises parents and guardians, and they balance out the best interests of their individual child with other concerns such as financial costs, time commitments, and the family as a whole. Support at home is one of the most crucial factors for long-term retention, and finding ways to work with parents/ guardians is essential. Consider ways to use your fundraising or budget to alleviate the financial burden for struggling parents and make the effort to solve problems proactively. Organized carpools can solve transportation problems for working/ single parents and are easy to implement in your program. Audience #3 consists of administrators, who focus largely on the campus as a whole—including academic performance, budget, and campus culture. Instrumental programs are often particularly challenging for administrators because of their high cost and logistical concerns. Take the time to develop a rapport with administrators and understand their goals and concerns so that you can provide meaningful solutions early and often. Know How to Market Reputation is king when recruiting. Regardless of size, the campus community is relationally small and consists of siblings, parents, other teachers, administrators, and more, all who interact with each other regularly. As such, how the students, parents/guardians, colleagues, and community view you significantly impacts how excited students are to be part of your program. If you have a reputation of being difficult to work with among the students or the parents, people will be less excited to enroll. Conversely, older students and parents will become some of your best advocates if you have a positive history. Word

38 Southwestern Musician | August 2019

of mouth will precede your recruitment efforts. To that end, one of my mentors told me “great kids make great salespeople.” Just as many people trust online reviews for a product more than advertisements, audiences believe the testimonials of other stakeholders over any director. The great kids—the cornerstones of the program— have the ability to present everything you do in a powerful light. Therefore, include them in your process. Bring students to petting zoos or have ensemble buddies for joint concerts. Find ways to get your students to develop a community. Finally, no one will do the legwork for you. Take initiative, make plans, and do not be shy about working to build an ensemble program. Cultivate Community As ensemble directors have witnessed, researchers have also found social cohesion to be a motivating factor in continued ensemble participation (Adderly et al., 2003; Stewart, 2005). A sense of belonging—of being part of something bigger than themselves—is highly motivating to students; they crave community and purpose. This reality is, in and of itself, rather intuitive. However, it is important to understand that a sense of community may not organically arise from your ensemble. Rather, community must be cultivated. A few tools for cultivating community include: • Utilizing Responsive Classroom practices (e.g., greeting each student by name each day or conducting daily check-ins, during which students indicate how they are doing that day on a scale of 1–5 by holding up fingers). • Instituting a weekly “campfire” time: pose a question to the entire class, and each student shares their answer. Questions might range from “What is your favorite food?” to “Describe a time in the past week when you felt happy.” • Organizing social events (e.g., movie nights, miniature golfing, ice cream socials, pool parties). • Taking trips (bus ride bonding, anyone?).

Identify and Remove Obstacles No matter how much a director works to make their program attractive, there will always be obstacles that prevent students from participating. Scheduling conflicts, financial costs, and campus reputation can all be reasons students either drop out or never sign up in the first place. Therefore, directors have the responsibility to be problem solvers. Knowing the master schedule, for example, is important so that music educators can advocate for their programs while also helping to alleviate the burden faced by many overworked counselors and advisors. By looking over the schedule and offering possible solutions, the director also builds rapport with office staff and administration that further advance the program’s visibility and reputation on campus. Increasing elective offerings also poses significant problems to retaining students, as some stakeholders are replacing the idea of continuing in a discipline for years with trying everything for a short period of time. Educating stakeholders becomes paramount, and music educators may need to have regular conversations with administrators and parents about the importance of diligence and continuity in students’ development. As mentioned earlier, knowing what you are selling is important, particularly for addressing problems regarding elective offerings, and music educators should take caution to

tie advocacy to realistic aspects of music education. One prominent example is that musicians are highly sought out by medical schools, largely due to musicians’ high standards and self-discipline (Jackson, 2018). Directors can address other obstacles similarly. Remember—no one will advocate for the students and the program to the extent that the director will. John Denis is an Assistant Professor at Texas State University and Marta Frey-Clark is an Assistant Professor at University of Mary Hardin-Baylor. Resources Adderley, C., Kennedy, M., & Berz, W. (2003). “A home away from home”: The world of the high school music classroom. Journal of Research in Music Education, 51(3), 190–205. doi:10.2307/3345373 Jackson, P. (2018, August 6). From musician to physician: Why medical schools are recruiting for musical ability. CBC News. Retrieved from https://www.cbc.ca/ news/canada/newfoundland-labrador/ medicine-music-connection-1.4770372 Stewart, J. L. (2005). Factors related to students’ decisions to continue in band. Contributions to Music Education, 32(1), 59–74. Retrieved from https://www .jstor.org/stable/24127236

