November 2021 Southwestern Musician by Texas Music Educators Association

SOUTHWESTERN MUSICIAN

NOVEMBER 2021

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VOLUME 90 ■ ISSUE 4 NOVEMBER 2021

CONTENTS FEATURES

Q&A for Music Teachers . . . . . . . . . . . . . . . . . . . . . .12 by tmea members

Learn about colleagues’ best practices for classroom management and how they introduce new music to their students.

Culturally Responsive Teaching . . . . . . . . . . . . . . . 22 b y c o n s ta n c e l . m c k o y

Through a culturally responsive approach to music teaching, music educators can make significant and meaningful learning connections with students.

Empower Your Ensemble Through Peer Modeling . . . . . . . . . . . . . . . . . . . . . . 32 b y m i c h a e l j o h n t r o t ta

Regardless of where we are in our musical development, each musician has a valuable contribution to make and can help the ensemble succeed.

Beginners at the Bars . . . . . . . . . . . . . . . . . . . . . . . . 44 b y k at i e g r a c e m i l l e r

Start with the basics so that even the youngest learners can build musical foundations with barred instruments.

44 COLUMNS President John Carroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Executive Director Robert Floyd . . . . . . . . . . . . . . . . . . 8 Band Vice-President Dana Pradervand . . . . . . . . . . 17 Orchestra Vice-President Ann G . Smith . . . . . . . . . . 26 Vocal Vice-President Jesse Cannon II . . . . . . . . . . . . 39

UPDATES 2022 TMEA Clinic/Convention Basics . . . . . . . . . . . . . . . . . . . . . . . . . . .2

Elementary Vice-President Katherine Johns . . . . .48 College Vice-President Paul Sikes . . . . . . . . . . . . . . . 52

Our Convention Is the Best Place to Learn . . . . . . . . . . . . . . . . . . . . .10 It’s at www.tmea.org . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Clinic/Convention Preview Is Coming . . . . . . . . . . . . . . . . . . . . . . . . . 37

ON THE COVER: Oryan Armstrong, now a sixth grader in the Design and Technology Academy at Ed White MS (North East ISD), performs with the Children’s Chorus of San Antonio during the 2020 TMEA Clinic/Convention. Photo by Karen Cross.

Southwestern Musician | November 2021

OFFICIAL PUBLICATION OF TEXAS MUSIC EDUCATORS ASSOCIATION

Editor-in-Chief: Robert Floyd

2022 TMEA CLINIC/ CONVENTION BASICS

rfloyd@tmea.org | 512-452-0710, ext. 101

• February 9–12, 2022

Managing Editor: Karen Cross

• San Antonio, Henry B. González Convention Center

kcross@tmea.org | 512-452-0710, ext. 107

TMEA Executive Board President: John Carroll, Permian HS

• $60 early registration fee for active TMEA members • Discounted downtown hotel rates at www.tmea.org/housing • 275+ clinics, 100+ performances, 1,200+ exhibit booths

john.carroll@ectorcountyisd.org | 432-553-2780 1800 East 42nd Street, Odessa, 79762

• Full-day preconference of music technology clinics

President-Elect: Michael Stringer, Irving ISD

• Active TMEA members earn CPE credit

presidentelect@tmea.org | 972-600-5088 3511 Lake Champlain Drive, Arlington, 76016

Past-President: Brian Coatney, Wylie ISD

www.tmea.org/convention

Brian.Coatney@wylieisd.net | 972-429-3111 2550 West FM 544, Wylie, 75098

Band Vice-President: Dana Pradervand, University of Houston pradervandd@yahoo.com | 713-743-3627 8226 Lakeshore Villa Drive, Humble, 77346

Orchestra Vice-President: Ann G. Smith, Plano East Senior HS ann.smith@pisd.edu | 469-752-9237 3000 Los Rios Boulevard, Plano, 75074

Vocal Vice-President: Jesse Cannon II, Duncanville HS

vocalvp@tmea.org | 972-708-3764 900 West Camp Wisdom Road, Duncanville, 75116

280+

CLINICS

From master teachers, learn proven methods and strategies you can use in your very next class.

Elementary Vice-President: Katherine Johns, Floresville South Elementary kjohns@fisd.us | 281-370-4040 116 Oaklawn Drive, Floresville, 78114

College Vice-President: Paul Sikes, Grapevine-Colleyville ISD paul.sikes@gcisd.net | 817-251-5637 8554 Kensington Court, North Richland Hills, 76182

TMEA Staff Executive Director: Robert Floyd | rfloyd@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org

100+

PERFORMANCES

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

Advertising/Exhibits Manager: Zachary Gersch | zgersch@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: Cristin Gaffney | cgaffney@tmea.org Information Technologist: Andrew Denman-Tidline | adenman@tmea.org Administrative Assistant: Rita Ellinger | rellinger@tmea.org

TMEA Office Mailing Address: P.O. Box 140465, Austin, 78714-0465 Physical Address: 7900 Centre Park Drive, Austin, 78754 Website: www.tmea.org | Phone: 512-452-0710 Office Hours: Monday–Friday, 8:30 a .m.– 4:30 p.m.

480+

EXHIBITORS

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

Southwestern Musician (ISSN 0162-380X) (USPS 508-340) is published monthly except March, June, and July by Texas Music Educators Association, 7900 Centre Park Drive, Austin, TX 78754. Subscription rates: One Year – $20; Single copies $3.00. Periodical postage paid at Austin, TX, and additional mailing offices. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941–47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947–54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music Educators Association, whose official publication it has been since 1938. In 1954, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

Southwestern Musician | November 2021

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TMEA President JOHN CARROLL

Advocating for Our Programs We can’t let advocacy, recruitment, or retention ever take a back seat to, well, anything.

s we approach the end of the first semester, it amazes me to realize how quickly time passes. It seems like just yesterday we were receiving results of concert and sightreading assessments, attending summer conventions, and hearing the first sounds of our beginner students, and now we find ourselves nearing the holiday season! College faculty and students are preparing for juries, winter concerts, and the end of the semester, with a well-deserved 2–4 week break of some type in sight. I remember so fondly my college years and the excitement this time of year brought in terms of anticipating a break and experiencing a sense of accomplishment after completing tasks and assignments for the first semester. Our precious elementary students are excited for holiday programs— their wonderful teachers lead such outstanding presentations for these children and their families. Whether band, orchestra, choir, show choir, jazz band, or mariachi, our secondary groups are preparing for their winter programs (although for many bands concert performances will wait, given the focus remains on marching). While marching competitions will be complete, football games continue, and thus, so does marching band. Some will also be preparing for performances in major holiday parades and bowl game celebrations. Many communities have their own holiday parades that the people on the curbs truly appreciate. Additionally, thousands of students are still in the TMEA audition process. With that in mind, congratulations to those students and teachers who have already been successful in these auditions!

Southwestern Musician | November 2021

MARK YOUR CALENDAR check www.tmea .org for updates

November—Renew your membership and register for the convention. November—Make your TMEA convention housing reservation online. November 1—TMEA scholarship online application deadline. November 1—TMEA Elementary grant application deadline. January 20—TMEA email/mail convention registration deadline. January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/Convention in San Antonio.

