TMEA's History 1920-2020

OUR HISTORY 1920–1940 Published in the September issue of Southwestern Musician

W W W.T ME A .OR G

1920

Celebrating

by Karen Cross

L

ooking through the archives of TMEA’s history is like dusting off a forgotten box of family photos and scrapbooks. As we study those old monochrome images, we contemplate what life might have been like so many years ago. And through those pictures and stories, we discover a connection to our past that somehow deepens how we feel about where we are today.

This month, we offer snapshots of our association’s past from 1920 to 1940. In those 20 years, TMEA matured from a small group of idealistic band leaders into a well-structured association that was already steering state education policy. The pioneering work of our association’s founding fathers continues to benefit every music student today.

Photo of Lone Star Band courtesy of the Ellis County Museum

On April 21, 1920, Waxahachie’s Lone Star Band Leader James E. King met with six other band leaders to discuss how to improve Texas bands. They formed Texas Bandmasters Association and ÐăÐÆĴÐÌ L­ĉÐĮ 'Ș NðĊæ ­Į ĴìÐ ťīĮĴ ĨīÐĮðÌÐĊĴȘ AĊ ðĴĮ ťīĮĴ ǡǟ řЭīĮș the association evolved to include orchestra and vocal teachers and became known as Texas Music Educators Association.

1920s: Contest Pros & Cons Throughout the 1920s, the popularity of municipal bands grew. The day James E. King and six other band leaders met in Waxahachie and founded our association, three of their bands competed in the first statewide band meet. Given its success, those band leaders decided to continue hosting the contest as a means of gaining public attention and support.

Band contests flourished in the 1920s, and our association membership numbers reflected that growth. By 1923, membership had multiplied from 7 to 49, representing half of the band directors in Texas. The association’s slogan was “More Bands, Bigger Bands, and Better Bands.”

With increased contest popularity and inflated prize money, the motivation to win by any means was rampant. Association 26 Southwestern Musician | September 2019

leaders quickly realized the need to establish rules and a grievance process to promote fairness in these events. This trend toward more regulated contests included a 1924 rule that no union musicians could participate and a 1927 decision to ban cash prizes (not that either rule was immediately followed).

In the mid ’20s, leaders had separated their annual meeting from the contest, demonstrating an emphasis on other priorities.

They were becoming more focused on musicianship, instrumentation, and standardization of salaries. In 1925, this attention on instruction led the members to change their organization’s name to Texas Band Teachers Association.

By the late ’20s, the complexion of band contests was changing, with the high school class participation surpassing that of the municipal band class. Still, some issues with this mixed participation continued, as evidenced in this account of a 1928 Eastern Division contest reported by Ralph Beck (a founding

2020

TMEA’s Centennial member of our association): One band entered whose director played cornet with the band, and another band could not recite its contest numbers because all the trombone section had passed out on that ‘East Texas Corn.’

Toward the end of that first decade, leaders asserted that only those who were professionally fit should be members, so the membership passed a constitutional amendment requiring new members pass a musical literacy examination to be admitted. While there are no records of the exam being administered, the 1927 minutes include, “To date, several members had been expelled for their shortcomings.”

In 1929, the association adopted an important change by mandating that all contests be held without chamber of commerce assistance. This was just two years after they banned cash prizes.

However, when the Texas State Fair officials presented a proposal for $10,000 in cash prizes if the association would hold its state contest during the fair under the auspices of the TBTA, the leadership agreed. This contest featured 85 bands, breaking the participation record, and march music master Karl L. King of Iowa was the sole judge. The high quality displayed by the participating bands was understood to reflect the improved instruction being given in school bands.

1949–1950 TMEA President Jack Mahan offered the following pros and cons of the early band competitions: This somewhat loose competition gave way to a sense of cooperation, individual and group development, and improvement before the groundwork for the present-day school music program could be accomplished. Because the contest idea was the original activity, it marks much of the initial history of our association.

By 1922, the thrill of conquests had begun to overshadow the ideals leading to a firm foundation for the music program. The attitude of deception rather than sincerity was prevailing in the contest. The elements of growth and organizational development seemed to be cast aside in favor of winning a prize.

(from Jack Mahan’s 1949 master’s thesis)

AĊ ǠǨǡǡ }ìÐ ZăÌ :ī­ř T­īÐ ­ĊÌ ďå īďœĊœďďÌș made up mostly of professional musicians, won ɄǢǤǟ ­ĊÌ ĴìÐ ĴðĴăÐ ďå ZŨÆð­ă ÐĮĴ }ÐŘ­Į ì­ĉÅÐī ďå ďĉĉÐīÆÐ ­ĊÌ ðĊ ĴìðĮ ťīĮĴ contest of its kind. Chambers of commerce hosted contests as part of their conventions, in part because contest prizes were less costly than hiring professional bands. The presence of a municipal band almost became a must for a town to expect to be noticed.

This focus led to what became termed as “Outlaw” or “Wildcat” contests, given these contest organizers didn’t appear obligated to adhere to our association rules.

Photo courtesy of the Brown County Museum of History Southwestern Musician | September 2019 27

Celebrating TMEA’s Centennial Soon after Texas Band Teachers Association was chartered, members were demonstrating that their concerns extended well beyond contests: In 1925, the association named the Texas Bandsman as its official journal—a designation that changed several times in these first 20 years.

1926 marks the first mention of a request for students to earn credit for studying band in school. This would be the first time the association pushed for band to be considered curricular. This is in addition to the earlier-mentioned membership music literacy examination. In 1927, leadership established several committees to study various topics of interest.

The organizational structure grew in 1929, with the addition of a state vice-president and divisional secretaries (at this time, divisions were geographic). Much attention was being given to the problem of raising the quality of the music teacher, and at last a committee was appointed to write a code of ethics.

These developments in the late 1920s set the stage for the association to expand its reach and influence throughout the 1930s.

1930s: A Maturing Association The Great Depression was the backdrop of this era, yet our organization continued its business, advancing the cause for music education through a focus on creating standards for instruction and for those delivering that instruction. For example, in 1931, the state meeting attendance from the Southern Division was so low they couldn’t hold elections. Still, the few present remained focused on the future of school music. State Vice-President R.J. Dunn explained his concerns about boys coming from other towns into his band, ill-prepared. He said this could be remedied if there were a standardization of teaching.

“All stressed the importance of more music schools in Texas and more creative work in high school and municipal bands, expressing that it was up to us to raise our standards in order that the value of music in the schools should be recognized by the school board, and it was up to us to see that it was recognized as it should be” (January 23, 1931, annual meeting minutes). Other members expressed similar ideas about how band could be standardized in schools just like other courses were. In that meeting, Dunn even predicted that in the near future, certificates would be required for band teaching.

With this greater commitment to standardization and teacher preparation, TBTA hosted its first summer band clinic in Lampasas. Seventy-five teachers attended this two-week summer camp, where a stated objective 28 Southwestern Musician | September 2019

1929 TBTA Code of Ethics Excerpts One must consider himself to be, primarily, a teacher of music and of wind and percussion instruments. Other vocations or side lines, especially that of selling musical instruments or merchandise, should be considered subordinate.

• A member owes it as a duty to this organization to reserve a reasonable amount of time for serious study in order to keep abreast of current development in music and bands, in keeping with the second object of the association, which is better bands.

• The band teacher should set a high moral standard of speech and conduct. He should be scrupulous in the prompt payment of bills, and careful in the incurring of financial obligations. (If we do not pay our own bills, we can not expect our pupils to pay us.)

• It is unethical for a band teacher to take sides with factions in his band or community.

was “to coach and refresh the band teacher in the various subjects which concern him and to standardize the system of teaching instrumental music and bands.” The advertised curriculum included: • Rudiments of music

• Counterpoint

• Elementary harmony

• Form

• Band arranging

• Ear Training

• Advanced harmony and composition

• Conducting • Science of music (acoustics)

For $2.50, attendees were invited to stay the two weeks in an open-air dorm furnished with cots and a single washroom on each floor, “suitable for men only.” The brochure also invited them to bring their camping equipment at no charge and take advantage of the camping space at the park where this band clinic was held.

This camp was considered a huge success and a pioneering event in the development of Texas bands.

In the early ’30s, TBTA appealed to the State Department of Education to have band and orchestra courses recognized, but they were denied because no textbooks existed that would provide for consistent instruction. Fortunately, at the same time, John F. Victor of Abilene was completing his work on a four-year method book for band and orchestra instruments. The association worked for years to get these texts into the hands of Texas music students.

In 1934, the state authorized that two

units of college credit be given to anyone who had completed four years of band or orchestra in public schools.

TBTA continued to evolve organizationally and in 1934 created four divisions with state vice-presidents (Northern, Southern, Eastern, Western). There was also a push to include sightreading as a component in contests to promote fundamentals instruction.

Fifteen years after our founder’s first meeting, members recognized a need to support orchestra directors and invited orchestra teachers to become members the following year. Thus it was during that 1936 convention that members would vote in the next name of our association—Texas School Band and Orchestra Association (TSBOA).

With the association membership growing to 198, it was becoming difficult to conduct association business during the general meeting, so in 1936 a Board of Control was created—a precursor to today’s Executive Board.

During the 1937 convention, a committee formed to explore an idea that band clinician William D. Revelli had suggested the prior year—to assemble a clinic band and orchestra composed of students from around the state. Over the next 80+ years, this idea grew into today’s 15 All-State ensembles. That year, the membership also approved a resolution to submit to the state department of education calling for free text books to be supplied to instrumental music students. Several members also began discussing the idea that UIL should host solo and ensemble contests, along with their music memory and other contests.

The 1938 convention featured the first organized All-State Bands—the Blue Band and the Red Band—as well as the inaugural All-State Orchestra.

Directors applied for their students to participate by documenting the number of years the student had participated, the contests entered, and the honors received. Students were sent the music two weeks in advance of the clinic.

At this convention, just two years following the inclusion of orchestra teachers, the floor voted in a new constitution and bylaws to be presented later that year at a special session, making it possible for choral directors to join. While some members Advertisement in the February found this move controversial or 1938 issue of School Band and Orchestra Magazine a possible threat to their work, the

Members paid $1.00 to attend the 1936 convention in San Antonio, where they enjoyed the 1937 convention registration desk (State first-ever band clinic Secretary Ward Brandstetter, standing) as part of this annual event. A young William D. Revelli of the University of Michigan led the Weslaco Band through each class’s required contest pieces. Revelli returned in 1937, and Adam Lesinsky was invited to lead the inaugural orchestra clinic. William F. Ludwig was also present to give a drum exhibition during the event. motion passed and the organization became known as the Texas Music Educators Association.