2018–2019 TMEA Memberships Have Expired • All TMEA memberships for the 2018–2019 year expired June 30. If purchased, liability insurance coverage expires August 20. • Stay current by renewing your membership and take advantage of the low-cost liability insurance ($30 annually) that TMEA offers as a benefit to its members. This is coverage no educator should go without. • While online, register for the 2020 TMEA Clinic/Convention where we’ll celebrate TMEA’s Centennial! (February 12–15 in San Antonio).

W W W.TM E A .O R G / R E N E W Southwestern Musician | August 2019 39

ELEMENTARY NOTES

B Y

A B I G A I L

H A W E S

What’s on your list?

hings. We all have them, and elementary school teachers, in particular, seem to have a special knack for accumulating them. Given the hours we dedicate to the setup and design of our classrooms each August, it’s no surprise that many of us (myself included) often take photos of our handiwork once we’ve finally arranged those things in preparation for the all-important First Day. Can you imagine an image of your setup now? What things do you see? Are shelves filled with recently dusted instruments lining your walls? Did you finally go to Home Depot for those buckets you’d been meaning to get? Do you see baskets of manipulatives and a shelf full of books in a reading corner? And how about your bulletin board—does it fit this year’s theme? Are those Velcro spots stuck to the floor in (mostly) straight lines? Was that new floor lamp from Target too good of a deal to pass up? If you’re like most elementary music teachers I know, your list is lengthy—

As you begin another school year, I encourage you to focus on the true treasures found within your music classroom’s walls. 40 Southwestern Musician | August 2019

August—Renew your membership and register for the convention. August—Attend your Region meeting (see page 2). 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 rightfully so! But what if I asked you to take your list and highlight only those things you value mostâ&#x20AC;&#x201D;the ones you canâ&#x20AC;&#x2122;t imagine starting your year without? That might seem like an overwhelming thought, but perhaps it doesnâ&#x20AC;&#x2122;t need to be. In the days leading to Friday, August 25, 2017, teachers at Moore Elementary had been engaged in the typical week-beforeschool trainings, meetings, and teambuilding exercises. With heavy rains expected that weekend, teachers and staff had been instructed to unplug all electronics and pick up any items from the floor before heading home that afternoon. I can still see the windows as I left that dayâ&#x20AC;&#x201D;fogged over by the quick rise in humidity. Everything was set for our First Day. I even had objectives written on the front whiteboard. I remember taking a mental note that Iâ&#x20AC;&#x2122;d need to arrive early Monday to undo all the stacking and unplugging to reset my otherwise FirstDay-ready classroom. That weekend, Hurricane Harveyâ&#x20AC;&#x2122;s relentless rains would cause nearby Cypress Creek to burst from its banks, sending floodwaters through our entire

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attendance zone. Two feet of water not only made its way into our building, but it also stayed long enough to ensure the structure would require significant longterm renovations. As a result, district leadership decided to relocate our campus to a recently vacated elementary school that, amazingly, was a mere 1.5 miles away. Remember that list I mentioned earlier? Hereâ&#x20AC;&#x2122;s where it comes into the story, in the form of a text message from one of my assistant principals that following week: List everything you had in the room to the best of your knowledge. A list of everything I had? Like many of you, I had a lot of things. Fourteen years of teaching materials, supplies, books, resources, instruments, manipulatives, and flash cards. Beloved stuffed animals whom hundreds of children knew by name. A professional library Iâ&#x20AC;&#x2122;d built through my KodĂĄly studies and many, many visits to the TMEA exhibit hall floor. After days spent in a flood-soaked, swampy school, there was little that could be salvaged, and I was left wondering how I could possibly start the school yearâ&#x20AC;&#x201D;whenever that would be. I began