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My point is that we are all busy doing things that we did indeed sign up to do while also completing those less appealing yet necessary tasks—paperwork, bus requests, budgets, etc. These more mundane tasks are required for the success and joy that our students deserve. I’m certainly willing to do a few hours of bus requests

to transport our students to places where they can demonstrate their talent, expertise, and hard work. For many years at my school, we had students become members of marching bands in high-profile college bands. These students would return to Odessa during their holiday break and ask us if

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they could show recruiting videos of their college bands to our high school classes. I was always amazed when this happened, because I thought that if any school didn’t need to worry about recruiting it would be those schools. Yet, their college directors did not take anything for granted and requested that these students go back to their high schools and request to show these videos. These were obviously wise teachers, always showing students that they would be welcome in their band. This brings me to one of my favorite topics—one that has been covered many times before. Nevertheless, we can’t let advocacy, recruitment, or retention ever take a back seat to, well, anything. At one point in my career, when I was teaching in a smaller program, I would handwrite personal notes to the parents of each student I was teaching. My objective was to let the parents know that their child was appreciated. Even if the student had exhibited behavior problems, in this communication, I wouldn’t offer that. I would find at least one positive thing to say about the student. I know that some people dislike the

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Southwestern Musician | November 2021

word recruitment because it connotes that we are competing against other programs, and I suppose that is true to some extent. I wish I had a better word for it. In one of my first few years, we took for granted that everyone would sign back up for our classes. We were wrong, and I learned my lesson. The holiday season is a wonderful time to advocate for our programs. Who doesn’t enjoy holiday concerts? Who doesn’t like halftime shows featuring drills and activities that lend themselves to a time of celebration for playoff season? I encourage each of us to use the season as a time to have fun, and let our audiences of parents, administrators, and community members see us having a great time. Many junior high programs tour their elementary schools during this time to recruit. This can work wonders. In the summer of 2019, TMEA hosted a two-day summer symposium about advocacy. Teachers with long careers and those just starting out were present to share their perspectives. There were many creative minds at work. I remember thinking that this subject of advocacy is not new, yet it needs reviewing and refreshing to yield the results we want. We mentioned at the time that TMEA hosted a similar symposium ten years earlier, and here we were again on the same topic. I can’t envision a time when we won’t need to be strong advocates for our programs and for music education in general. In many small towns, newspapers look for content to fill their pages. They jump at the chance to brag about students’ accomplishments. It might require the director writing the stories, but they often get front-page coverage. Take advantage of this opportunity and build community awareness and support! May I suggest that we all consider what we can do this coming holiday season and, of course, into the spring. Again, I am not saying anything that hasn’t been said for generations, but I believe it bears repeating. Please consider what you can do for your program in these times of rebuilding. Our students deserve recognition, and the traditions and legacy of our programs can continue for years to come. Then as teachers we will look back with pride on being part of that special time in these students’ lives and the program’s history.

TMEA Clinic/Convention Update In this issue of Southwestern Musician, you will see information about some of the invited ensembles that will perform during our 2022 convention (with more to come in January). These students are already working hard to prepare their performances. There is always so much to do at conventions, with outstanding clinics and concerts occurring at the same time. However, please carve out at least some time for these invited ensembles to show your support of the students and their directors and to get great inspiration from their music-making! Speaking of the TMEA Clinic/ Convention, it’s time to register and make plans to be in San Antonio February 9–12! If you don’t have a hotel reservation, don’t put it off any longer (www.tmea.org/ housing). While our initial block of housing sold out very quickly, TMEA continued to work to add rooms in downtown hotels. If our secured rooms are sold out, the reservation system will offer access to other hotels. Also, be sure you have informed your administrators and requested coverage for this time so that you can experience this unparalleled professional development opportunity. One last plea: please go to www.tmea. org/volunteer now to submit your information and request to serve as a volunteer to help at the convention. It’s fun, it’s rewarding, and it’s needed (TMEA can

maintain low registration fees in part by having hundreds of members volunteer just a short amount of their time to fill needed roles). Get more involved and do your part to help! TMEA Correspondence Please be sure to take a few moments to read email correspondence from TMEA. You will often find an email from “TMEA Membership.” These emails often include news, updates, requests for information, and program opportunities. Also, be aware of our Q&A for Music Teachers at www.tmea.org/q&a. These questions and answers from members are like mini clinics, offering fantastic strategies and methods for all! I hope that when you read this column, you are feeling pleased about what your students have accomplished so far. Are they enjoying themselves? If so, then you are certainly showing success. Are they learning? Even more show of success. Are they already planning on being in the program next year (for many schools, the educational planning for the following year rolls out in January)? I hope so. If you have seniors who will be leaving their secondary education after having participated in music all these years, then you, as well as the junior high and elementary teachers, should all give yourselves pats on the back. I am so looking forward to seeing you in San Antonio in February! 0

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TMEA Executive Director ROBERT FLOYD

The Infinite Game of Music You are a successful leader and inspiration to your students not because of what you did but because you are driven by purpose, cause, and belief.

any of you have been fans of author and inspirational speaker Simon Sinek since he published his book entitled Start with Why in 2009. His TED talk of the same title is the third most popular TED video of all time, with over 56 million views. I encourage you to watch it. The premise is that people won’t truly buy into a product, service, movement, or idea until they understand the why behind it. Now fast-forward to 2019 when Sinek published his fifth book entitled The Infinite Game. We tend to see the world in terms of successes and failures, winners and losers. But in this book, Sinek suggests that in life and especially in those things that matter most, there is no definition of what it means to win because it is not a finite game; it is an infinite one. And infinite games have a different set of rules. Sinek is quick to give credit for this concept to New York City University professor James Carse, who wrote Finite and Infinite Games 33 years before Sinek wrote The Infinite Game. Carse stated, “Finite games are the familiar contests of everyday life; they are played to be won, like an athletic competition or a board game. The object of infinite games is not winning but ensuring the continuation of play. The rules may change, even the participants may change—as long as the game is never allowed to come to an end.” Carse is saying, then, that the objective of an infinite game is simply staying in it—remaining relevant, active, and participating. Sinek puts it in different words. “There is no such thing as finishing first in marriage, or in friendship; though school may be finite, there is no such thing as winning in education . . . and when we die, no matter how successful we have been, no one will declare us the winner of life.”

Southwestern Musician | November 2021

MARK YOUR CALENDAR check www.tmea .org for updates

So how does this apply in the education arena? When we take a finite approach to an infinite game of creating a passion and lifelong love of music, it leads to all types of problems—decline of trust, cooperation, and innovation, resulting in a lack of learning and perhaps a depleted spirit and burnout. And if we do not achieve that finite goal, then what? How do we define winning and losing for our program and how does it impact our students individually? Do they view themselves as winners as it relates to being in your program—and winners of what? In my column last month, I shared that the positive impact we have on our students’ lives is made clear by the messages of thanks we receive from former students throughout our years. And if we went back to former students now and asked why they cherish those memories so much, I believe they would not speak about trophies received in some awards ceremony. When my students were in school, performing well and achieving was important to them, and winning a major festival was something they enthusiastically celebrated. Yet, win or lose, their attention quickly shifted as soon as it was time to

hit the beach or amusement park. It was me, not my students, in those early days of my teaching who struggled to let go of that need to win. Your students likely remember their performances, but more than those, in their thank-you notes and social media posts, they will recount the friendships, the sense of accomplishment in making music together, and the life skills they learned and still utilize. Looking back, as I grew as a teacher, my most cherished performances were when my students left the stage hugging each other with tears in their eyes. Those special moments didn’t end with a best-in-class trophy or Honor Band recognition. They were part of the infinite game. Sinek asserts you are a successful leader and inspiration to your students not because of what you did but because you are driven by purpose, cause, and belief. Your students understood the why. Put another way by Sinek, Martin Luther King Jr. was inspirational not because he had a plan but because he had a dream. Last month we surveyed Band and Orchestra Division members to ask their preference on how bands and orches-

tras that perform at the 2023 convention should be selected—through the competitive Honor Band and Orchestra process or through the Invited Ensemble process that has been utilized for our 2021 and 2022 conventions. Based on comments submitted, it was clear that a third preference would be a hybrid of the two. As a result, the Executive Board is beginning a study to develop such a process for future conventions that will allow us to recognize amazing teaching and learning from band and orchestra programs that represent a variety of school environments and socioeconomic makeup from across our state. As you make your decision to participate in any of our opportunities this spring to apply for your ensemble to perform at the 2023 convention, I hope you will make it a priority to continue helping students recover lost individual and ensemble skills negatively impacted by the pandemic. If you choose to submit a recording, decisions ranging from music repertoire selection to preparation time should support the student experience being one of joy and of building a continued commitment to and love for music-making. 0

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Southwestern Musician | November 2021

2022 TMEA Clinic/Convention Fe b r u a r y 9 –12 • S a n A nto n i o W W W.T M E A . O R G / C O N V E N T I O N

10 Southwestern Musician | November 2021

Our Convention Is the Best Place to Learn!