When the fall term opened, TMEA had been completely set up with a new administrative plan in which there were state, division, and region officers. Three vice-presidents were chairs of their divisions holding the rank of first, second, and third vice-president in accord with the seniority of the division (band, orchestra, vocal, respectively). Each of the 8 Regions had its band, orchestra, and vocal chairs who were members of the state Board of Control.

Reflecting on this change, Charles Eskridge (1942–1943 TMEA President) said, “With the organization of the Texas Music Educators Association came the longest stride ever taken in Texas toward a well-balanced music program.”

The first convention under the TMEA name was in Houston, with 308 active teacher members attending. This 1939 event featured concerts by four All-State groups: two bands, an orchestra, and a chorus. Some 400 students participated, and the music cost alone for this elaborate event was nearly $1,000. At the time, there were 528 TMEA members.

During that 1939 convention, the TMEA membership passed several resolutions demonstrating their desire to influence state and national music education initiatives and standards. The final resolution read: That in view of the higher standards for all teacher training incorporated in a bill now before the Legislature that the Texas

The value of the discussions and the talks by the guest conductors and by Texas directors cannot be set forth concretely, yet this phase of the ĴìīÐÐ ÆăðĊðÆĮ œ­Į ŒÐīř ÅÐĊÐťÆð­ăȘ }ìÐĮÐ åďīķĉĮ åķīĊðĮìÐÌ ­Ċ ďĨĨďīĴķĊðĴř åďī ÌðīÐÆĴďīĮ Ĵď ÐŘ­ĉðĊÐ ĮďĉÐ ďå ĴìÐðī ĨīďÅăÐĉĮș Ĵď ĮķææÐĮĴ ĮďăķĴðďĊĮș ­ĊÌ Ĵď ìЭī ĴìÐ ðÌЭĮ ďå åÐăăďœ ĉķĮðÆ ÐÌķÆ­ĴďīĮȘ —March 1939 Texas Music Educator ȵ}ìÐ wĴ­ĴÐ ďĊŒÐĊĴðďĊȭ ăðĊðÆ qīďŒÐĮ AĴĮ ďīĴìȶ Southwestern Musician | September 2019 29

Music Educators Association recommends that no full-time teacher of music be employed after 1943 who does not hold a professional degree in music.

This regulation is not to be retroactive.

1940: The End of the Pioneering Era Possibly the most exciting convention since the cutthroat days of the early band contests was in Mineral Wells at the 1940 meeting of the TMEA membership.

One group was striving to change the construct so each of the three divisions would have greater independence in their activities—lessening the Board of Control’s power. Another group advocated for a separate bandmasters association. After long arguments and tense expositions, an understanding was reached, and administrative changes were proposed, preventing a split in the association. However, during that event, a group did organize the Texas Bandmasters Association, designed as a state version of the American Bandmasters

20 Years of Growth TÐĉÅÐīĮìðĨ ­ĊÌ ÌķÐĮ åīďĉ ĴìÐ řЭīĮ when this data was recorded: 1920: 7 founding members. Dues: $1. ȧ}ÐŘ­Į ­ĊÌĉ­ĮĴÐīĮ ĮĮďÆð­ĴðďĊȨ

1921: 19 members. Dues $0.50.

1922: 29 members. Dues $0.50.

1925: Dues: $1.

ȧ}ÐŘ­Į ­ĊÌ }ЭÆìÐīĮ ĮĮďÆð­ĴðďĊȨ

1926: Dues: $5 + $10 initiation fee.

1927: 43 members. Dues: $5 + $10 initiation fee. ǠǨǢǟȚ AĊðĴð­ĴðďĊ åÐÐ īÐÌķÆÐÌ Ĵď ɄǤȘ 1932: Dues reduced to $3, and the initiation fee was removed to entice more members.

1934: 70 members.

1936: 198 members. ȧ}ÐŘ­Į wÆìďďă ­ĊÌ ɪ ZīÆìÐĮĴī­ ĮĮďÆð­ĴðďĊȨ

1937: 261 members.

1938: Dues: $3.

ȧ}ÐŘ­Į TķĮðÆ 'ÌķÆ­ĴďīĮ ĮĮďÆð­ĴðďĊȨ

1939: 538 members.

1940: 580 members.

30 Southwestern Musician | September 2019

Association, with G. Ward Moody elected president (detailed in the adjacent frame).

A significant bookend for TMEA’s first twenty years came in 1940 when the state began furnishing free textbooks for band and orchestra students in public schools.

A Brilliant Future Lies Ahead Days before the annual convention, TMEA President Ward G. Brandstetter shared his thoughts on the state of our association in the February 1940 issue of Texas Music Educator: Much progress has been made, but we should not lose sight of the fact that there is still much to be done. There are still many schools without adequate music programs. We cannot ask school administrators to suddenly change their entire program to accommodate us. On the other hand, our future depends on how well we, both individually and collectively, sell our work to the world. We now have the largest and strongest organization that we have ever had, and with the interest, activity, and cooperative spirit demonstrated at present, a brilliant future may be predicted.

Acknowledgements

This article is based on a variety of historical documents housed in the TMEA archives. Two sources have been particularly helpful and are the foundation of much of this presentation: TMEA Past-President Jack Mahan’s 1949 ĉ­ĮĴÐīȸĮ ĴìÐĮðĮ ­ĊÌ tďĮĮ :ī­ĊĴȸĮ ǠǨǧǨ doctoral dissertation. Thanks go to Dr. :ī­ĊĴ åďī ìðĮ Ĵìďīďķæì ­ĊÌ œÐăăȭÆī­åĴÐÌ work, which has guided this brief overview of our rich history.

Hoop Skirts and Cologne: The Band Tipping Point With inclusion of orchestra and choral teachers, some bandmasters were concerned about losing their autonomy.

This colorful recollection by Jack Mahan appears in notes of a historical organization committee meeting held at a 1988 TBA clinic-convention: The reactivation of TBA was really tied to the beginning of Phi Beta Mu. I was one of the first people to be initiated in Houston in 1939 . . . At the time Phi Beta Mu was a secret thing, no one knew anything about it and they didn’t want to get it out in the open because people would not like other people if they didn’t get in first . . . The first meeting was in Mineral Wells in 1940 . . . We disbanded the Phi Beta Mu meeting and stayed in the room to have a session . . .

Everybody was so irate about the fact that they had those little elevators there at the Baker hotel, and the night that they had the banquet, these choral directors all came out in hoop skirts and no more than one or two could get into an elevator at one time. The men had cologne on and they smelled.

They got up in the room and they just had a big deal on what are we going to do about this thing. So it was decided that they would start a Texas Band Directors Association and TBA is what they called it. Lyle Skinner who was one of the first candidates with me was there of course and he agreed that he would have the first meeting in Waco.

So in 1940 that summer in Waco they had the band directors come there and they did the old things like they used to. They had a beer bust and they even had the girls up on the tables dancing and stuff. They wanted to go back to the old hell raising times that the bandmasters used to have years before that. After that, they had one more and then the war came on and they had no more.

Source: The Texas Bandmasters Association: A Historical Study of Activities, Contributions, and Leadership (1920–1997, Stephen Scott Schoop, Doctoral Dissertation, Univ of North Texas, May 2000).

OUR HISTORY 1940–1960 Published in the October issue of Southwestern Musician

W W W.T ME A .OR G

1920

Celebrating

by Karen Cross

W

hen we study TMEA’s history, we begin to imagine what life must have been like for teachers and students so many decades ago. How did programs survive during the depths of the Great Depression?

How did teachers and students leave their homes for school each day amid their fear of a mainland attack or when terrified by the polio epidemic, which hit Texas harder than any other state? What was it like when teachers and students were excluded from our activities simply because they weren’t white?

In the TMEA archives, you won’t find detailed accounts responding to these more emotional questions. Our minutes and magazine articles offer mostly a business-centered perspective.

Despite the complex challenges of the time—while the country was united and divided—the work of our association continued.

Whatever is done in the future: to whatever proportions we may grow, we will always remember that this history will be a very real part of it.

Ralph Beck, “History of the Band Association of Texas”

1940s: Growth Interrupted Last month, our historical reflections ended in 1940, with music education in Texas taking a step forward as the state began furnishing music textbooks to public school students. With the recent addition of choral educators, TMEA had grown to 580 members.

Also significant on our growth chart was the 1940 State Board election of the first paid Secretary-Treasurer of our association, Charles Eskridge, for a salary of $25/month. At the time, the average annual salary for Texas teachers was $1,079.

The association was also moving forward with more specified instruction at the annual clinic/convention. Teachers attended drum and drum major clinics. In the following years, clinics offered instruction on individual band and orchestra instruments.

At the 1941 convention in Waco, 362 members attended and 1,200 students participated. At a Board meeting during the convention, they decided to purchase Texas Music Educator. This made TMEA sole owner of its official publication. Jack Mahan, state publicity chair at the time, was designated as editor while Secretary-Treasurer Charles Eskridge handled the business manager duties.

32 Southwestern Musician | October 2019

While there had been rumblings in the past, in 1941 there was a greater push by superintendents to limit Texas participation in band contests. They had growing concern over the amount of funding and travel required to attend not only regional but also national contests. Superintendents were surveyed and they overwhelmingly expressed dissatisfaction over the current model.

Some even called for elimination of all contests. This would be the starting point leading to the UIL taking over music contests for the state (learn more about how contests fit into our history in Executive Director Robert Floyd’s column on page 8).

The association’s progress mostly came to a halt after the U.S. entered World War II. In the February 1942 magazine that immediately preceded the convention, Editor Jack Mahan appealed to members not to become hermits, driven by their fears. “More than ever before, in the history of our Association, it is important that each and everyone of us do all in our power to cooperate. For every conventional demoralizing excuse that we can conceive of, there are ten-fold reasons for our presence . . . Unity of thought and action is the only salvation to our problems today . . . Cast our

2020

TMEA’s Centennial fears and thus eliminate all of the undesirable excuses. Make only those excuses that will help to broaden, rather than narrow, one’s scope. We must think high to rise, think big to grow.” Despite his appeal, the Galveston event saw a noticeable shortage of students, and member attendance had dropped to 191.

Even with those small numbers, members still conducted business, adopting a new constitution that would place three administrators on each region contest committee, along with three music

educators representing band, orchestra, and choir. Members hoped this involvement would convince administrators the contest situation was improving. However, by the time the new structure was in place and problems were waning, contests themselves were halted because of the war. Travel was restricted and other expenses were curtailed in support of the war effort.