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I could still build relationships with my students from day one. I was there, the students were there, and the music was there. No amount of floodwater could ever wash that away.

trying to prioritize which things needed to be replaced first and was quickly overwhelmed. Amazingly, the following days brought with them a different sort of flood, one that carried with it tremendous amounts of love and support. Amazon wish lists were fulfilled. Donations, gift cards, and assistance came from district personnel, friends, community members, and complete strangers from across the country. My gratitude toward those who rallied around our school during this time knows no bounds; truly, the entire Moore community was blessed beyond measure. By the time this edition of Southwestern Musician reaches your mailbox, two years will have passed since Hurricane Harvey. Moore is, happily, now back in a dry, newly renovated school. And although memories of those rainy days fade, one unique perspective gained from that time endures, and it’s about prioritizing things. Have you given it some thought? What things are at the top of your list? You see, in those post-Harvey days, I came to understand that, although the things I’d lost in the floodwaters were gone, I could still greet my classes with a smile that first day in September. It might have been in a different room, surrounded by different things, but we could still sing “Did You Feed My Cow?” because, by golly, that cow was still hungry! I could still build relationships with my students from day one. I was there, the students were there, and the music was there. No amount of floodwater could ever wash that away. As you begin another school year, I encourage you to focus on the true treasures found within your music classroom’s walls—what no Amazon wish list or trip to Target can ever replace—you, your students, and the music. Thankfully, those are

here to stay, no matter how high the waters rise. I hope you join me in looking forward to another year of joyful music making, surrounded by what matters most. Thank You, TCDA! Congratulations and thanks go to Katy Flowers and the TCDA Board for presenting another outstanding TCDA convention this July. I hope you were able to attend this fantastic event and enjoyed the new “Elementary Immersion Day” offered this year. Call for Volunteers How would you like to get an exclusive, backstage pass to the nation’s premier music educators convention? Serve alongside fellow music educators and make a few new friends in the process as you volunteer in February at our annual Clinic/ Convention, where we will be celebrating TMEA’s Centennial!

Signing up is easy! Just go to www.tmea.org/elementaryvolunteer or email vpelementary@tmea.org. Be a part of TMEA’s Centennial year in a very special way! I hope you’ll consider signing up today. TMEA Mentoring Network Each year, TMEA pairs new music educators with experienced mentors through the Mentoring Network. This incredible resource wouldn’t be possible without two groups of people: the dedicated professionals willing to share their time and talents as mentors and the new music educators looking to enhance their craft. Want to get involved? Go to www.tmea.org/mentor and enroll today. Meetings and Memberships Your TMEA Region needs you! Please plan to attend your fall Region meeting, where you can hear the latest in TMEA news, network with colleagues, and offer important feedback to your region leadership. See page 2 for more information about meeting dates, times, and location. All 2018–2019 TMEA memberships have expired. Please continue your support of TMEA’s mission by renewing your membership at www.tmea.org/renew and registering for the 2020 Clinic/Convention. And be sure to take advantage of TMEA’s liability coverage, something no educator should ever go without.

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

For magazine submission guidelines, go to www.tmea.org/magazine.