View a list of clinics and clinicians at www.tmea.org/2022clinics

Southwestern Musician | November 2021 11

Thanks go to TMEA members who offered responses to the following questions. Go to www.tmea.org/q&a to view additional answers to these and other questions or to suggest a question for a future issue.

What are your proven strategies for effective classroom management?

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The best strategy has been assigning student leaders in each class. They are responsible for assisting peers with operations throughout the class and ensuring peers remain on task. They are also responsible for social activities with their sections. This role changes occasionally so every student has an opportunity to learn to lead. I offer incentives to ensure the positions are attractive. —Renferd Joseph, Alief ISD Get to know your students and use positive language to prevent power struggles, shutdowns, attention-seeking behavior, or retaliation. Use positively worded expectations instead of rules. Teach students how to soothe and manage big emotions as well as unfocused bodies and minds through mindfulness and breathing exercises. —Loren Tarnow, Blazier Elem As students walk in, I project list that includes percussion equipment the students need to set up, what we are playing first, and which students are helping pass out tuners, mirrors, etc. At the end, students reset chairs to their designated places and flip over the tops of their music stands. The room looks neat for the next class, and by flipping the stand tops, fewer items get left behind. —Lisa Anikienko, Campbell MS This year I gave students team jobs and it has worked like a dream, even as we still work out the kinks. My favorite is the Compliment Team. At the end of class, they are to give a compliment to someone not on their team. It can be something about their clothes or hair, something they did well in music class, their personality, etc. —Carla Lowery, Clyde ISD

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I teach rehearsal etiquette instead of class rules, and I frequently refer to them on a displayed poster when I need to offer redirection. I frequently make laps around the rehearsal—this allows me to make spot corrections and give individual affirmations that are more personal. The biggest success factor is that they know I see them purposefully and care about them as individuals as well as a group. —Ron Kinard, Carter JH Have a plan or procedure for every part of the rehearsal, from the minute the bell rings to the end of class! Also, once is not enough for teaching procedures. Practice them repeatedly and then teach them again in January like they’re brand new! —Rebecca Grossman, Dowell MS It starts with connection. If your kids know and trust you, as well as their peers, enough to hold each other accountable, many classroom norms and standards fall into place. Specifically, incentive and goals work well for my sub-non-JV treble group. Students are motivated by meeting the goals I set and they get excited when rewarded based on their efforts. —De’Evin Johnson, Duncanville HS I have learned that our most difficult students sometimes just need love and positive attention. They might not be getting that at home, so finding little things to compliment them on at the beginning of class sets the tone for a great day in music! Most of their problem behaviors are attention-seeking anyway, so offering positive attention fills that need without them having to act out! —Stephanie Ginnings, Fowler Elem If all else fails, play more and talk less. If they are playing, they aren’t getting themselves into trouble. —Krystal Michal, Robinson ISD

• Students often have the notion that music is just a fun class,

and in part that is true. It’s a break from the rest of their day, and they all deserve that. To keep things running smoothly I have activities with quick transitions to prevent bad behavior. When handing out instruments, I “freeze” students one by one to control disruptions and teach patience. I use the saying, “If you play before I say, I will take it away.” —Hector Rangel, Palmer Elem

• Classroom management is a shared responsibility between

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students and teachers. When you set clear rules and expectations for students to follow, it lessens the likelihood of things going wrong. This process should be about achieving excellence, not about making students do things based on compliance. When you explain to students that these expectations help them achieve their goals, it won’t matter who is leading the class. —Antwuan Walters, Heights HS I use Class Dojo (second–fifth graders). It is a great tool for positive reinforcement and for keeping data on student behavior. I change point values to focus specific skills, and I can reward the whole class, an individual, or group of students. At the beginning of a grading period, each student has the opportunity to spend their points on things they look forward to and that don’t cost money (sit in the teacher’s chair, sit by a friend, etc.). —Gretchen Bloebaum, Hunt Elem

• I use a weekly technique grade. Students are graded daily on

things like body position, vocal production, and audience etiquette (all of which are TEKS-based). For example, if a student doesn’t show proper audience etiquette to the performer (me), points are deducted from their weekly technique grade. This is 40% of their overall grade. I explain that what they do in class every day is more important than the one day they have a choir concert. —Abigail Tusant, Lamar MS

• Be sure every student has a task to complete in between main teaching points. “Sopranos, number your measures while I work on solfège with the altos.” Having many tasks while teaching bell to bell does not allow for any time for disruptive behavior. —Aaron Vierkant, Magnolia West HS

backup activities and pieces I can introduce at any moment. —Mandy Guilfoyle, Texas Music Institute

• Frequent and direct positive praise of students meet-

ing expectations for behavior and participation is quite effective. Most students really do want to please you, so knowing that you recognize their efforts helps motivate them to be positive, productive members of the class. —Kelly Strenski, Wichita Falls ISD

• Transitions are key in elementary music class. Plan every

minute, and know how your students are going to get from point A to point B. Whether making a circle, going to the story corner, or lining up, have a procedure for it! Without downtime, students are naturally more aligned with expected behavior. —Corey Fisher, Windsong Ranch Elem

How do you introduce music, especially if you believe your students might resist it?

• Unison melody sheets are extremely helpful. You can work

on specific issues as a full ensemble, and when you go to the actual piece, things come together much faster. If you are fortunate to have multiple staff members, introducing the music to smaller groups first also makes this much easier. —Matthew Hiller, Smith MS

• I’m a lyrics person, so I sometimes tell them the story without mentioning it’s a song until they grasp what is going on. Then, I try to be positive in my approach, such as “Altos, your line in this song is so amazing! You are going to love it!” —Dawn Dillard, Hallsville HS

• Find excellent recordings to present. Explain the piece’s his-

tory. Set the stage for why you picked it. There must have been a good reason if you are presenting something you suspect they might not embrace. —Drusilla Vinson, Sweeny ISD

• The younger the group, the more you

need to keep them making music! When working one section, keep others engaged by asking them to critique the success of that section’s performance. “Trombones, listen to the flutes play and see if they are a matching style.” Catch students doing something right (especially those who often have behavior issues) and praise them, especially after class. —David Dunham, Retired

• With more on my lesson plan than I

could possibly do in one class, I know things will be okay. Classroom management problems can stem from a lot of issues. Often, it is that students aren’t connecting with the lesson I planned or the music they are playing. I make sure to have plenty of Southwestern Musician | November 2021 13

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For pieces they’ll resist because of difficulty, I have students begin by playing the scale that relates to the key and in the range in which they will be playing. We then do rhythm exercises that correlate to the challenging rhythms of the piece. It also works well to read through a piece to determine what they can do and then customize warmups and technique pages to help them after that initial reading. —Katherine Barrier, Jacksonville MS Enthusiasm is key! If students get the sense that I’m nervous about the music or that I’m not 100% on board with teaching it, they’ll check out. If they see that I love it, they’re more likely to listen to it with an open mind. I give them background on what they’re about to hear, and I relate it to familiar themes or concepts they can easily grasp. —Stephanie Ginnings, Fowler Elem Explaining the historical significance or backstory of the piece helps. It also helps to honestly explain why you chose the piece. Students need to know why we do what we do. I might select a technically easy piece to focus on phrasing or dynamics, and I explain that. In addition to explaining why you chose it, find a good reference recording so they can follow along with their music; however, I usually don’t share this before the first reading to ensure students aren’t lacking reading skills. —Krystal Michal, Robinson ISD

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Go to www.tmea.org/q&a to view more answers and to submit questions for consideration for a future issue. 14 Southwestern Musician | November 2021