This was also a time of multiple shifts in TMEA leadership, as those at home filled positions left by those going to war.

In the Shadow of the War Now more than ever, we must look to music as the yardstick of civilization.

Two months after the U.S. had entered World War II in response to the Japanese attack on Pearl Harbor, TMEA President Lyle Skinner and Secretary Charles Eskridge entreated the membership to continue their work and, through music, foster unity. The following was printed in the February 1942 Texas Music Educator:

With so many TMEA officers serving in the armed forces and with travel and funding restrictions, TMEA did not hold conventions from 1943 to 1945. At their April 1943 meeting, the Board appointed D.O. Wiley to serve as Secretary-Treasurer (Wiley would continue in that capacity for another 20 years). While the typical business of the association was on hold, the Board initiated a drive to increase membership of elementary teachers as part of the Vocal Division. They also established the following policies: • TMEA member schools should schedule Victory Concerts to aid in the sale of war bonds and stamps.

• Music instructors not in the armed forces should offer parttime support to nearby schools whose leaders were at war.

• Instructors should standardize marching instruction for bands to conform to the U.S. Infantry Drill Regulations.

• Local festivals and programs would replace regional, state, and national events to build up communities’ perception of the value of music (thus eliminating travel).

• The annual clinic/convention would be suspended for economic reasons.

• TMEA would maintain contact with members through regional meetings.

• TMEA would continue publishing, as financially possible, the member publication in some form.

Southwestern Musician | October 2019 33

Celebrating TMEA’s Centennial

Victory Concerts Raise Millions TMEA launched a series of concerts that proved a great stimulus in the sale of war bonds. TMEA leaders and school administrators prevailed upon Texas Governor Coke R. Stevenson, who issued a proclamation designating eight dates in 1942–1943 for these concerts to be held across the state.

As early as the first of those eight dates, the success of the initiative was clear. Across Texas, $118,415 worth of war stamps and bonds had been sold at these first concerts.

After the fourth concert date, U.S. Secretary of the Treasury Henry Morgenthau, Jr., wrote the following to the school administrators and music educators of Texas: Through the Victory Concerts, your schools have given significant financial assistance to the worldwide offensive now being waged by our country and its allies.

October 1942 issue of the scaled-back The $1,250,000 invested in War Savings Texas Music Educator.

Bonds and Stamps would pay for 2 heavy Living in the United bombers, 2 medium bombers, 2 pursuit ships, and 2 medium States with a median tanks. Less concrete, but also of importance, is the contribuincome during World tion which these concerts have undoubtedly made in building War II meant earnmorale and providing inspiration through good music. ing about $2,000 a It is my sincere hope that your remaining four concerts will year.

Despite the war’s be even more successful than the first, and that they will be furhardships, 134 million ther distinguished by the participation of all schools that have Americans were asked not yet joined in this effort. to purchase war bonds Will you express to all those who have had part in this worthto help fund the war. while project my deep appreciation of their patriotic underStarting at 10 cents each, standing and support of the War Savings Program. stamps allowed people At the May 1943 conclusion of these events, almost $3 million at any income level to be in all had been raised. part of the effort. If you Because of wartime travel restrictions, the association had very filled up a stamp album, little activity through 1943–1945 aside from the Victory Concerts. you could turn it in for a There were yearly Board meetings, but little could be accomplished. bond.

In just four years, membership had dropped from 580 to 164.

Ultimately, more than Without enough funds, TMEA couldn’t continue publishing 85 million Americans— Texas Music Educator. Occasional news sheets were distributed by half the population— D.O. Wiley, and for about five years, TMEA bought space for its purchased bonds totaling news in Southwestern Musician (the official journal of Texas Music $185.7 billion.

Teachers Association).

1940s war stamp album

“We hope the public will turn out for this VICTORY CONCERT. The government needs every little bit that we can raise. The youngsters and the teachers are willing to work hard getting up a program and we believe the school patrons will not mind spending a few cents to get in. Outside of the patriotic motive, the program will be well worth the price of the stamps.” —From ”Victory Concert at R.S. High School,” April 30, 1943, The Texas Mohair Weekly and the Rocksprings Record 34 Southwestern Musician | October 2019

Back to Business With the war’s end in September 1945, music programs started becoming more active, and by 1946, war-related restrictions were being relaxed or lifted entirely. With very little planning time, TMEA revived the annual clinic/convention in Waco. Mahan recalled, “It was no easy matter to provide such facilities as hotels and eating places, but the hardships were gladly accepted.” TMEA State Band Chair Alto Tatum reflected on the return of the convention saying, “There was a geniality in the air that was refreshing and invigorating to all. Everyone smiled, everyone shook hands; and during the entire convention one always found groups talking, laughing, and swapping professional secrets.”

At this 1946 event, band, orchestra, and choral students returned to participate in All-State groups.

In 1947, the clinic/convention moved to Galveston, and the majority of the now 427 members attended. There were five AllState groups: two bands, two choirs, and one orchestra. This convention was also the first to extend to Wednesday, offering another half day to the previous format. At this event, the membership voted to recognize the UIL as the official channel through which music competition festivals be held.

TMEA continued to work with the State Department of Education, and in 1948, the state designated that music courses offered in high school, where affiliation and sufficient stress are placed on the work, now allow students one full credit per school year toward graduation or college entrance. Two years later, TMEA held a combined conference with university officials and public school administrators to study proposals on certification, accreditation, and preparation of music teachers.

Our organization evolved further when in 1950, the membership finally voted to add an Elementary Division set up in the same manner as Band, Orchestra, and Vocal (this same motion had failed three years prior, with 70 voting against and 26 for).

This 1950 vote established the Elementary Division for “an experimental period.” They would have an elementary chairman and 10 elementary regional chairmen. Then TMEA President L.H. Buckner wrote, “This is certainly a step forward and will help our overall music program. We should all help and encourage our elementary music programs to grow and prosper, because after all, this is where we lay the foundation for our high school students.”

Texas Music Educator April 1950 issue featuring elementary music programs.

The final expansion of TMEA Divisions to date came in 1951 with the addition of our College Division. Its inaugural Chair, Clarence J. Best, stated this new division’s purpose as, “To be helpful without interfering with the established Divisions; to attempt to learn from the other Divisions what the colleges and universities of Texas can do to help the overall program of music education in Texas; to help, if possible, to adjust the college curriculums so that they can be of maximum worth to the established program in Texas, and to lend a helping hand wherever possible.”

The 1950s were marked by contest rule changes, refinements in our convention format, constitutional revisions, and modifications of the Texas Music Festival held during the State Fair. In the mid ’50s, TMEA began focusing on public relations efforts. By 1955, membership had grown to 1,124, nearly doubling in just five years.

In 1959, D.O. Wiley became TMEA’s first full-time Executive Secretary for an annual salary of $2,500. At the same time TMEA purchased from Wiley the rights, printing machinery, and title to Southwestern Musician combined with Texas Music Educator for $4,000.

TMEA Denies Membership Within the eight pages of the February 14, 1948 general membership meeting minutes are four short lines of text documenting a moment in our association’s history that appears to have transpired without debate.

The meeting was called to order, and each committee was asked to offer its report. The first report was by the Constitutional Committee, offered by Alto Tatum (1946–1947 State Band Chair). The minutes read: This committee asked that the word “white” be inserted in Article 1, Section 2, Letter A following the first word of the paragraph and in the same Article and Section, Letter B following the first word. Mr. Tatum’s motion was seconded and carried.

With the passing of that motion, TMEA membership became limited to “any white person engaged in music education” and to “any white student of music or music lover.”

Examining U.S. history at that time, especially of the south, can help illuminate the context surrounding this 1948 change.

However, it’s the absence of information in our minutes that seems to tell this story more clearly. Typically, TMEA’s minutes from this era offer extensive detail on motions that involved any discussion. Pages of minutes describe proposals and opinions on contest rule development, convention locations, organization finances, and more. In this case, however, no discussion is noted. A motion was made, seconded, and passed, making TMEA a whites-only professional association.

Four years later, the Supreme Court’s 1954 Brown v. Board of Education decision declared unconstitutional any state laws establishing racial segregation in public schools. While this ruling didn’t on its own end school segregation, it did fuel Southwestern Musician | October 2019 35

TMEA Denies Membership, cont’d . . . the civil rights movement that had been strengthening since the end of World War II. In TMEA’s records, we find no commentary at that time about the court’s decision or any discussion about its possible effects.

In February 1956, the TMEA Executive Board discussed integrating its educational meetings (not membership), but those seven board members decided to do nothing of the sort until Texas State Teachers Association did (the Board had been working to create an alignment with TSTA).

Our records’ next mention of race is from three years later at a February 1959 TMEA State Board meeting. Region Chair Cloys Webb offered a resolution on behalf of Region 11, recommending that TMEA amend any section of the constitution relating to the race of its members or participants in activities.

Unlike in 1948, these minutes indicate that considerable discussion on the matter occurred, some of which “was a bit heated.” Ultimately, the resolution failed, as State Board members again hinged their opinions on TSTA’s position. From the minutes: “Immediate Past-President Dr. Patrick pointed out that a previous Board had decided that it would not be well for TMEA to integrate until TSTA first integrated. It was also pointed out that the Supreme Court had not ruled yet that private organizations have to integrate.”

While they still resisted integrating membership, a 1962 State Board vote allowed “any student of a TMEA member” to participate in All-State, thus integrating these ensembles.

The following year, TMEA members voted in a wholesale revision of their constitution, and in that version, the articles of membership no longer referenced race. However, neither the preceding board meeting minutes nor the magazine in which this version was published for review mention this significant membership change. Integration seems to have been quietly ushered in.

And while changes in institutional policies aren’t immediately reflected in society, 1963 remains significant as the end of TMEA’s 15-year constitutionally mandated segregation of membership.

36 Southwestern Musician | October 2019

Texans’ Fierce Independence Stirs Controversy The ’40s and ’50s are marked by the beginning of a conflict that occupied the time and attention of TMEA leaders for many years.

Unlike other music educator groups, TMEA’s roots were independently planted in our state. Around the nation, state music educator associations were initially founded as state affiliates of the Music Educators National Conference (now National Association for Music Education).

The first mention in our records of this national organization is in 1938, when the TMEA Board of Directors decided to take up a “cooperative affiliation” with MENC. However, there is no information suggesting this materialized until 1947 when a vote passed that resulted in these TMEA membership options: Option I: to pay for full membership in TMEA and MENC. Option II: to pay full TMEA dues and partial MENC dues to be an MENC “associate member.”