Southwestern Musician | August 2019 43

Positive

Classroom Management

by Theresa Turner

f you search online for the word positivity, you’ll find it described as “the practice of being or tendency to be positive or optimistic in attitude.” The example sentence provided is especially compelling: “Pupils draw power from the positivity of their teachers.” It’s the educator’s dream to empower learners. But with hundreds of students a week, along with the everyday challenges we all face, how do you maintain this positivity? Positivity is like a muscle. If you want strong muscles, you fuel your body with healthy foods, focus your time and energy on conditioning and strength training, and make plans for daily workouts. Likewise, positivity is a daily choice. The more you surround yourself with positive messages, focus on positivity, and practice it, the stronger your positive energy will be. Foster Positive Relationships Building positive relationships is the most important step to positive classroom management. We ask students to take big risks in music class, so trust is essential—with you as well as with their peers. It starts with you. How do you ensure you are building strong relationships with and among students? Seek out moments when you can interact positively with your students. Some students with the most severe behavior struggles just need someone to give them positive attention. Consider your duty assignment as an opportunity to see students outside music class. Smile and laugh with them. Comfort them on a bad day. Invade their homeroom class. Help them with math or listen to them read for a few minutes. If you see them outside school, wave and smile. The little things can make the biggest difference. You can’t always control relationships between peers, but you can set them up for success. Add opportunities for kindness and laughter. Have students thank each partner in a different silly voice or have them connect in silly ways—knee to elbow, nose to toes— instead of a standard high five or handshake. Plan little tricks for positive interactions like the “Million Dollar Handshake.” For students who are reluctant to take hands in movement, having them envision every handshake as a business deal worth a million dollars takes some of the social pressure off. When working on Grand 44 Southwestern Musician | August 2019

Right–Left, it’s amusing to find a fifth grader counting his millions as he gives stellar handshakes around the circle. Positive Fuel to Get Music Class Going When you enter your classroom, how does it feel? Is it welcoming? Is there a spark of excitement? What do the words on the walls inside and outside your door communicate? The physical environment matters. You don’t have to be a Pinterest-ready decorator to set up an inviting music room. Find posters (or make your own) with messages and images that inspire, uplift, and encourage. From your door, send the message, “Everyone is welcome to make musical magic here.” Consider your posted music room expectations. Do they speak positively, creating a welcoming environment? Reframing each No and Don’t can be a simple but powerful shift. For example, instead of posting, “Don’t talk when someone else is talking,” try, “Listen Attentively.” Even stronger still are expectations of belonging such as, “We are all musicians. Musicians are considerate.” Expectations of belonging promote a growth mindset. Even the best musicians make mistakes. They are still musicians. Students need to know they are valued and that they belong, regardless of mistakes—why not include their value in the expectations? Positive Energy from the Start The beginning of the year is a crucial time for establishing a positive learning environment. With hundreds of students, name games become very important. It’s amazing the difference it makes when you use someone’s name, even in a simple greeting or a thank-you. It’s powerful. Make it a point to know (and practice) each student’s name. I use the iDoceo app to include photos with names in my seating chart and grade book, but whatever method you use, learn those names! If you make a mistake, try the rule of three: when you want to remember someone’s name, use it three times before they leave your interaction. I do this with each new student. “Joe, can you please grab my sharpie for me? . . . I’m going to stand next to Joe for this game. . . . Joe, thank you for using your singing voice.”

How you start each class matters. When your music class begins, where are you? Whether you choose to begin with music or let students enter and get settled first, greeting your students at the door with a smile is a simple way to set the tone. It lets the students know they are important and that you are fully present and ready for them. The effects are even greater when you make a point to greet each one individually. Whether with a verbal greeting, a song, a handshake, or a look in the eye with a smile, personal greetings help build connections with each student and can be especially effective when trying to build a relationship with those students who are most reluctant to do so. Establish Routines to Keep It Positive Routine and structure are necessary to maintain a positive learning environment. Consider the events that often occur in your music room: Create a routine, teach it, and use it consistently. You could use a hand sign for students to form a circle. You might use a singing signal or silent cue for standing/sitting. (Using silent cues can be a great way to save your voice!) The point is that if you don’t know, they won’t know, and unplanned chaos can lead to strong feelings of negativity for some learners. Routines are important, but so is flexibility. Things won’t always go as planned. Communicate with students and let them know what to expect ahead of time. Icons are effective for informing students of what is to come and to ease transitions. Using magnets or Velcro allows quick and easy rearranging of those icons between classes or when you must make an adjustment on the fly. Maintain the Positive Energy Create an environment where mistakes are forgiven and even celebrated. Whether musical or behavioral, mistakes will happen. Some you can plan for. Be proactive. Use preparatory activities including relevant music motives or movement directions to set students up for success. Mistakes can also be learning opportunities. Praise the moment when a student makes the face after playing a wrong note. This is a sign of true learning as the student evaluates their performance. When the student fixes the mistake, praise that even more. Every wrong answer brings us closer to the right one as long as we keep thinking and working. Whenever possible, plan for student voice and choice. When students express concerns, give suggestions, and share opinions, be sure to actively listen and truly take note. Encourage student discourse where they can make connections, problem-solve, and evaluate with their peers. Utilize student leaders and provide opportunities for improvisation of any type: rhythmic, melodic, text, and movement. Say yes to student requests or suggestions whenever you can. If a student asks to do the Hype Dance (from Fortnite) in three, ask them how they could modify it to work. Giving ownership will increase positivity, as well as stretch students’ musicality and creativity! Positive Feedback—Reward and Praise Praising effort and growth along the way is an investment. The more positivity you commit, the more resilient students will be when they receive constructive criticism. Feedback should be specific and kind. Find something the student has done well—a glow. Then, one thing (only one) for the student to work on—a grow.