•

I will often find a great performance of the piece online and have the students follow along, numbering their measures while they listen. Then, there is typically some way to present the piece from a historical or literary perspective, and we discuss it. This is really when I hook the kids. After that, they are all in! —Leslie Hooe, Palestine JH The more background information I offer on a song or its composer, the more invested the students are once they hear it, even if it’s not their preferred style. Before teaching “Kookaburra,” we travel to Australia on a map, we talk about Australian dialect, I show them a didgeridoo and a picture of a Kookaburra, and then I finally teach them the song. —Corey Fisher, Windsong Ranch Elem The director has to be passionate and excited about new works of music. Next, you have to get students comfortable with venturing into the unknown. They need to be okay with taking risks, trying new things, and exploring. Once you play through the piece, ask students what they think the composer’s intent was. What did it make them visualize? How did it make them feel? —Carolyn Ireland, Folks MS I’ve learned to pull the song apart and not always teach the first measure first. Start with measure 28 because it has an interesting percussive rhythm. For my students, telling them something is probably going to be tricky seems to challenge them to prove me wrong. —Susan Hackett, Puckett Elem Allow students to just listen to the music without sheet music in front of them. Then pass it out and practice as if it were a sightreading piece. Explain that the run through will not be smooth but that we will all do our best to get through it the best we can (stay positive). Have them perform it without stopping or correcting so they understand that, even with mistakes, they will get through it and that is acceptable. Have them evaluate by questioning how the piece made them feel and how they can improve. —Jessica Reyes, Mathis ISD When selecting music for our elementary choir, if it doesn’t meet my rubric, I don’t choose it, no mater how pretty, rhythmically exciting, or popular it is. This process has resulted in selecting meaningful pieces that students enjoy. The music must meet the following: (1) be well-written—no voice crossing, unusual harmonies or awkward leaps; (2) be in an appropriate range; (3) have well-thought-out entrances for part-singing, and in canons and partner songs, have predictable starting notes for the second part; (4) text must lend itself to musical word stress, and (5) the music must teach something so that singers grow musically from learning it. —Todd Nolde, Canyon Pointe Elem I allow students to choose the repertoire, within reason. At the beginning of a semester or nine weeks, an assignment is to choose from a list of four to six pieces, listen to all, and then write a couple of sentences about which three were their favorites and why. I tally up the top three, and those are the ones we work on. This makes my job easier, sharpens their writing skills, hones their aural skills, and more. —Sarah Anderson, Gateway College Preparatory School 0

TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music.

SCHOLARSHIP AUDITION DATES: Saturday, November 13, 2021 | 1-3 p.m. Saturday, January 22, 2022 | 1-3 p.m. Saturday, February 19, 2022 | 1-3 p.m.

SCHOOL OF MUSIC DEPARTMENT HEADS

Elizabeth Lee Asst. Professor, Cello

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

Ingram Lee, IV Instructor, Trombone & Euphonium

Beth Bronk Director of Bands bbronk@tlu.edu

Saturday, April 9, 2022 | 1-3 p.m. Individual audition dates may be requested if necessary. For specific qualifications for each award, visit

www.tlu.edu/music-scholarships. BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION BACHELOR OF MUSIC IN PERFORMANCE BACHELOR OF ARTS IN MUSIC

Scott McDonald Instructor, Saxophone & Jazz Band Carla McElhaney Asst. Professor, General Music

Eric Daub Director of Piano Studies edaub@tlu.edu Liliana Guerrero Director of Vocal Studies lguerrero@tlu.edu Eliza Jeffords Director of Strings ejeffords@tlu.edu

David Milburn Instructor, Double Bass Nicole Narboni Asst. Professor, Piano Sung-Eun Park Asst. Professor, Collaborative Pianist Carlos Quesada Asst. Professor, Collaborative Pianist

FACULTY

Saturday, March 26, 2022 | 1-3 p.m.

Deborah Mayes Choral Accompanist

Michele Aichele Asst. Professor, Music History Adam Bedell Instructor, Percussion Carol Chambers Instructor, Music Education

Keith Robinson Instructor, Tuba & Music Education Jill Rodriguez Instructor, General Music Mikio Sasaki Instructor, Trumpet

Eric Siu William Hayter Asst. Professor, Violin Asst. Professor, Clarinet Shareen Vader Sean Holmes Instructor, Piano Asst. Professor, Horn Yvonne Vasquez Hilary Janysek Instructor, Mariachi Asst. Professor, Flute & Music Sophie Verhaeghe History Instructor, Violin Michael Keplinger Ryan Wilkins Instructor, Guitar Instructor, Bassoon

www.tlu.edu/music

TMEA Band Vice-President

DANA PRADERVAND

Be an Appreciative Audience It is important to be able to pause and simply appreciate a performance and recognize the process that the musicians went through to present it.

In Memoriam Paul Dwayne Bishop November 10, 1942–August 2, 2021 Adan “Sonny” Rosa III November 30, 1967–September 16, 2021 James Andrew Paslay August 10, 1967–September 19, 2021 Christopher Deane December 11, 1957–October 9, 2021

MARK YOUR CALENDAR check www.tmea .org for updates

November—Renew your membership and register for the convention. November—Make your TMEA convention housing reservation online. January 8—Area Band and Vocal auditions. January 20—TMEA email/mail convention registration deadline. January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/Convention in San Antonio.

eople often listen with the intent of replying rather than the intent of understanding. As I thought about this, it prompted me to wonder whether as music teachers we listen with the intent of appreciating what we are hearing or with the intent of critiquing what we are hearing. Are we teaching our students to know the difference? We all understand how critical the development of aural skills is for playing our instruments and performing in an ensemble. This is one of the many skills we are charged with teaching our students from the beginning of their music instruction. In rehearsals at every level, there is always some direction given to our students to listen. We teach students to listen to themselves and evaluate and critique. We teach our students to listen to those around them and evaluate and critique. We teach our students to listen to entire ensembles and evaluate and critique. While the ability to listen and evaluate is important, are we also teaching our students to simply appreciate what they are hearing? Whether it is themselves, an ensemble, or marching band, do our students listen with the understanding of and appreciation for everything that has gone into producing that performance? We know it is important to teach them to do both! In one of our recent rehearsals at the University of Houston, we asked our wind ensemble students to listen to a recording of one of their concert performances. Many of them pulled out their music to follow along. They were actively pointing and commenting to their neighbor about things they believed were not quite right. They were being

Southwestern Musician | November 2021 17

critical listeners and the comments they made regarding the performance were all valid, but they were clinical and technique focused. Then we had them put their music away and simply listen to the performance as if they were audience members, not performers. The comments about the performance were quite different—they reflected the musical and emotional impact of the performance. As teachers, are we able to take our band director hats off and simply appreciate the music being performed? Do we listen with the intent of appreciating the beginner student attempting a new note, the middle school student playing off their Region etude cut, the very first marching band performance of the year, or a TMEA Honor Band concert? Where does your first thought go when listening and watching a performance? Is it appreciation for the performance and performers in front of you? Or is it one of critique? I know I have caught myself being guilty of the latter more than I’d care to admit. It is important to be able to pause and

simply appreciate a performance and recognize the process that the musicians went through to present it. We need to acknowledge and give value to their time, effort, and skill. We are entering performance season. Region auditions are being held and soon Region concerts will be performed. Our TMEA Clinic/Convention showcases a full menu of wonderful performances! As we anticipate these performance opportunities, let’s take off our band director hats and pause for a moment, listen with appreciation, and simply celebrate that music is being made! Honor Band Update The TMEA Honor Band Competition will resume for the 2022–2023 school year. Thus, classes to perform at the 2023 convention will be 6A, 4A, 1A/2A high school and 2C middle school. As a reminder, Honor Band preparation of any kind that directly supports or contains content within the repertoire planned for the submission recording may not begin before December 1.