Option III: to pay only TMEA dues and not be an MENC member.

None of these membership options were ever written into our constitution—they simply showed up as check box options on the membership form submitted with each member’s dues.

MENC leaders continued to appeal— or demand—that our constitution be revised and that all our members should be MENC members. While some TMEA leaders favored this stronger relationship with MENC, it’s not surprising that many proud Texans in our homegrown association weren’t inclined to relegate their independence.

In 1958, the State Board voted down a motion to eliminate Option III (TMEAonly membership), so that change wasn’t passed along to the general membership meeting for a vote. TMEA continued to offer these three membership options, and the issue of TMEA’s noncompliance with MENC’s membership requirements would continue to escalate until its final end in the mid ’70s.

Next month will include more detail on this struggle between collaboration and autonomy.

Acknowledgements

This article is based on a variety of historical documents housed in the TMEA archives, including meeting minutes and magazines. Two sources have been particularly helpful and are the foundation of much of this presentation: TMEA Past-President Jack Mahan’s 1949 master’s thesis and Ross Grant’s 1989 doctoral dissertation.

1959 Grand Finale concert of the All-State Band, Orchestra, and Chorus.

TMEA President Phil Baker commented, “It is doubtful if anywhere in the nation, there has been a performance of high school calibre to surpass the Texas All-State presentation.”

OUR HISTORY 1960–1980 Published in the November issue of Southwestern Musician

W W W.T ME A .OR G

1920

Celebrating

by Karen Cross

A

s we examine two more decades in TMEA’s history, it becomes more meaningful when we do so through the lens of our nation’s history—this was the era of the Vietnam War, civil rights protests, the assassinations of JFK and MLK, the Cuban Missile Crisis, the Moon landing, women’s and gay rights, the Watergate scandal and resignation of President Nixon, the energy crisis, and much more. Perhaps our association’s own struggle between state independence and national unification was influenced by the tenor of the time.

TMEA in the 1960s The 1960s were a time of change in music education, in our staff, constitution, and convention. It was also in this decade that TMEA became serious about our need to impact the public’s perception of public school music education .

Some issues from our past continued into the ’60s. School administrator concerns of the ’40s that led to UIL running music contests resurfaced in 1960 when certain administrators attempted to curtail or even eliminate student performers from our convention. Magazine editor D.O. Wiley wrote in response: The inspiration that is generated at our clinics seems to us to have almost miraculous results over a long period of years.

Some 25 years ago, when we attempted our first statewide clinic, our music program, as a whole, was very ordinary, if not rather shoddy. With the coming of the clinics, literally hundreds of youngsters began to blossom. It would be hard for us to believe that the clinics, and the competition-festivals that were sponsored by our association for lo these many years, did not contribute to the inspiration of, and largely develop, our fine school music programs.

Despite the objections, our tradition continued, as TMEA was able to convince administrators of the value and remind them that three years before, we had decreased student participation from 2,000 to only 750. (Today we welcome over 4,000 students to perform at our convention.)

36 Southwestern Musician | November 2019

In the early 1960s, D.O. Wiley stepped down as our Executive Secretary following 20 years of service, and in 1963, the Executive Board hired Joe Lenzo. He was Texas Choral Directors Association Executive Director at the time and agreed to take on the role for an annual salary of $8,000. Lenzo would be the fourth of only six executives to serve TMEA in its 100 years, and unlike all others in that job to date, Lenzo had not served as a TMEA President.

Throughout the ’60s TMEA members were called on to develop curriculum guides for teaching music in public schools. These would be adopted and distributed by TEA. TMEA leaders looked to this project to strengthen the cause for inclusion of music education credits in more college entrance plans and to give unmusical administrators guidance in setting up and evaluating their school music programs. The method by which the study was conducted was thought to be quite innovative, given it departed from the routine of committee meetings. These guides that were released in mid ’60s demonstrated the importance of continuous music education from kindergarten through twelfth grade.

The early ’60s also saw the membership’s adoption of a completely revised constitution. This 1963 revision brought with it the end of a 15-year constitutional limitation of membership to whites only (for more detail on this event in our history, read the installment of this series in the October issue).

Music’s Role in Healing a Nation Those who are old enough to remember November 22, 1963, can tell you exactly where they were when they learned President Kennedy had been assassinated. Even those of us without a direct recollection have some sense of the profound sorrow that followed this event. And in the midst of our grief, we turned to music.

Two days following the assassination of his friend, Leonard Bernstein led the New York Philharmonic in a performance of Mahler’s Second Symphony—The Resurrection—in tribute to the memory of the president. Bernstein then delivered these words we have turned to in the face of subsequent national tragedies: We musicians, like everyone else, are numb with sorrow at this murder, and with rage at the senselessness of the crime.

2020

TMEA’s Centennial But this sorrow and rage will not inflame us to seek retribution; rather they will inflame our art. Our music will never again be quite the same. This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before. And with each note we will honor the spirit of John Kennedy, commemorate his courage, and reaffirm his faith in the Triumph of the Mind.

In his January 1964 column, Joe Lenzo responded to this national tragedy and to Kennedy’s influence by challenging Texas music educators: During our former President’s shortened term of office, our country suffered a rebirth of the spirit of national pride which has been characteristic of the growth of our democratic independence. Throughout the world our national image has regained a great deal of its lost prestige. This came about because of the emphasis placed on the belief in the capabilities and future of our young people. This was not left to blind faith, rather an active leadership in the promotion and improvement of the total educational program.

I believe that future historians will find this emphasis one of, if not the most significant action, during the recent administration. This total educational program is well under way.

Continual nourishment of it is a challenge to all American educators.

How does it affect us as music educators? Giving every child a musical background is not a new thesis. Nowhere in the world is music considered a frill or extracurricular except where we, as music educators, have failed to do our job.

Teaching all pupils some music understanding is no more difficult than teaching all pupils math, science, or any other academic study, but it does call for more than just a good organizational director—it calls for good overall music teacher.

Developing a good overall music program in any school or school system is not an overnight job. It takes time and preparation, but is it not what we are being paid to do?

November 1967 Southwestern Musician Combined with the Texas Music Educator

Promoting Music Education In the early ’60s, TMEA worked to elevate exposure of music programs and music in general. The State Fair of Texas offered a perfect venue to go big! For several years, TMEA sponsored the Texas Music Festival featuring bands, orchestras, and choruses.

In 1961, over 25,000 attended the grand finale that featured thousands of musicians and was broadcast on multiple TV stations. To expand interest and coverage, TMEA presented awards to wellknown individuals in the music industry. Across the years, recipients included Richard Rogers, Henry Mancini, Herb Alpert, and Meredith Wilson, composer of The Music Man. As state policy makers were proposing changes that would impact our teachers and students, TMEA increased its advocacy for music education. While TMEA looked to members to take up the cause, officers decided to use a surplus of cash to fund a structured public relations campaign. Their aim was to increase the public’s understanding and appreciation of school music education.

Southwestern Musician | November 2019 37

Celebrating TMEA’s Centennial TMEA’s PR Committee wanted to educate the general public on the need for school music, reeducate school administrators and school boards on the value of music, and disseminate information on the value and function of TMEA. The committee chair wrote, “The ultimate responsibility for any opinions formed concerning music education is inevitably that of the individual music educator. His daily relationships and performance will ultimately determine the opinion his community has formed of music education as a whole, not just of him.”

May 1967 Southwestern Musician Combined with the Texas Music Educator

TMEA promoted Texas Music Education Week to increase public awareness and support for music education. This week, declared by Governor John Connally, became the launching point of a multiyear public relations program that required the donation of tens of thousands of dollars in advertising time and space.

The extensive PR program included education about the different functions of UIL and TMEA and magazine articles and clinics on public relations. Newspapers, radio and television stations, and outdoor advertising carried our message.

In 1968, Texas Music Education Week featured billboards, radio and TV spots with messages from German-American pianist, composer, arranger, and conductor André Previn. That year, the PR firm offered clinics at our convention to help attendees learn how to do more work locally to support this campaign.

This yet-unmatched PR campaign came to a close when the Executive Board reported that the surplus funding had been depleted. As opposed to the 1966 Board, this group of leaders faced a deficit in funds to support the now expanded offerings for members at the convention and beyond. While they discussed increasing membership dues to $10 (unchanged since 1957), they ultimately decided to increase convention fees from $5 to $7.50, hoping that would be enough.

38 Southwestern Musician | November 2019

TMEA at 50 Years TMEA celebrated its Golden Anniversary in 1974. Given our current centennial commemoration, that year might seem puzzling. Understand though that TMEA leaders had declared the 1924 formation of Texas Band Teachers Association as the beginning of our association. After the dust settled on our 50th observance, they revised that designation to be the 1920 formation of Texas Bandmasters Association (since that association was the predecessor association of TBTA).

In February 1974, TMEA Past-President and UIL State Director of Music Nelson Patrick wrote a reflection on TMEA’s 50 years: The 1974 TMEA anniversary convention stands out as a symbol closing a frontier era in Texas music education. At the same time, it is symbolic of a pioneering spirit in continuum as we chart our way through the maze of economic, educational, and social changes of today. Just as music in the schools came about following changes in our social institutions after World War I, we are faced with similar problems today. The Vietnam War, social transitions of the sixties, and now economic adjustments resulting from the energy crisis have catapulted us into a new era. What happens to music education depends upon how well we resolve these problems as they arise.

He went on to highlight the continued struggle for an allinclusive music education: What about those who are not receiving music? What do we do to encourage more participation in orchestra and string instruction? Through various devices, most states are bringing music to a much higher percent of their school children than we. What are our plans to resolve these problems? Our lifestyles are being changed daily by social readjustments, new values, and economic fluctuations. This might well be the time for us to put music education on a broader music foundation instead of being adjunct to some other activity, as is so often the case.

Whatever the next fifty years might hold for us, there is no doubt that we can and will solve whatever problems arise with the same pioneering spirit that prevailed in 1924. Our 50th anniversary then can symbolize the opening of a new frontier and the acceptance of new challenges without self-imposed limitations.

Set your goals high—set your standards high—your quest should be excellence in music education.

Nothing less will be worthy of the Texas Music Educators Association.

—from Bill Cormack’s final column as TMEA President, in which he pointed out that he was the first president of TMEA’s next 50 years.

M

Independence or National Unity ?

ost state music educators associations were founded as affiliates of the national association—Music Educators National Conference (renamed to National Association for Music Educators). But, like proud and independent Texans, our founders established our association on their own.