Finally, find some way to end on a positive note: thank the student, give another glow, or recap. While the ideal is for students to be intrinsically motivated to do well, incentives can be helpful for reinforcing desired behaviors vicariously or giving quick positives along the way, especially if tied to music goals. For example, stamps, stickers, or smellies may earn first choice of instruments or the class may earn a “Music Choice Day.” (This can also provide excellent feedback for you on which games and activities the students enjoy the most.) Positivity in the Tough Times When a student acts out, first remember that the behavior is generally not about you. Don’t take it personally (even when they try to make it personal). Breathe, assume a strong posture, speak a mantra—do whatever it takes to remain calm. Consider the immediate (and long-term) causes of the behavior as well as what the student is trying to achieve through it. Be sure students know you want them to be in your class, involved and participating. Handle infractions calmly with an opportunity/expectation for improvement. Sometimes the fix can be a simple statement like, “I notice that you and Fatima are facing each other and talking while we are trying to listen. Please face forward.” Asking a question is another strategy. For example, if a student is talking, curiously ask, “Are you being helpful or distracting?” You can even redirect with a matter-of-fact statement about the expectations: “Our expectations are for everyone to be involved. Let’s fix that.” Consistently uphold high expectations. If a student continues to violate the expectations, utilize natural and logical consequences that are not permanent. Give the student choices before the consequence occurs: “You may join our class in this activity or work with me one on one during our game.” Be careful to offer choices that do not give in to the purpose for the behavior. If a student is trying to avoid an activity, don’t give a choice that would allow them to miss the activity, and make sure you follow through with whatever choice is made. Check back with the student to facilitate repair of the relationship and try to end with some positive words and experiences before they leave your class. Positivity with Parents Find every opportunity to share with parents/guardians something nice about their child. Make stickers or special notes for their achievement, grit, kindness, etc. in class. Call parents or stop them in the hall to brag about their child—be specific! When you have to make a call about behavior concerns be sure to sandwich the issue with positives. Show that you are invested in their child’s success. Share what you and the child have discussed and have already tried as well as plans you intend to try next, especially note if the student helped create the plan. Ask the parent for any insight or ideas they have on how best to help their child succeed. Finally, end with compliments and sincerity! Be the Positive Difference You make a difference in the lives of your students each day. Whether positive or negative, your energy is contagious. The best part is, you get to choose. Choose to be the positive difference each day. Theresa Turner is the K–5 Music Teacher at McClure Elementary School in McKinney ISD. Southwestern Musician | August 2019 45

COLLEGE NOTES

B Y

V I C K I

B A K E R

Roots, weeds, and worms

t was one of those rare Saturdays when we had nothing scheduled. The morning air was cool and the sky was clear. What a perfect day to sit on the front porch and read a good murder mystery. My reverie was interrupted with the sound of my husband’s voice pronouncing that he was going to spend the day working in the yard. My visions of sitting on the porch reading to a sonic background of chirping birds gave way to the picture of my sweeping grass from the sidewalk with the sound of a lawnmower assaulting my tympanic membranes. Being a reasonable person, I determined that a few minutes spent sweeping would not negate my plans for the day. At last, the mowing was finished, and as I hurriedly scooped the grass blades into the garbage bag, ready to commence my reading, Mark (my husband) pulled the car out of the garage and told me to get in. I readily complied, foolishly anticipating a ride to Sonic for a Route 44 Diet Dr Pepper to quench my sizeable thirst. Imagine my surprise when we pulled into the Lowe’s parking lot. Mercifully, my phone rang, so I remained in the car to take the “important” call. When I completed the lengthy conversation, I saw Mark walking toward the car with a cart in tow, filled with bags of dirt, rose bushes, and flats of begonias. And in that moment, my plans for the day dissipated, becoming more of a longing for an unattainable goal.