2022 Clinic/Convention Update The Band Division needs your help. Please consider volunteering a short amount of time to help during the convention. There are many opportunities— from working at registration, spending an hour or two in the Band Division office, helping as an invited ensemble guide, or presiding at a clinic. Go to www.tmea.org/ bandvolunteer to sign up, and thanks go to those who have already done so! This month, enjoy reading about our incredible university bands that have been invited to perform during the convention. More Band Division Invited Ensembles will be featured in the January issue (December will feature a full preview of the convention). We have so much to look forward to when we come together in San Antonio in February! University of Texas Wind Ensemble The University of Texas Wind Ensemble has firmly established itself as one of America’s elite wind bands. Active in commissioning new music since 1988, the group has offered many world-premiere performances. One of the guiding

Music Scholarship AUDITIONS 2021-2022

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18 Southwestern Musician | November 2021

WHAT STARTS HERE CHANGES THE WORLD

AND THE WORLD IS LISTENING

Application Deadline December 1 m u s i c . u t ex a s . e d u /a p p l y

University of Texas Wind Ensemble

Tyler Junior College Wind Ensemble

Tarleton State University Wind Ensemble 20 Southwestern Musician | November 2021

principles of the ensemble is collaboration with the leading musical minds of the twentieth and twenty-first centuries, resulting in many notable residencies. Commercial recordings released on the Reference, Klavier, and Naxos labels have garnered many accolades. A 2009 release on the Naxos label, Circus Maximus, was featured in Diapason d’Or, France’s largest classical music publication and received their coveted “Golden Tuning Fork,” the most prestigious award in French culture for classical music recordings. This year’s performance is the ninth appearance under the leadership of Jerry Junkin by the UT Wind Ensemble at the TMEA Clinic/Convention. Tyler Junior College Wind Ensemble Celebrating its 75th year, the Tyler Junior College Band program is one of the largest junior college band programs in the United States. Ensembles include the 200-member Apache Marching Band, multiple concert and jazz bands, and various chamber groups. Countless alumni of the program have gone on to successful careers in music education and have performed around the world as members of our nation’s service bands and professional orchestras. The Wind Ensemble is the premier concert ensemble at Tyler Junior College. Consisting of the most talented wind and percussion instrumentalists on campus, this auditioned ensemble performs the finest in traditional and contemporary lit-

erature composed or transcribed for the wind band. The TJC Wind Ensemble is directed by Jeremy Strickland and this is their first performance at a TMEA Clinic/ Convention. Tarleton State University Wind Ensemble The Tarleton State University Wind Ensemble is the premier concert band on the university’s main campus in Stephenville. The group consists of undergraduate students from program studies in music education, music performance, jazz studies, music business, and several other programs of study across the Tarleton campus. Founded in 1919, the Tarleton band program now comprises 20 instrumental ensembles, including three concert bands, three jazz bands, three athletic bands, and multiple chamber ensembles and combos. The Wind Ensemble’s invitation to perform at the TMEA Clinic/Convention is its first in program history. The group is conducted by David Robinson, who has served as Director of Bands at Tarleton since 2018. University of Texas at Arlington Jazz Orchestra Established in 1947, the UT Arlington Jazz Orchestra has entertained and performed before millions of people across the globe. The band has performed internationally in Germany, Mexico, the Philippines, and Switzerland, as well as in numerous cities in the United States. UTA Jazz Alums have toured with jazz

legends such as Stan Kenton and Maynard Ferguson. Over the years, the band has hosted and performed with artists such as Eddie Gomez, Dick Oatts, Bob Mintzer, Peter Erskine, and Terell Stafford. The band has commissioned works from jazz composers including Fred Sturm, Steve Wiest, George Stone, Dale Wilson, Steve Owen, and Drew Zaremba. 0

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CULTURALLY RESPONSIVE TEACHING w h at i t i s , a n d w h y i t ’s i m p o r ta n t i n m u s i c e d u c at i o n by constance l. mckoy

fundamental premise of teaching is that students are unique in the ways that they learn. It is one of the reasons that incorporating a variety of teaching strategies and approaches is a fairly common practice among teachers. Additionally, our increasingly pluralistic and interconnected world underscores the influence of cultural factors on student learning. We’ve come a long way over the past two decades in recognizing the importance of cultural diversity in music education. Leading music education scholars often cite the changing demographics in American schools as the catalyst for new approaches to music teaching, and we have seen tremendous growth in the professional literature dealing specifically with cultural diversity and music learning. The idea of multicultural music education, which has focused primarily on broadening the content of music instruction to encompass the music of a variety of world cultures, is not new to music educators. However, another facet of teaching and learning—culturally responsive pedagogy—has only recently come to the attention of the music education community. According to educator and researcher Geneva Gay, culturally responsive teaching “uses the cultural knowledge, prior experiences, frames of reference, and performance styles of ethnically diverse students to make learning encounters more relevant to and effective for them” (2010, p. 31). Culturally responsive teaching involves affirming diverse cultural characteristics, perspectives, and experiences and using them to form bridges to new learning and ideas. Through a culturally responsive approach to music teaching, music educators can make significant and meaningful learning connections with students. There are four guiding principles that can help music educators put culturally responsive teaching into

22 Southwestern Musician | November 2021

action in their classrooms and rehearsal spaces: 1. Learn about yourself. 2. Learn about your students. 3. Create a supportive classroom environment. 4. Make curricular and program decisions that are responsive to culture. Learning About Ourselves Parker Palmer said, “We teach who we are,” meaning that our approaches to teaching and learning are influenced as much by our own personal experiences, attitudes, and world views as by our music and education courses. Given that there is more ethnic, racial, and cultural diversity among K–12 students than among the teachers who instruct them, it’s not surprising to discover that many teachers view cultural difference from a deficit perspective. That is, because some teachers may be biased in favor of mainstream ways of learning and instruction, they view students who follow mainstream classroom practices as being highly motivated and more highly achieving than students exhibiting ways of behaving and learning that are culturally different. To overcome the effect of bias in the classroom, teachers must recognize their own assumptions by engaging in critical self-reflection and self-assessment. Before we can deal with cultural bias in the classroom, we must recognize it in ourselves and acknowledge that our actions reflect both our conscious and our subconscious beliefs. Learning About Our Students As music teachers, most of us would agree that getting to know

UNIVERSITY OF NORTH TEXAS

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CRITICAL STUDIES IN MUSIC AND SOCIETY PROGRAM TAILOR-MADE FOR THOSE PURSUING A VARIETY OF CAREERS

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Culturally responsive teaching is more than an approach to instruction; it is a disposition, a mindset. our students is a key component to effective teaching. In the context of culturally responsive teaching, getting to know our students means not only learning about their academic capacities but also acknowledging the culturally situated musical knowledge they bring to the classroom. Sometimes we approach our students as if their minds are a tabula rasa, or blank slate, as if they don’t really know anything about music until we inscribe information on their brains. When we take the time to find out what our students already know and can do musically, we can use that information to craft more meaningful learning experiences for them. Getting to know our students also means understanding that the way they learn best may be influenced by culture. Just as we recognize the importance of understanding learning processes from a cognitive and behavioral standpoint, we should also consider how cultural factors impact the learning process. Here are a few strategies to help you know your students in a culturally responsive way. • Get to know how your students engage with music outside of school. Attend musical performances that aren’t necessarily related to school. You can learn a lot about different aspects of your students’ musicianship when you can see them perform other genres of music. You can also use their understanding and performance of music outside of school to form bridges to understanding music learned within the music classroom. • Get to know how your students spend leisure time outside of the music classroom. • Attend sporting events and other activities in which your students are involved to view your students in new ways. 24 Southwestern Musician | November 2021