Almost 20 years after the start of our association, TMEA leaders decided on a cooperative affiliation with MENC; however, our constitution wasn’t amended to legitimize that relationship. In 1947, TMEA members voted to join actively with MENC. While still not in our constitution, this vote resulted in three options for TMEA members paying their dues. They could also pay full MENC dues ($7) or partial MENC dues ($5), or they could choose Option III, TMEA membership only ($4).

In 1948, MENC accepted TMEA as an affiliate “subject to completion of technical requirements.” They expected TMEA to amend its constitution to require members to also be active members in MENC (the standard for other state affiliates).

Throughout the ’40s and ’50s, MENC employed more of a soft-sell approach, encouraging TMEA to amend its constitution in compliance with MENC policy. While some TMEA members always believed we should have a national affiliation, during this time, a general anti-MENC sentiment was growing in Texas.

They don’t rubber-stamp in Texas. }ÐŘ­ĊĮ ­īÐ ťÐīÆÐăř ðĊÌÐĨÐĊÌÐĊĴ ­ĊÌ have a voice. The grassroots people run our association.

In 1966, MENC granted TMEA a three-year extension during which leaders were to convince our members of the mutual benefit of unification. But after Ohio’s MEA asked MENC for the same deal that Texas was getting—MENC’s approach became much more hard-lined. Their leaders sternly warned TMEA that our constitution violated our affiliated status. Our leaders continued to defy those warnings by not bringing a constitutional change to the membership.

After years of heated communications, the TMEA Board finally agreed to have its members vote on unification with MENC at the 1973 general membership meeting. The constitutional change was communicated in advance, and TMEA leaders avoided making specific recommendations to the members, other than encouraging them to be informed so they could make their own decision.

TMEA invited MENC leaders to be present at this meeting for the vote. TMEA President J.R. McEntyre recalled: We invited all the MENC National Executive Board people to come speak at the TMEA convention general session. They

did talk, and talked at the division meetings also, trying to persuade everyone to unify. This was also the time when we voted, and the place was packed! It was also packed because there was also going to be a vote regarding the TMEA 50th anniversary celebration extravaganza. This event had been planned, brainstormed, and promoted to gigantic proportions, to the extent that many members had serious reservations about the whole idea. So, here were the two big agenda items to be voted upon. First the membership voted soundly against the anniversary plans. Understand now, that the MENC people were all seated up on the platform, watching the membership ‘zap’ the TMEA executive committee . . . I mean ‘destroy us’! Then the next thing to vote on was MENC unification. The motion was drastically voted down. So, the MENC people saw, firsthand, that ‘they don’t rubber-stamp in Texas.’ Texans are fiercely independent and have a voice.

The grassroots people run our association. It was not long before MENC finally shut us off.

Soon after that 1973 convention, MENC leadership voted to suspend TMEA’s affiliation as of June 1974, with a complete revocation scheduled for June 1975 (again, unless TMEA could satisfy the constitutional requirements of full unification of dues). Some in TMEA continued to appeal to the membership to unify, believing that we needed a national voice and should have influence over national policy. Yet, many remained skeptical and didn’t believe MENC and TMEA’s philosophies aligned (there was a general belief that MENC focused mostly on college-level issues and TMEA was about the daily work of music educators in the field). In 1974, the issue was brought before TMEA’s general membership for a second vote. The results were 517 votes against unification and 265 votes for it.

In 1974, MENC President Charles Benner reflected on TMEA’s reluctance to fully unify: I think that TMEA had experienced a great amount of growth in instrumental music, really ever since World War II, due to the leadership, aggressiveness, and imagination of their teachers. Texas responded to what has been regarded as a ‘Texas manner’—it was big! It was big, big, big!

So I think it was a time when TMEA grew to the extent that it felt it was probably ‘bigger’ than MENC. If MENC wanted to join TMEA, then maybe it should, but Texas was too big, its conventions were too big, and there was too much money down there for TMEA to feel the need to affiliate with a national organization.

After it was clear that unification was not in TMEA’s future, work began to set up TMEC, a separate Texas affiliate of MENC. And while the road to setting up this new organization was bumpy, TMEA leaders worked diligently with MENC to ensure the formation of this affiliate. Ultimately, a constitution was adopted and approved in 1975.

Southwestern Musician | November 2019 39

April 1976 Southwestern Musician Combined with the Texas Music Educator

TMEA Members Elect Their First Female President It was 1975—the second wave of the feminist movement was gaining ground—and TMEA members elected their first female President-Elect, Barbara Eads. While she had previously served as TMEA State Orchestra Chair, Eads’s teaching experience included K–12, band, choir, orchestra, drum and bugle corps, and college courses, as well as fine arts administration.

Following the 1976 convention, where she served as President, she reflected: There were only two major items which might color our memories of a successful meeting—one, the heat and lack of air conditioning in the convention center, and two the housing situation. Although we rejoice in the steady growth of membership and attendance at the convention, TMEA must also suffer some of the consequences that go along with growing pains.

Eads would be the first of nine female presidents in our 100-year history.

In October 1978, TMEA suffered the sudden death of Executive Secretary Joe Lenzo. The Executive Board had to fill in through the 1979 convention, and Dennis Bros. Printers, the 64-year publisher of our association magazine, worked beyond their scope to ensure we continued mailing a magazine in the absence of its editor.

With the position now vacant, the Executive Board began evaluating the location of our TMEA office and the hir40 Southwestern Musician | November 2019

ing of a new Executive Secretary. Seven months after Lenzo’s death, in May 1979, they hired TMEA Past-President Bill Cormack to fill the role. In June, the Board moved the office to Austin to be more accessible to the membership and to have better communications with UIL, TEA, and state governmental agencies.

Immediately after being hired, Cormack led a fight against legislation that threatened the very existence of fine arts in the state curriculum. In his first column as magazine editor, he reported how, with grassroots support, House Bill 921 didn’t pass (for more details on TMEA’s work in influencing state policy, read the Executive Director’s Notes on page 8).

Looking to the Future With a half-century in our past, TMEA leaders decided to explore the direction of music education in Texas to help bring the future into focus. Through a formal symposium, TMEA would take a philosophical look at itself and develop a plan of action to move forward with confidence, security, and unity, ensuring continued growth for the association and improved music education for the people of Texas.

After about two years of investigation and planning, each division was charged with selecting symposium representatives during their February 1977 business meetings.

In her magazine column, President Barbara Eads appealed to members to be deliberate in selecting their representative:

We all know very popular, well respected directors who have been most successful on the podium, but can they be successful in their contributions to the Symposium? In other words, can they think past their batons? We will need people who may or may not be consistent sweepstakes winners, but who are also knowledgeable, able to express themselves, open-minded and willing to look for new answers for the future.

After this three-day event, President James A. Moore wrote in reflection, “I personally feel that the TMEA Symposium will prove to be one of the most significant activities in the recent history of the association, not only for what we were able to do in the three days, but for the hope of what can be achieved in the future.”

The following year, President John Bridges asked Barbara Eads to head up a committee to form a new study—smaller in scope, and more practical in nature.

This committee proposed another symposium for the summer of 1978 on the topic “Communicating with Key Publics: Public Opinion and Policy Making.” This public relations workshop was ultimately held June 14–16, 1979, at Southern Methodist University. Their charge was to develop a handbook detailing the steps necessary for developing a successful professional relationship with school administrators and the general public.

Since that first symposium in 1977, TMEA has continued to host similar events to gain input from a representative sample of the membership so that we can continue to improve TMEA’s offerings and improve music education for all students.

TMEA’s Growth Continues As our reflections of these two decades comes to a close, we find it in stark contrast to the 1960 beginning when we were being asked to limit student participation at our convention. Instead, in 1979, TMEA was expanding its All-State organizations, with the addition of a Jazz Ensemble. This brought us to six All-State ensembles— growth that has continued, now with 15 groups and the addition of an All-State Mariachi slated for 2021.

Next month is our convention program preview issue. Look to future issues in ǡǟǡǟ åďī ìðæìăðæìĴĮ ďå ĴìÐ īÐĉ­ðĊðĊæ ǣǟ years of our history.

OUR HISTORY 1980–2000 Published in the April issue of Southwestern Musician

W W W.T ME A .OR G

1920

Celebrating

by Karen Cross

F

or several decades, TMEA asserted its priorities by passing resolutions during the annual convention. These resolutions served as platforms for communicating the direction of our association and for motivating education policy. This seemingly polite (perhaps passive) method became history in the 1980s and 1990s when TMEA emerged as an active policy influencer. With TMEA’s office move to Austin and the start of Bill Cormack’s time as Executive Secretary, our intervention with state policy makers dramatically increased. At the same time as this expanded role, internally we were realizing the need to get our house in order. With growth in membership and programs, the need for greater accountability and integrity escalated.

A Grim Forecast Begins the 1980s In 1979, Bill Cormack became TMEA’s fifth Executive Secretary (a title that members changed to Executive Director in 1987). Just months after taking on this role, Cormack ushered in the 1980s with this daunting observation: “Now as we open the ’80s, we see danger ahead as many wish to change the status of the state curriculum. Never before have TMEA and our associate groups been in such a serious position.” In that same issue, President Milton Pullen offered a similarly bleak report about our financial status that led the Executive Board to increase member dues. “Due to spiraling inflation, the cost to operate the association has risen by more than 100% during the last decade. For the past two years, our association has relied on its monetary reserves to absorb expenses above and beyond yearly income provided by the membership, exhibitors, magazine ads, etc. . . . No doubt, the rising cost to operate our association is a small price to pay when comparing it with its alternative—namely, educational recession.” }T' 'ĉÐīæÐĮ ­Į ­ qďăðÆř AĊŦķÐĊÆÐī Rather than sit back and watch the predicted dangers materialize, the Executive Board charged Cormack and then President Robert Floyd to investigate the feasibility of authoring a fine arts bill for the 1981 legislative session. With the assistance of Robby 38 Southwestern Musician | April 2020

Collins, Deputy Superintendent and lobbyist for Dallas ISD (who traded his political expertise for piano lessons for himself and his daughter), House Concurrent Resolution 105 was adopted. This resolution addressed the value of music and arts education. In that same session, TMEA leaders testified for HB 246 and rallied members and parent groups (including booster clubs that became TMEA members) to push for its passage. The bill passed, wiping the curricular slate clean and ushering in a whole new curriculum that included fine arts.

While HB 246 passed in 1981, TMEA’s leaders continued to work tirelessly to ensure the best possible implementation of law in the decisions made by the State Board of Education. Finally, in 1984, the board voted in some modifications that ultimately left fine arts in a better position than before.