A garden requires patient labor and attention. Plants do not grow merely to satisfy ambitions or to fulfill good intentions. They thrive because someone expended effort on them.—Liberty Hyde Bailey 46 Southwestern Musician | August 2019

August—Renew your membership and register for the convention. August—Attend your Region meeting (see page 2). September 1—Collegiate Music Educator Award nominations open for fall graduates. 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.

Mark, who had assumed the role of landscape artist, pronounced that he would rearrange the stone borders of the flowerbeds, distribute the dirt, and plant the rose bushes, while I planted the begonias around the tree in the front yard. Being a member of the pre-earbud generation, I decided to use that time to convene with nature. Yet, my interactions with the dirt and weeds was short-lived, due to a mutual lack of interest. But then I began to reflect on the parallels between teaching and planting, and I suddenly became inspired to write an article to share with my fellow music educators as we look toward the beginning of another school year. Seeds Grow to Plants The begonias I transplanted were young plants, with tender stems and just beginning to bud. Each plant was in a separate container. Although the plants were from the same nursery, their size, maturity, leaves, blooms, and colors were distinctive. No two were identical. When students leave elementary school and enter secondary-level music courses, they are like the young begonias. The elementary music specialists have planted the seeds, have nourished, watered, fed, and cared for the sprouting plants, and have passed them on to a caretaker for their next stage of growth. Students enter middle school/junior high as unique individuals. Their musical knowledge and skills vary due to their elementary training, physiological development, and psychological makeup. It is the ensemble director’s job to carefully transplant these students from their individual containers into a shared space. Successful Transplanting As I transplanted the begonias, I noticed how many factors I needed to consider. First, I needed to plant the flowers in quality soil, filled with the appropriate nutrients to encourage growth. Next, I needed to space the plants so they could have enough room to expand in size. If they were planted too close together, they would not be able to access the nutrients. The plants also needed ready access to a water source that would sprinkle moisture on them on a regular basis, rather than inconsistently pouring gallons of water on them and risk washing them out of the ground. An inadequate water source could cause them to wilt or die. In the same way, when we receive stu-

dents into our ensembles, our first and most critical task is to place them in the ensemble that will provide them with enough challenges to promote growth, yet not overwhelm them or make musical demands beyond their reach. We then need to provide them with good soil, nutrients, and water. That can be best accomplished through the selection of quality repertoire and a well-planned curriculum that encompasses the knowledge and skills developmentally appropriate for the students. Teachers are the Miracle-Gro. While the water can help sustain the life of the plant, the Miracle-Gro is what encourages the plant to grow more quickly and bloom. Teachers who are positive, encouraging, affirming, passionate, enthusiastic, consistent, caring, and committed can inspire their students to be self-confident, take risks, work hard, practice independently, feel valued, and take pride in being a member of the ensemble. Watching an underconfident, untrained student grow into a skilled musician who seeks performance opportunities is fertilizer to the ensemble director’s soul. Gardeners are good at nurturing, and they have a great quality of patience, they’re tender. They have to be persistent. —Ralph Fiennes Roots, Weeds, and Worms While our focus on plant growth is typically on what is above ground, we need to remember that the root system is what transports the essential ingredients for sustaining life. As I took each begonia plant out of its container, I determined the appropriate depth of the hole needed to accommodate its roots. Too deep and the plant would be smothered by dirt. Too shallow and it would be unable to absorb