• If you don’t live in the same neighborhood as the students you teach and there are faculty and staff members in the school who do, talk with them about their neighborhood experiences. Seek out their community members and talk to them as well. Creating a Supportive Classroom Environment Creating a supportive environment that is conducive to learning is critical to culturally responsive teaching, and teachers wanting to do so must first demonstrate that they care for their students while simultaneously having high expectations for their academic success. Culturally responsive caring goes beyond just the feelings we have toward our students; it is connected to action. Teachers must be concerned about the whole child and take responsibility for nurturing both academic success and psychological well-being. Music educators are in a unique position to demonstrate cultural caring with students because we often teach the same students over the course of several years. This not only allows music teachers to develop deeper relationships with their students, but it may also help teachers develop culturally affirming perspectives. Consider the following strategies designed to welcome and value diversity: • Critically evaluate the visual materials in your classroom (e.g., posters, pictures in textbooks, videos). Do they depict people of diverse backgrounds and abilities engaging with music (e.g., conducting, composing, performing, critiquing, teaching)? • Video-record a series of lessons from different vantage points in your classroom. As you watch the videos, critically analyze your teaching. Do you focus on certain students or certain

groups of students? Do you use vernacular phrases, humor, or sarcasm in a way that could be misunderstood? What does your body language say to the students? How do your students look and sound as they enter the room and exit the room? • Think carefully about how your interactions with your students reflect your attitudes about cultural difference. Is your teaching biased in favor of mainstream ways of knowing and learning? Do you have difficulty valuing the diversity represented among your students? Do you see cultural difference as an instructional problem needing to be solved rather than a characteristic that can be valuable in teaching and learning? Making Program and Curricular Choices That Are Culturally Responsive By the time many students reach high school, a large percentage of them are not involved in a school music program (Elpus, 2013, 2014; Elpus & Abril, 2011). Culturally responsive teaching calls for a curriculum that reflects the interests and goals of all students, and in the case of music, this means not only exposing students to unfamiliar music but also finding ways to connect to the music our students prefer and practice outside of the classroom. Being culturally responsive also includes thinking about structuring our instructional delivery in ways that enhance student learning in music. For instance, learning to read music notation is viewed as an important goal in music education. However, once we begin to introduce notation to our students, we inadvertently initiate a slow transition of emphasis from the ear to the eye, and as students move through our programs, we may give less credence to the benefits of aural learning. Many of our students who engage in music outside of school are learning it through an aural tradition. Regrettably, students whose ways of learning music and whose musical skills stem from an aurally based instructional model often find themselves at odds with formal instruction in music, and they can feel that they have no place in school music programs. Some of the strategies that follow can assist teachers in acknowledging ethnic

and cultural diversity in the music classroom: • Expose yourself to music that is outside your area of expertise. Listen critically for ways the music compares to what you are working on in class or in your ensembles. • Capitalize on the musical expertise in your community and invite “culture bearers” into your classroom. Often you can find resources in your own school building by emailing the staff and faculty, asking for musicians in a specific genre or who perform on certain instruments. Contacting your students’ family members or visiting local music stores and community centers can also lead to valuable community connections. • Be aware of how the language used in discussing music can sometimes be value laden. The terms that we use to describe/evaluate sound, such as ugly/beautiful, in tune/out of tune, or even musical, can sometimes reflect conscious or subconscious aesthetic biases. Using other terms such as serious music or referencing some music as extra or additional to a core music curriculum can be perceived as exclusive. Culturally responsive teaching is more than an approach to instruction; it is a disposition, a mindset. You can start by committing to one of the guiding principles in this article. My hope is that as you see the benefits of incorporating a culturally responsive approach to your teaching, the more you will appreciate how it can positively transform music learning for your students. 0 Constance L. McKoy is Marion Stedman Covington Distinguished Professor and Director of Undergraduate Studies in the School of Music at the University of North Carolina at Greensboro. She is also a 2022 TMEA College Division Featured Clinician. This article is reprinted with permission from the Massachusetts Music Educators Journal, spring 2018 edition. Portions of this article are excerpted from Culturally Responsive Teaching in Music Education:

From Understanding to Application (Routledge, 2016) by Vicki R. Lind and Constance L. McKoy. References Elpus, K. (2013). Is it the music or is it selection bias? A nationwide analysis of music and non-music students’ SAT scores. Journal of Research in Music Education, 61, 175–194.

enrollments. Journal of Research in Music Education. 62, 215–233. Elpus, K., & Abril, C. (2011). High school music ensemble students in the United States: A demographic profile. Journal of Research in Music Education, 59, 128–145. Gay, G. (2010). Culturally responsive teaching: Theory, research, and practice. New York: Teachers College Press.

Elpus, K. (2014). Evaluating the effect of No Child Left Behind on U.S. music course

It’s at www.tmea.org Our website offers access to TMEA programs, important organization business, teaching resources, advocacy materials, and much more. Go to www.tmea.org and explore what’s available.

TEACHING RESOURCES

• Music TEKS you are required to teach. • Answers to questions from teachers like you (as seen on page 12). • Online resources repository, tips for new teachers, and much more.

MUSIC EDUCATION IN THE LAW

Learn how Texas law supports music education for every student and get updates on state-level actions that affect your work.

ADVOCACY MATERIALS

Download print and video resources to distribute at concerts and meetings. Professionally produced advocacy videos are available and include versions with Spanish subtitles that may be downloaded.

DIVISIONS

Each division has its own section on the website for program information and updates (audition entry and results, workshops, etc.).

TMEA PROGRAMS

From the Job Services section (which you might have visited to find a job) to the Mentoring Network, Scholarships, and much more, you can learn about our programs and apply online.

MUSIC INDUSTRY PARTNERS

TMEA wouldn’t be able to offer the current level of support to teachers without our music industry partners. Find contact information on our exhibitors and licensed vendors online. Can’t Find It? Use the search function when you can’t find what you’re looking for, and you’ll get a list of relevant webpages on our site.

Southwestern Musician | November 2021 25

TMEA Orchestra Vice-President ANN G. SMITH

More on the Role of Competition Whether or not we are winning, we are learning. We should teach our students to use competition to identify areas needed for improvement.

In Memoriam

n the last issue of Southwestern Musician, I offered some perspectives about competition in music and music education. The world around us is extremely competitive. Businesses have ramped up recruiting practices to attract the best and the brightest, and they constantly raise the bar with each deadline, project, or product. Companies compete for our attention and consumer dollars through commercial outreach, free delivery, sameday delivery, and the bombardment of personalized advertising through our social media accounts. Social media is a fiercely competitive space where influencers strive to offer content that will boost their number of followers. Likewise, we see an extremely high level of competition in college admissions and scholarships. The number of students taking AP level courses and the dollars spent on test prep courses has only increased. The music world can be equally competitive. From concerto competitions to admittance in the best music schools and auditions for performing group positions, competition is “alive and well” in the professional music world. For years, we have witnessed the placement in Region and All-State ensembles and prestigious youth orchestras becoming more competitive. Students pursue the exemplary label from an adjudicated solo performance or the opportunity to perform a solo or ensemble at the state level. There are more festivals and national honors programs than ever, and we see numerous social media posts about programs that have won honors through the expanding number of competition organizations. I suspect most in the music world would say that making music is

26 Southwestern Musician | November 2021

Mark Lisle October 1, 1950–September 24, 2021

MARK YOUR CALENDAR check www.tmea .org for updates

November—Renew your membership and register for the convention. November—Make your TMEA convention housing reservation online. January 20—TMEA email/mail convention registration deadline. January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/Convention in San Antonio.