TMEA’s work in supporting passage and implementation of this April 1983 magazine cover bill set the tone for our future as an influencer of state policy. (After his legislative tenure ended, the author of HB 246, Representative Bill Haley, became TMEA’s lobbyist.)

Just one year after Executive Secretary Cormack warned of the dangers looming over fine arts education, he was championing the efforts of TMEA members and booster clubs for making 1980–1981 “truly a year for music in the schools of Texas.”

Elementary Representation at the Top TMEA members elected Charlene Watson as President-Elect in 1981. She would be TMEA’s first Elementary Division representative (of only two, to date) to serve in that capacity. She responded, “As the first member of the Elementary Division to serve in the office of President, I am aware of the awesome responsibility you have given me. I shall try to serve you with the same high stan-

2020

TMEA’s Centennial TMEA’s first building at 807 Stark Street in Austin

dards that have been set by my predecessors.” Watson was also the second of nine female TMEA Presidents to date (Barbara Eads was the first, serving just six years prior to Watson’s term).

Shortly after Watson began her term as President, she announced one of TMEA’s milestones—the purchase of our first office building. Like the turnaround we experienced in legislative support, TMEA was already enjoying a much better financial position, in part because of revenues from hosting the 75th anniversary convention of the Music Educators National Conference (MENC).

That additional income made possible this $165,000 property purchase in central Austin. Watson invited members to come see this new space that belonged to them: “Do go by the office when you are in Austin. Bill and the girls will give you a grand tour. You will be justly proud of the part you have played in the acquiring of this property. It is your support as an active member of TMEA that has made the acquisition possible.”

An Unexpected Partnership Unless you were an active member at the time, the decision to host MENC’s 75th anniversary national convention during our event in 1982 might not sound historically significant. However, those who were active members at the time, especially our elected leaders, would be quick to claim this as one of TMEA’s defining headlines of the ’80s.

MENC had scheduled its 75th anniversary national convention to occur just three weeks following our convention in the same

space. At a time when our finances weren’t in great shape, there was much concern about losing attendees and exhibitors who might choose to attend only the national event. Then, as they faced the possibility of canceling their convention due to lack of industry support, MENC came to TMEA leaders requesting we host their event in tandem with ours. TMEA’s Council of Past-Presidents ultimately agreed, with several conditions, including that TMEA would maintain top billing, our performing groups wouldn’t be reduced, and we would own the exhibit hall (and thus, its profits).

Agreeing to host this national event was a true olive-branch moment as the dust was just settling on a 30-year struggle between the two organizations. The dispute between the organizations was silenced in the mid ’70s when, for a second time, TMEA members voted to claim their independence from the national organization that had expected TMEA to be its affiliate, requiring our members to also pay national dues (details about this part of our history were printed in the November issue).

Just days before our 1982 convention, then President Floyd wrote the following in his magazine column: Whether this meeting will open doors for future reconciliation between our associations is irrelevant to me at this time. I personally do not advocate or feel Texans will ever accept unified membership as required by the current MENC Constitution for state affiliates. Perhaps in the future there might be a change in philosophy on their part. You will be pleased to know that MENC President Mary Hoffman and her Board will not be coming to town in an attempt to get Texas “back in line” as some of their Ex-Board members used to say.

Our common goal is a more meaningful experience in music for the school children of both Texas and this country. For those four days, nothing else should stand in the way!

Battling Back-to-the-Basics Through the mid ’80s, leaders were consistently reacting to the back-to-the-basics national education focus that trickled down to our state. In response, TMEA championed that music is basic. Our elected officers became familiar faces at State Board of Education, Southwestern Musician | April 2020 39

Celebrating TMEA’s Centennial TEA, and legislative hearings. During this time of policy crises, TMEA began nurturing positive relationships with policy makers and developed a national reputation for helping shape state policy.

As Sally Schott came onto the Board in 1981, she reflected on the words of her predecessor Henry Schraub: Historically, TMEA has avoided any sustained political involvement at the state level. While there were sound reasons for such an approach, music educators in Texas can no longer afford such non-involvement. If music education is to continue its significant impact on the education of boys and girls in Texas, this association and its individual members must become involved in the legislative process as it relates to the public school.

TMEA became involved in the issues related to the No Pass No Play rule (HB 72) in 1983. To protect the curricular, academic delivery of instruction in the classroom, TMEA acknowledged that aspects of our programs, such as trips, competitions, and marching band were extracurricular. The Senate Education Committee looked in disbelief as TMEA Past-President Bryce Taylor explained this position. It was a breakthrough in elevating our credibility and respect for our discipline in the eyes of the legislative leadership.

Symposium ’85 Continuing on the idea that began in the 1970s, TMEA hosted this symposium for a group of members to examine the state of music education. Past-Presidents Sally Schott and Bill Woods chaired this symposium entitled “Music Is Essential for a Quality Education.” A multitude of nationally renowned speakers were present, and the delegation of members faced some hard truths about the status of our profession. The recommendations and final reports were extensive and would continue to challenge us through the ’90s.

TMEA Budget and School Finance In the late 1980s, TMEA leaders were working to limit spending and get our association budget under control. We were also facing concerns about how our state’s response to a lawsuit over school finance might ultimately affect our programs. TMEA leaders were in constant contact with legislators to ensure that reactions to these issues didn’t lead to overreaching changes such as not allowing any state funds to support extracurricular activities. Some worried we would lose the ground we gained when music became a required subject in the curriculum.

Texas Music Education Research In 1989 TMEA began binding music education research reports curated by the College Division Research Committee under the title Texas Music Education Research (TMER). Papers presented at the 1989 convention were submitted for further review and selection to this publication (a process that continues today). Editor Robert A. Duke explained in that first publication preface, “There are few state organizations that encourage and support empirical research to the extent of that reflected in this document. Such a tangible commitment to improving the quality of music education 40 Southwestern Musician | April 2020

in Texas schools is both unusual and important.”

In 2015, TMER was assigned an ISSN and issues are now indexed and discoverable online through ERIC and EBSCO.

Marked By Change: The 1990s As we entered the early ’90s, TMEA helped members navigate the new waters of block scheduling and school response to low test scores—the emerging threats to school music programs. TMEA leaders also worked with TEA to create guidelines that would allow districts to provide private lesson programs, responding to legal issues that had been raised about this practice.

In TMEA’s 1991 annual report, Bill Cormack outlined several state and national educational issues and priorities, explaining how any of them could have the potential of removing music programs from our schools. “You are the ones to keep this from happening. While this sounds like gloom and doom, let us for a minute remember the problems of the past and how we as an association worked to protect our ability to offer music in our schools to our students. We have been successful.”

As we had throughout the 1980s, TMEA continued its work at the state level to ensure music opportunities for all students. In the early ’90s, TMEA successfully appealed for the inclusion of a fine arts requirement in the Recommended High School Graduation Program.

In 1994, TEA claimed they couldn’t fund new textbooks for our music students. In response, TMEA surveyed school districts representing 60% of the student population and determined the true needs for music texts. Through this research, TMEA was able to ensure elementary music students would receive resource materials and we helped the state save approximately $20 million in the process.

Most significantly, in 1995, during the rewrite of the Texas Education Code, TMEA and other enrichment subject associations successfully lobbied to have fine arts included in the required curriculum as a TEKS-based subject “all school districts must offer.” We fought our way back from an initial position of fine arts being a subject that may, not shall, be a part of a recommended, not required, curriculum.

wðæĊðťÆ­ĊĴ :īďœĴì ðĊ }œď #ÐÆ­ÌÐĮ TMEA experienced significant growth in several areas through the 1980s and 1990s, including: • All-State ensembles doubled from 6 to 12.

• Membership expanded 54%, from 4,224 to 6,490.

• Active member dues increased from $15 to $40.

• Convention attendance more than doubled to 19,689.

• Convention fees for active members went from $10 to $40.

• Scholarships awarded increased from $10,000 to $22,500.

• TMEA’s revenue budget grew from $274,000 to $1.3 million.

Just 10 years after buying our first building, TMEA upgraded to a larger facility located in central Austin (December 1992).

Supporting Our Future TMEA created a scholarship fund in 1991, with the goal of building a large enough fund to begin awarding scholarships for undergraduate and graduate-level study for future music educators. To ensure consistent income beyond member donations, TMEA trademarked its logo and name so that we could begin charging royalties to companies that used it in their products. In 1994, TMEA awarded one recipient our first scholarship (the Bill Cormack scholarship totaling up to $10,000 over five years). With continued member donations and licensed vendor royalties, this vital program has grown into a $1.5 million endowment. This year, we proudly awarded $225,000 to 78 recipients.

Changing of the Guard In TMEA’s 100 years, we have been led by only six executives (full-time only since D.O. Wiley in 1959). If you’ve been around long enough, you likely remember Bill Cormack with deep respect and affection (my husband would tell you how as a college student he was proud to move chairs and stands all day throughout the 1981 convention simply because Bill Cormack asked him to).

Hired in 1979, Cormack immediately fought against legislation that threatened the existence of fine arts in the state curriculum, setting the tone for TMEA’s continued role in influencing state policy. Throughout the ’80s he worked tirelessly to raise the bar for music education in state policy. Cormack was, as Past-President Sally Schott described, “as vivid as the biblical coat of many colors.” He was known as conductor, administrator, cook, negotiator, musician, quilter, historian, storyteller, and much more. “He saw TMEA as a means to support teachers in the best possible ways,” said Past-President Will May, continuing, “Under his firm leadership and shrewd business practices, TMEA grew and f lourished into an organization well beyond even Bill’s lofty expectations.”

Robert Floyd and Bill Cormack When Cormack was

Excellence Through Competition Evolves Throughout our history, TMEA has championed competition as a motivator for personal and ensemble excellence (it was the singular focus of our founding fathers in 1920). Because of the inherent nature of competition, our competitive practices have evolved throughout the years, with new rules, judging procedures, grievance processes, and eligibility requirements that are consistently reviewed and revised. When All-State ensembles were introduced in the late 1930s, there were two bands, an orchestra, and a choir. As our association and membership grew, so did the All-State organizations to our now 15 ensembles (and in 2021 that number will grow to 18 with the addition of two percussion ensembles and a mariachi ensemble).

As participation in our contests grew, the goal of competition came into question. Should a contest identify the best musicians overall or should it equitably identify the best within some categorization (e.g., geographic area or school size)? In the late ’80s and into 1990, this fundamental question was front and center for TMEA, and ultimately led to a vote by members in the Band Division. At the time, there were two All-State Bands (Symphonic and Concert) and regardless of school size, all students auditioned for placement into one of those ensembles.