the nutrients from the soil and would die. I planted the begonias under a large tree, its roots running through the soil in the flowerbed. I had to cut and remove some roots to make room for the plants. The thicker the roots, the more difficult they were to cut. Some roots were so large, they were intractable, so I was unable to plant flowers in that area. Students come to us with roots intact. The size and depth of their roots depends on their musical training. Having strong roots can be beneficial, if students have been taught correctly. On the other hand, if students have received poor technical training and arrive with misinformation, those roots can be challenging to cut and regrow. Students who resist change might even leave the ensemble. While we may believe we have failed to reach those students, we must keep in mind that the choice is theirs, and we have a commitment to maintaining high standards for the rest of the ensemble. Weeds were also present in the dirt. While they were numerous, their roots were shallow and they were easily removed. Likewise, our incoming students are going to have some minor issues that must be addressed. Because these habits have not become deeply ingrained, retraining should be a relatively simple matter. As I was digging in the flower bed, I would periodically see an earthworm. Earthworms enable a plant to thrive by increasing the amount of air and water in the soil, breaking down organic matter into plant food, and producing fertilizer. The worms represent the things that students may fear or dislike, yet they make a positive contribution to their development. When we ask our students to take risks and step out of their comfort zones, we may be met with resistance, due to

TMEA Collegiate Music Educator Award Fall Graduation Nominations Open September 1 Texas college faculty can recognize their elite music education graduates through this TMEA program. Award recipients should represent the finest and most dedicated future music educators across the state. One active TMEA member who is a member of the institution’s music education faculty may nominate that institution’s students. By nominating a student, the faculty member confirms the student meets the qualifications. Learn more and nominate students at www.tmea.org/collegiateaward. Southwestern Musician | August 2019 47

fear of failure. We require our ensemble members to do technical exercises, scales, interval drills, sightreading, and theory worksheets. They might dislike them, but we know they are key factors in building performance skills and acquiring musical literacy. Uproot and Replant Eventually the time comes when the flowers have come to the end of the season and must be removed to make way for new plants. At some point, our students graduate or move on to a more advanced ensemble and make room for the incoming students. Like the plants, we have many memories of the joy they brought us and the beauty of the music they created. Then we begin the process of transplanting our young students into our pro-

grams once again. We have students who remain in our program, who populate a portion of the flowerbed. The flowers that have been removed leave holes, but they are replaced by small plants that do not fully cover the same space but eventually will blossom and grow to full maturity. A garden requires patient labor and attention. Plants do not grow merely to satisfy ambitions or to fulfill good intentions. They thrive because someone expended effort on them. —Liberty Hyde Bailey 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. and will end around 3 p.m. Lunch will be

Attend the College Division Fall Conference October 11 • Austin, Texas tmea.org/fallconference ur best o y e r a h S on n e c t c d n a s e practic s from e u g a e l l o wit h c tate. s e h t s s o r ac

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. Call for Research Poster Proposals Submit your 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 portal will be available on September 1. 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 are open on 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. Renew Your Membership and Liability Insurance If you haven’t yet renewed your TMEA membership, be sure to do so now and purchase the low-cost liability insurance that TMEA makes available as a benefit to members. Go to www.tmea.org/renew today. Even though you received this magazine, your membership in TMEA expired on June 30 and liability insurance policies expire August 20.

48 Southwestern Musician | August 2019

A RECOGNIZED YOUTH TRAVEL PLANNER FOR DISNEY PERFORMING ARTS

WHATEVER YOUR GOALS—

THE DISNEY PERFORMING ARTS PROGRAM OFFERS OPPORTUNITIES in world-class educational clinics, adjudicated festivals, and performances for guests at the Walt Disney World® Resort and Disneyland® Resort. Our experienced travel coordinators at EPN Travel will work with you to build these events into a comprehensive tour plan that is a perfect fit for your student musicians.

THERE’S A DREAM HOW TO MATCH

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WHETHER IT’S CREATING A DREAM PERFORMANCE, A ONE-OF-A-KIND WORKSHOP, OR A COMPETITIVE FESTIVAL EXPERIENCE—we’re here to guide you. EPN Travel Services is proud to be a Disney Parks recognized Youth Travel Planner.

LET US START CREATING MAGIC FOR YOUR STUDENTS.

888-323-0974 info@epntravel.com epntravel.com