Changing Lives. Not Checking Boxes. Your students possess both skill and passion. They thrive in an environment of high expectations and even higher commitment to artistic and personal growth. The Sarofim School of Fine Arts offers these students a tailored, hands-on approach, with award-winning faculty and a student-to-teacher ratio of 6:1. S C H O L A R S H I P AU D I T I O N D E A L I N E S & DAT E S

Audition application deadline January 7 Audition dates by inviation only February 19 & 20, March 5 Minors & Non-Major Ensemble Participants: March 5 & April 3 Virtual Audition Options Majors:

southwestern.edu/music

not a competition. Many would echo the words of celebrity vocal coach Cari Cole: “Music is not a competition, it’s community.” However, when it comes to building music skills, many would assert it has a naturally competitive aspect. That competitive side is not necessarily bad, yet it isn’t one hundred percent good, either. This is why we need to examine the role competition plays in our programs. The Role of Competition As leaders and directors, we must examine what competition is and the

role it should play in our programs and the effect it has on our students. Everyone has their why of doing something. As we examine the role competition plays, we need to examine the why of what we do. If our why is to lead a program that is labeled the best, then our approach to our program, students, and music will be shaped by that. If our why is to touch lives through the music, our approach might take on a different look. Can the philosophy of being the best coexist with the philosophy of music-making as an art? This is a question that can be answered only by the individu-

SAM HOUSTON STATE UNIVERSITY | COLLEGE OF ARTS & MEDIA

SCHOOL OF MUSIC

AUDITIONS FALL 2021 & SPRING 2022

NOVEMBER 20, 2021

Voice and All Instruments

FEBRUARY 5, 2022

Voice and All Instruments

FEBRUARY 26, 2022

Voice and All Instruments

MARCH 5, 2022

Voice and All Instruments

APRIL 4, 2022

Voice and Percussion Only

excluding guitar

excluding guitar and percussion

excluding guitar

als involved, through anecdotal experiences with our students and programs. I would argue that it is difficult to balance these two philosophies, and that when they aren’t balanced, we won’t be our best and our students and programs may suffer. When trying to balance competition and art we need to take into consideration the why of our students. Why do they participate in our programs? Our students’ why should also impact our philosophy of competition. As teachers of young people who rely on us to help them develop into productive people, we have a monumental impact on who they will become. It is through the experiences in the music classroom that young people become more intelligent, strengthen life skills, and learn to navigate their adult lives. Does competition in music help prepare students for the competitive aspects of everyday life? Music is also an art that provides opportunity for expression and escape, so does this offer students an understanding of the intrinsic value music-making has on their well-being? Does competition in music impact our future well-being and does music as expression and escape impact the competitive nature of adult life? When providing a competitive outlet for our students it is important that we teach them there are few opportunities to be the winner and that competition is a learning process. A Learning Process That Can Be Healthy To get the most out of a competitive process, it must be viewed as a learning process. Whether or not we are winning, we are learning. We should teach our students to use competition to identify areas needed for improvement. Use it to identify areas of strength. Use the areas of growth

non-scholarship

FOR MORE INFORMATION visit shsu.edu/music

936.294.1360 1751 Ave. I, Suite 225 Huntsville, Tx 77340

28 Southwestern Musician | November 2021

FEBRUARY 9 –12 SAN ANTONIO

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

VISIT Email our professors to schedule a sample lesson or visit Contact information available at baylor.edu/music/directory

A P P L IC AT ION P R OCE S S 1. Complete the Baylor University application at baylor.edu/gobaylor 2. Complete and submit the School of Music application at app.getacceptd.com/baylormusic 3. Audition Subscribe to our newsletter or receive School of Music concert information and updates at baylor.edu/music/subscribe

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

F R I DAY

(ORGAN, PIANO and VOICE ONLY)

(NO PIANO, ORGAN or TROMBONE)

(NO BASSOON or HORN)

(NO PIANO)

S AT U R D AY

(NO ORGAN or TROMBONE)

(NO BASSOON, HORN or PERCUSSION)

(NO VOICE or ORGAN)

December 3, 2021

January 14, 2022

January 15, 2022

Auditions are required of all entering and transferring music majors.

For more information, visit baylor.edu/music Email Mary Sage at Mary_Sage@baylor.edu or Music_Admit@baylor.edu

FACEBOOK baylormusic

twitter @baylor_music

INSTAGRAM @baylormusic

January 28, 2022

January 29, 2022

February 4, 2022

February 19, 2022 (VIRTUAL)

and areas of strength to become better musicians. If you learn through a competition that rhythmic accuracy is a particular weakness, use that information to develop a plan to help them improve as performers. As we examine our why, our students’ why, and what role competition plays with our programs and our students, we need to understand the positive and negative impact of competition (I hope to examine this further in my January column). Take the time to evaluate your program, community, and philosophy so that as you examine the impact of competition, you can move forward, focused on whatever is best for your students. Because ultimately, that should be the basis for everything we do. All-State Orchestra Seating Audition Changes Some changes will be implemented for our 2022 All-State Orchestra seating auditions. While in the past, those seating auditions occurred the Wednesday evening of the convention, our 2022 AllState seating auditions will be submitted and judged virtually in January. This same process will be used for wind and percus-

sion students who will be named to AllState on January 8. January 8: Audition excerpts will be posted on the TMEA website for download by All-State Orchestra musicians, who will be named later this month. January 10–January 13: Directors record and upload the seating audition recording by their All-State students to the TMEA audition portal by 11:59 p.m. on January 13. January 15: Seating audition recordings adjudicated by five-person panels and placed in rank order for seating. January 16: Notification of seating results will be posted on the TMEA website. With no seating auditions on Wednesday evening of our convention, string students will be in a string rehearsal/sectional from 6:00 p.m. to 9:00 p.m. instead, and full ensembles will gain more rehearsal time overall. The rationale for these changes is to provide all winds, brass, and percussion players their music prior to the start of

rehearsals and to provide additional sectional time for all musicians. This should ensure students can have a more productive and enjoyable ensemble rehearsal experience. TMEA Clinic/Convention Update I hope you have already registered for our TMEA Clinic/Convention, which is only three months away! We will be celebrating music together, so I hope to see you there. It’s not too late to register—go to my.tmea.org/register today! And if you haven’t yet, be sure to make your hotel reservation (www.tmea.org/housing). While our initial block of housing sold out very quickly, TMEA continued to work to add rooms in downtown hotels. If our secured rooms are sold out, the reservation system will offer access to other hotels. In addition to learning from master teachers in our clinics, I look forward to the opportunity to listen with appreciation as our Orchestra Division Invited Ensembles perform. This month, I’m pleased to introduce a few of these groups and will feature the rest in our January issue (December’s issue will feature a full preview of the convention).

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Memorial HS Sinfonia Orchestra The Memorial HS Orchestra program (Spring Branch ISD) has a long-standing heritage of excellence in making music. The orchestra program began when Memorial HS opened in 1962. In the last 25 years, the Memorial Orchestra program has focused on musical growth as much as on building student character. The Memorial Sinfonia Orchestra is composed of 30 students and is under the direction of Danielle Prontka. Two years ago, the orchestra placed runner-up at the National Orchestra Cup Competition in New York City. The orchestra has performed twice as a TMEA Honor Orchestra and has placed many of its members in the prestigious Texas All-State Orchestras. Byron Nelson HS Symphony Orchestra Byron Nelson HS is home to over 2,800 students and is located on the borders of Trophy Club and Roanoke in Northwest ISD. The full orchestra program was established in 2012 and has since flourished into two groups, Symphony and Philharmonic. Director of Orchestras Gary Keller and Director of Bands Jed Weeks conduct the Symphony Orchestra, which is composed of members from the top string orchestras and wind ensemble. In 2020, the

Symphony Orchestra was selected to perform at the Midwest Clinic. The orchestra extends its thanks to Sessalie Shapley (Assistant Director of Orchestras), Michael Moore (Assistant Director of Bands), John Bingaman (Director of Percussion), our feeder middle school band and orchestra directors, campus and district administrators, and private teachers for their contributions to this ensemble. Dulles MS Symphony Orchestra The Dulles MS Orchestra was established in 1988 as the first middle school orchestra program in Fort Bend ISD.