After years of deliberation and some heated disagreements, members were presented a motion to create a separate All-State

Band for students from 1A–3A schools. At that 1991 Band Division business meeting, the motion failed (554 against, 372 for). Frustrated with that outcome and remaining committed to increasing opportunities for their students, small school band directors formed the Association of Texas Small School Bands and held their first All-State Band Clinic that next year. While their event was in San Antonio and during the TMEA Clinic/ Convention, at that point, it was separate and would remain so for several more years. In 1999, TMEA and ATSSB created a new agreement to support the alignment of audition practices and recognition of TMEA and ATSSB All-State students, and it resulted in the incorporation of ATSSB All-State Band concerts within the TMEA convention schedule.

In the years following that 1991 decision that led to ATSSB All-State Bands, TMEA created a 4A Symphonic Band in 1999 (now 5A Symphonic) and a Small School Mixed Choir in 2015.

And beginning in 2014, TMEA started analyzing audition data to support what ultimately became an apportionment model for advancement to All-State. Looking back at our history, it’s clear that TMEA will continue to adjust our contest opportunities and procedures as leaders respond to member feedback, always through the lens of what’s best for the music students across our state.

Southwestern Musician | April 2020 41

leaving his post to return to public school and Robert Floyd was transitioning into the role (after 26 years as a band director), Floyd said, “Of all the hats Bill has worn on our behalf, the one I have seen the most these past few months is the one that attracted him into this business in the first place—that of teacher. Bill has spent endless hours sharing his expertise and knowledge with me and has made every effort to make the transition occur smoothly.

I will continue to look to Bill Cormack for guidance and counsel.”

During Floyd’s TMEA Presidency, any time he wasn’t band directing, it seemed he was commuting to Austin to work alongside Cormack during the 1981 legislative session. Floyd recounted, “Some days, I’d get a call at 9 a.m. from Bill saying, ‘Get on a plane, you have to testify at 2:30 p.m.,’ and I would.”

Since then, Floyd has remained a devoted champion of music education at the state level. As he began full-time work as Executive Director in 1993, he communicated to the membership how critical it was that TMEA maintain its reputation for fairness, forthrightness, and honesty in dealing with the State Board, TEA, and the Texas Legislature. He has remained devoted to this principle throughout his now 27 years in that role.

When Floyd began in 1993, he was leading a staff of four, including Tesa Harding, who became TMEA’s longest-serving staff member at 40 years of service when she retired last spring.

Since then, he has grown the staff to nine employees with 126 years of combined tenure. Floyd reflected, “Being new to the executive director role and having just left the classroom after 26 years, my four coworkers were invaluable as I learned the daily operations of TMEA and nonprofit association management. Now 27 years later, I continue to claim my single greatest contribution to TMEA will always be the dedicated and talented staff whom I have been fortunate to assemble. They are TMEA’s single greatest asset.”

Technological Advancements In 1997, TMEA took a huge step toward information and business efficiency by launching www.tmea.org. In its first months, it

In 1995, TMEA celebrated its 75th anniversary during the convention. This convention saw record attendance topping 15,000 with 223 exhibitors (in 2020, we welcomed over 31,000 attendees and 649 exhibitors).

42 Southwestern Musician | April 2020

had approximately 175 visitors per month. That monthly traffic grew in just two years to 11,600. The introduction of a website was a major advancement in TMEA’s ability to effectively communicate with its growing membership. What previously had to wait for a monthly magazine or mailer could now be online and easily updated. While initially serving as a repository for information, our site became a conduit for transactions as well (membership, audition entry, and much more).

As when first introduced in 1998, the job services section of the website remains the most popular area. From January through August of 1998, the job placement page saw 55,000 visitors. Remaining the most popular page on our site today, our job vacancy page had 1,857,548 page views from January through August 2019. tÐťĊðĊæ }T' qďăðÆðÐĮ ­ĊÌ qīďÆÐÌķīÐĮ While it won’t read as most exciting of our historical markers, it’s still significant to note that in the 1990s, TMEA leadership focused on improving association policies, adopting a new Code of Ethics, revising eligibility requirements, creating operating policies and procedures, strengthening judging practices with fivejudge panels, and enacting penalties for rules infractions. These pragmatic changes reflected our association growth and expansion of competitive opportunities for our students. With more opportunity came greater responsibility.

The End of the 20th Century Interestingly, we closed out the 20th century similarly to how we ended our ’70s and ’80s, with the Executive Board looking to upgrade TMEA’s headquarters. In 1999, the Board was again considering a larger building to better serve our growing staff and program needs. And like with our previous two buildings, TMEA was poised to fully fund this relocation without touching our savings or increasing dues. With investments in the stock market, savings practices, and the sale of the building we owned outright, the Board could consider this expansion without fear of putting TMEA in any debt. ìðăÐ T­ĴķīÐș Ð wĴðăă OЭīĊ ­ĊÌ :īďœ Now that we’re just one installment away from completing this 100-year review, I find myself thinking about the arc of TMEA’s story and how our association’s life feels much like that of an individual’s.

After the birth of our association on April 21, 1920, we grew rapidly in form and purpose. By 1938, we knew our name and appeared to be walking steadily with resolve. Then, like an early adolescent forming an exclusive club, in the ’40s and ’50s, we excluded from membership those we didn’t understand. Although the ’60s and ’70s were turbulent times, we began speaking with conviction about our beliefs, worked to persuade others to join our cause, and asserted our independence from national authority. During these ’80s and ’90s, it seems we grew to a place of real maturity. Like a functional adult, we were confident in our role, yet we continued to learn, grow, and change with the times. As we look forward to TMEA making more history, we can hope that like an open-minded older adult, our association will continue to evolve, fueled by the energy, passion, and fresh ideas of the generations to come.

OUR HISTORY 2000–2020 Published in the May issue of Southwestern Musician

W W W.T ME A .OR G

1920

Celebrating

by Karen Cross

W

hen I began writing these chronological accounts of TMEA’s history last fall, I would sometimes think ahead and wonder whether there would be much to document when I arrived at the final 20 years of our first century. TMEA’s early days were marked by such swift progress as we developed into a functioning association that it was tough to imagine our contemporary work being as significant.

However, as we review our immediate past in this issue, it’s clear that the people of this association continue to influence positive change and growth and in support of music education for all students. With that as our central reason for being, I can’t imagine there will ever be a decade without significant moments to share.

The 21st Century Begins

At a time when the opposite was true for many other associations, TMEA continued to grow in membership, programming, and convention attendance. That continued growth led to the need for a new TMEA headquarters. We broke ground on the new building on January 9, 2000, and we moved in August 2002.

This was TMEA’s third debt-free purchased property since 1982.

TMEA staff members custom-designed the structure to better

support our staff, organizational meetings, and future growth, as well as to provide office space for rent to Texas Orchestra and Choral Directors Associations for their headquarters. Located northeast of downtown, this has become our home the longest and continues to support our work well.

Throughout these two decades, growth in membership and program participation led to multiple realignments of our Regions and Areas. In 2001, we added Region 24 in the central Dallas–Fort Worth Metroplex and many schools changed Regions. By 2003, members were already reevaluating those changes and had proposed a jump to 28 Regions in 7 Areas—this would take until 2006 to go into effect and would be the last alignment shift for 10 years.

In 2016, a new alignment took effect with 33 Regions in 8 Areas, and with that, TMEA improved tracking of audition entry data to support more representative apportionment for auditions. The Executive Board decided this review process would occur every two years, and that has continued to the most recent realignment that was finalized this March to be in effect for 2020–2022.

All-State Ensemble Growth From 2000 to 2020, we also grew our All-State ensembles to a total of 15 and revamped the String Orchestra to be the Sinfonietta Orchestra.

• 2002: Tenor-Bass Choir • 2004: ATSSB Jazz Ensemble • 2014: TMEA Jazz Ensemble II • 2015: Small-School Mixed Choir

October 2002 magazine cover 26 Southwestern Musician | May 2020

Participation in auditions has also consistently increased. Last year, over 71,500 students entered the process around the state, with 1,790 ultimately selected to a TMEA All-State ensemble that performed during the 2020 Clinic/Convention.

In 2019, the Executive Board approved three new ensembles to be part of our 2021 Clinic/Convention: All-State Mariachi and 5A and 6A Percussion Ensembles.

2020

TMEA’s Centennial Supporting the Future of Our Profession In response to growing reports of teachers leaving the profession in the first five years, TMEA focused its efforts in the early 2000s on supporting music educators and encouraging our best students to pursue this profession: Mentoring Network: After years of study and recommendations from a TMEA member task force, we launched our Mentoring Network in 2000. This network continued to evolve, and in 2012, it was revamped to offer better support to more members in need.

Today, over 500 TMEA members have registered with the network. To join as a mentor or to get a mentor, go to www.tmea.org/ mentor.

Scholarships: After granting our first scholarship just five years earlier, in 2000, TMEA awarded $29,000 in scholarships to music education majors. Continued contributions by members, exhibitors, and licensed vendor royalties have allowed the TMEA scholarship program to grow into a $1.5 million endowment. This year, TMEA awarded $225,000 to 78 recipients.

Award Programs: In 2002, TMEA created the Texas Music Scholar program to honor music students who excel in scholarship, musicianship, and citizenship. Directors nominate their students who have met multiple criteria throughout the year and TMEA awards them a patch and certificate. This program that began with 255 award recipients has grown to over 2,400 students in 2019. In 2016, TMEA launched the Texas Collegiate Music Educator Award to honor our elite college music education graduates. These graduates receive a certificate and regalia cords to wear at graduation. To date, over 250 students have received this designation.

Texas Future Music Educators: TMEA established the TFME program in 2004 to support high school students who have an interest in a music education career. TFME chapters provide service to their school music programs, and through their meetings and activities help members prepare for entry into college music programs. To support their development and passion for a career in music education, TFME students are invited to attend the TMEA Clinic/Convention. TFME member attendance has grown from 35 in 2005 to 967 in 2020. Currently, there are 55 TFME chapters across the state with 1,509 active members.

Urban music education clinic at the 2020 Clinic/Convention Urban Music Education Focus: In 2016, TMEA hosted a meeting of urban music educators to discuss their unique challenges and instructional strategies. With the powerful feedback of these members, the TMEA Board committed to focus support on educators in these challenging environments. Since then, TMEA has expanded the focus to continue to offer articles, clinics, and roundtable discussions spotlighting the challenges and success strategies of teachers in urban and rural settings.

Elevating Fine Arts Education in Law When our association was formed 100 years ago, there was no defined place for music education in schools. In looking at these two decades, it’s clear we’ve come a long way with fine arts enjoying a solid standing in state law and rule. Building on Executive Director Bill Cormack’s legacy, TMEA leaders have consistently communicated and connected with state policy influencers to push for the best education opportunities for all. In addition to building connections and testifying on legislation that could affect music education, since 2011, TMEA has worked with Texas Coalition for Quality Arts Education to survey legislative candidates on their opinions about the benefits of arts education and maintain a Fine Arts Education Caucus sponsored by key legislators each session. These strategies have continued and have become a means by which we make our presence known apart from any singular issue.

With education policy and funding a consistent focus in our state, each legislative session has found us either working against Southwestern Musician | May 2020 27

Celebrating TMEA’s Centennial a new initiative that could erode music study opportunities or championing a cause that added validity to our discipline. These are a few highlights from the ten legislative sessions in 2000–2020: • 2003: When SB 815 went into effect, a key piece of our legislative puzzle fell into place. This law required districts as a condition of accreditation to base instruction on 100% of the essential knowledge and skills of all subjects of the required curriculum—including fine arts. TMEA leaders worked diligently to ensure passage of this bill, which would elevate quality and rigor in Texas fine arts education courses.

• 2005: TMEA worked to ensure funding of the fine arts textbook adoption and to minimize the negative impact of physical activity requirements on middle school electives.

• 2013: Building on previous attempts, TMEA succeeded in fighting for a law to limit removal of students from music class for test preparation and remediation. Districts were now required to create and follow a policy limiting pullout for remediation or test preparation and exceptions to it could occur only with parental or guardian consent. We also successfully worked to get an Arts and Humanities endorsement in the new Foundation High School Graduation Program.

• 2019: TMEA effectively lobbied to defeat a new Personal Financial Literacy graduation requirement that would have eroded elective flexibility in high school. We also successfully pushed to limit weighted funding for middle school CTE courses to 7th and 8th grade rather than grades 6–8 as was proposed in the original bill draft.

Students deliver advocacy materials to every state legislator’s office during Arts Education Day at the Capitol.

Keeping Up with Technology The first phone with a camera built in was released in 2000.

Four years later, Facebook started in a Harvard dorm room, and in two years, Twitter arrived—TMEA launched its social media presence on each platform in 2009. (We now have over 16,000 Facebook followers and 9,000+ Twitter followers.)

Wi-Fi calling, reliable videoconferencing, YouTube, online transactions, GPS on your personal device—everything on your personal device—all happened in these last 20 years. Organizations that didn’t strive to utilize available technology fell behind. While not always the earliest adopters of emerging technologies, TMEA has consistently supported our growing membership and increased programming with technological advancements.

Before ushering in the 21st century, we had a functional website 28 Southwestern Musician | May 2020

TAAS Testing at the Convention

In 2002, the state’s required standardized TAAS tests were moved to a date occurring during the TMEA convention. It’s hard to imagine this ever happening again, but then TEA Commissioner Jim Nelson authorized TMEA to give All-State musicians the TAAS exit level mathematics and reading tests in San Antonio at the convention center. Districts with All-State students had to transport the tests to and from San Antonio and TMEA provided TAAS monitors to administer the tests. Robert Floyd recalled: We all know about the security surrounding state standardized testing—it was a bit crazy to even initiate that conversation. But Jim Nelson was a visionary in education, known for putting students first. And it didn’t hurt that he understood the value of a positive, rigorous experience in music education considering his son was an All-State percussionist! I was proud of our membership for assuring it was administered without any security breach. Veteran education administrators still shake their heads at how we got permission to do it and then pulled it off!

(launched in 1997), with about 175 visitors per month. Performing multiple facelifts since that first date, the site is again under construction with a redesign expected to go live this summer. Our website has grown dramatically in the past 20 years and reflects the increase in programs we offer and members we serve. When we most recently analyzed our 750+ webpages, we expected a springcleaning experience where we could easily remove pages we’d find collecting virtual dust. Instead, we found that most pages were consistently being accessed—a clear picture of the depth of programming and services that have increased over the years.

In 2001, TMEA moved our audition entry system online.

The program was created in-house and tested by members. The next year, we stopped mailing member cards and instead provided a link via email, and students had an online practice test to help them prepare for the teacher certification exam. As TMEA President Mike Ware described in 2003, “Under the direction of Deputy Director Frank Coachman, TMEA has been catapulted into the age of technology.”

TMEA began hosting the TI:ME music education technology conference during our 2004 convention to increase the breadth of technology clinics our members could attend (they continue to offer a tech preconference today). This was also the first convention with online registration.

As I write this, we’re connecting with our community on social media, email, and the website, and members are entering convention proposals and applying online for their ensembles to be

considered for 2021 convention performances. TMEA staff are helping Region officers prepare to host each Region meeting via online videoconference for the first time.

Becoming Financially Stable, TMEA Offers Support In the 1930s and 1940s, leaders sometimes couldn’t pay the bills until enough members had renewed. Members were compelled to sell subscriptions so we could publish the magazine. With increases in membership, dedicated support of our music industry partners and universities, and sound investment practices, TMEA is in great financial health. We paid cash for the three buildings we’ve occupied, and we maintain a healthy reserve to carry us through turbulent times. With solid finances, our Executive Boards have been able to create grant programs through which our members could apply for financial support of their classroom needs.

In August 2012, the Texas Education Agency awarded TMEA a $1 million Fine Arts Instructional Support Program grant to assist fine arts programs (grades 6–12). The dollars were to give relief to those experiencing critical budget reductions in the wake of a major public school budget shortfall. This was TMEA’s first experience in administering such a significant grant program for statewide distribution, and we had to move quickly to provide an online facility so that the applications and distribution could be complete by the end of the calendar year. Of the total distribution, 177 grants were awarded to music programs for over $600,000,

with the other dollars going to worthy art, theatre, and dance programs.

Not long after distributing the TEA grant dollars to secondary programs, TMEA’s Executive Board created its own grant program for members who teach elementary music. In 2013, TMEA awarded nearly $500,000 to 630 elementary music programs across the state. In addition to this committed funding, TMEA Sustaining Members offered discounts to educators to help their grant dollars stretch further. “Before we received the funding, students were playing on broken instruments that had been used for a long time, and there were not enough for each student in the class to use. We’ve used our new materials for the last two weeks, and the students’ reactions have been nothing but extreme excitement,” wrote Elkhart elementary music teacher Becky Keisling.

Following up on the success of this elementary music grant, TMEA offered a grant specifically for middle school music programs in 2014–2015, awarding 819 grants totaling $762,000. Again, our Sustaining Members worked to make sure members could get more with their grant award.

At the close of 2017, TMEA committed another $764,000 to elementary music teacher members for use in their classrooms.

This being the second grant program focused on elementary music education, Robert Floyd explained, “There is no other place we could spend our reserves and reach more students than in the elementary music classroom.”

Music in Response to Tragedy Despite growing fears following the terrorist attacks of September 11, 2001, the important work of music educators continued. Like the days following the bombing of Pearl Harbor, we turned to music for our solace. In the October 2001 issue, we published “The Healing Power of Music” by our Executive Director Robert Floyd. In that reflection, he offered the following: By that first Friday evening, many of you had already put together combined efforts of your bands to pay tribute to the victims and our country during halftime shows. By the following week, countless numbers followed suit. Fall concerts of choirs and orchestras have included similar patriotic presentations. Never has there been a time when the healing power of music has been more needed and more apparent, and never before has there been such an opportunity to share the talents of our young people. From the halftime shows to the beautiful hymns at the memorial services we have watched on television, the power of music has once again been exhibited. . . . Isn’t it a wonderful time to be a teacher of music, and aren’t you glad you are a part of an art form that has played such a major role in the healing of our country over the past eight weeks?

Since 2005, Texas music educators have experienced three major hurricanes that significantly displaced families and schools. Hurricanes Katrina and Rita made landfall within a month of each other in 2005, leaving schools devastated as the school year was beginning. In 2017, as teachers were putting the finishing touches on their classrooms, Hurricane Harvey left tens of thousands of students homeless and schools on the Texas coast beyond repair. TMEA created an online facility for programs to identify their needs so that anyone online could view and respond. We learned valuable lessons through that disaster and will continue to do our part to help support our teachers who do so much to ensure the continuity of joy experienced through music-making with their students.

help bring back

THE ARTS

Classroom flooded after hurricane Harvey Southwestern Musician | May 2020 29

Music students enjoy their grant-funded instruments.

In Isolation, Music Is a Constant Companion Our association’s first 100 years is ending at a time when (since mid-March) teachers, students, and their families have been ordered to stay at home. Instead of being filled with students playing in recess, some school gyms are being utilized as rest stops for truckers who are under demand to get needed resources distributed.

Music teachers at every level have been forced to adopt new ways to stay connected with their students and help them use digital tools for continued music learning. Some have offered a sense of normalcy through online videoconferencing with their students. Many students, however, are home without the instrument they would typically play in their class, and others have no access to technology or, if they do, are sharing it with multiple family members. Instead of helping students prepare for the final spring performance, teachers are focused on their students’ emotional well-being and safety amid this worldwide crisis. As always, teachers across our state are working beyond expectation to support their students through this challenging time in a myriad of ways.

As we have witnessed through previous tragedies, in this time of isolation and uncertainty, music remains our reliable companion.

Celebrating Our Centennial As the school year closes, so does our celebration of TMEA’s Centennial. Throughout the year, TMEA has offered reflections of our last 100 years and focused on increasing our advocacy efforts centered on the theme It Starts With Music. The most significant advocacy endeavor has been the production of eight professionally filmed videos featuring personal stories about the power of music education. Our goal was to provide compelling stories that would resonate with students, parents, communities, and policymakers. Released in February (available at www.tmea.org/ itstartswithmusic), we hope these messages continue to be catalysts for expanded support of music education for all.

Starting Another Century

TMEA continues to grow every day because of members who are devoted to teaching and learning, volunteer leaders who faithfully support our initiatives, and staff members who are dedicated to successfully running the business of our association.

As with any thriving organization, it’s not the institution or its programs that determine its success. It’s the people. Just over 100 years ago, James E. King decided to start an organization for the betterment of musicians. Since that April 21, 1920 meeting, and only except in a few wartime years, this association has grown—in numbers and scope. By never straying from our focus of supporting high-quality music education for every student, we can be sure that even in this moment we are continuing to make history for someone else to share 100 years from now.

0 This series of articles on TMEA’s history began with the August 2019 issue. Go to www.tmea.org/emagazine to view previous issues online.

Over the last 100 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.

30 Southwestern Musician | May 2020