The Dulles MS Symphony Orchestra is composed of 65 students from the DMS Honors Band and Orchestra ensembles. The DMS Symphony Orchestra has been a long-standing performing ensemble with a rich history of excellence and achievement. The orchestra, under the direction of Sally Kirk, Edward Odeh, Regan Vogel, and Tiffany Ye received UIL Sweepstakes Awards for the last four consecutive years. The Foundation for Music Education recognized DMS Symphony Orchestra as Mark of Excellence National Winners in 2020 and 2021. 0

Memorial HS Sinfonia Orchestra

Byron Nelson HS Symphony Orchestra

Dulles MS Symphony Orchestra Southwestern Musician | November 2021 31

Empower Your Ensemble Through Peer Modeling By Michael John Trotta

rior to becoming a full-time composer and clinician, I was a choral director for over 15 years. The time I spent on the podium with elementary, middle school, high school, and university choirs is a treasure and is one of my greatest assets in the compositional process. During those years as a director, it became apparent that singers—whether they were elementary students or university music majors—were more highly responsive to peer demonstrations than to my vocal model. I call this “The Charlie Brown Effect.” In the Peanuts cartoons, when adults said anything, what the children heard was wah, wah, wah-wah, wah-wah, wah. With this in mind, I decided to conduct an experiment in my choral classroom. I had a clinician work with the choir, and although students responded to the clinician, they were still far more attuned to each other’s vocal models. In similar scenarios, it seemed the influence of peers always outweighed that of the leader in the front of the room, whether it was me or a special guest. As is typical of many choirs, the group of peers who volunteered

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to demonstrate a musical passage were just a handful of the best singers. This was so common that other students started volunteering these all-stars whenever I asked for a model. I knew that those students—the four-year all-staters and future music teachers—were happy to demonstrate for their peers. Yet this simply reinforced the idea that some singers really had it while others were there to sit on the sidelines. One of my former students even told me that singing in front of their peers was their greatest fear in life. While it’s commonly offered that public speaking ranks ahead of death for many people’s fears, I believe singing alone may be even more intimidating for some. So how can we engage singers who would rather do anything than sing a solo in front of their classmates? A Vision for Ensembles Where Students Empower Each Other I wanted to find a way to engage all singers and send the message that everyone’s voice is valuable in the choir. Enter peer modeling. My vision was that the students would respond to each other’s

vocal models and that each student would feel confident and comfortable doing this, regardless of where they were on their musical journey. The idea is that we can all learn from each other. Whether we are a four-year all-stater, wonderful sightreader, new to a choir, or just beginning, each singer has a valuable contribution to make. For this to happen, the director needs to create a safe space where singers feel comfortable to experiment and take risks while making music, without judgment or ridicule. And while judgement-free, this safe space also must support constructive criticism. Every singer, including those four-time all-staters, is invited to improve technique and accuracy with multiple attempts. This allows each singer to contribute from wherever they are, which in turn teaches everyone that in ensemble music-making, we all become better together. Overcoming Resistance When I present this peer modeling concept as part of a clinic, directors are often skeptical that it could work with their ensemble. So, it’s important to examine reasons for resistance and explore best

practices for overcoming them. If a less-skilled singer believes they are being used as a negative example, they automatically resist serving as a model. Another possible reason for resistance is concern that others will make fun of them. Our job as educators and choir directors is to provide the scaffolding needed to allow these singers a chance to succeed. I recommend the following prerequisites for directors who are interested in trying peer modeling: • The conductor must be trusted by the ensemble. • The ensemble must trust each other. • Soloists should be singled out only for success. • Feedback should always be framed in the positive. The Four Steps of Peer Modeling As you work to implement this concept in your classroom, follow these four steps: Pick a Concept Select one musical concept and apply it to an excerpt that will set the singer up

Don’t Just Play.

PERFORM AT YOUR HIGHEST LEVEL.

for success. This could be vocal technique, pitch or rhythm, or even an expressive element (crescendo/decrescendo, faster/ slower, louder/softer, etc.). The less confident the singer, the shorter and more achievable the example should be. Exaggerate the Positive (in the first attempt) Praise the singer for something they did well. This not only builds confidence for future attempts, but it also communicates to the ensemble that performing on your own is a good thing. This one thing doesn’t have to be related to the concept you selected in the first step. The most important thing is that the singer receives public praise. I also advocate having the students praise each other after each attempt. The effect can be remarkable. Explain What to Do Differently (in the next attempt) If the first attempt is successful, you may move to a new concept to work on during the second attempt. If the first attempt is not successful, praise them for what they did well and offer what to improve on the second attempt. This is

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34 Southwestern Musician | November 2021

The rule is to do anything in our power to make it a positive experience and something they will want to repeat in the future. important as it reinforces that every singer will sing multiple attempts and that we all learn something from each attempt. Also, this highlights the importance of feedback in the learning process. Repeat It (by individual/section/ensemble) The final step that closes the learning loop and demonstrates understanding is having repetition by the soloist and a section or ensemble. This allows everyone to be engaged and responsible for the concept and to apply it to their own part. In this way, peer modeling is also a musical form of classroom management. Peer Modeling Example Imagine you are working on learning a new piece of music. The first time you read through the piece, you notice that some of the choir is missing one of the pitches in a given phrase. I might say, “Good reading everyone. The rhythm was excellent, but I noticed that in this phrase, we could not agree on the pitch. Who would like to sing that phrase for me?” Then I allow for some wait time. Waiting 15+ seconds will often yield more volunteers and it establishes an expectation that you are looking for multiple volunteers each time. I select a student and they give their first attempt. During their first attempt, they miss the pitch I was isolating. I exaggerate the positive of what they did do well, saying something like: “I love the way that you had such an easy vocal tone throughout that phrase.” Notice that in this step, I mention only what they did well. Before the next attempt, I guide their efforts and home in on the pitch question. “This time when you sing, I want to make sure that your second-to-last pitch is high enough. Since it is a ti, we want to make sure that it is very close to do.” I may even demonstrate it and have the student sing with me or imitate me. They then sing for the second time. 36 Southwestern Musician | November 2021

The final step is to have the section or ensemble repeat this phrase to demonstrate what they learned. I usually praise something they did well. I also invite the section or ensemble to applaud the soloist who helped to correct the pitch. What If the Singer Doesn’t Make the Change You Want? This is a frequent question when I offer teacher trainings on this technique. The answer is somewhat a matter of personal preference and dependent on individual circumstances. If a singer does not make the exact change I was hoping for, how can I make it a positive learning experience? I believe it always makes sense to be truthful in the kindest possible way. Don’t praise a student for something they did not do. Many young singers have better ears than voices and will notice this inconsistency in your response—this could undermine the sincerity and reliability of your feedback. Instead, I would opt for recognizing the change that the singer did make. If they did make a change, you might say, “You are really headed in the right direction,” or something similar. You can also add one singer at a time to create a small soloist group to help support the student who is having difficulty. The rule is to do anything in our power to make it a positive experience and something they will want to repeat in the future. One of the keys to success with peer modeling is picking the right example for the right student. Again, the less confident the student, the easier, shorter, and less exposed the example should be. What If No One Volunteers? If you do not have a volunteer, I would first consider whether you have established the required trust I mentioned previously. Next, I would consider the example’s level of difficulty. I would look for a way to make

the concept an easy win for the performer. For example, could I ask for only the rhythm, instead of the rhythm, pitch, and diction in a foreign language? Easy wins are important, especially when you are starting to introduce peer modeling. This helps reinforce the concept that you are not putting a student on the spot; you are instead using them as a positive example. Tips, Tricks, and Tools for Introducing Peer Modeling If you are introducing peer modeling for the first time, or if you have concerns about this working in your rehearsal, review the following tips for some options to make this something your group will love: • Use sections instead of soloists. • Start with rhythm exercises. • At first, sing with the student. • Pay attention to the student’s body language. • Never give an ultimatum or force a student to sing. • Keep it short and casual, rather than positioning it as a performance. • Invite the student to exaggerate an imitation of you in case they are uncomfortable with their own natural voice. • Always make the examples an easy win. In the beginning, the goal is to make each experience something the individual and the group will want to repeat. As time moves on and solo singing that isn’t tied to one’s skill level or status becomes part of your choir’s culture, you can begin to introduce more challenging examples. Once peer modeling becomes a typical part of your process, I believe you will find it supports each student’s skill and confidence, builds greater trust between all members, and ultimately, results in a stronger and more unified ensemble. 0 Michael John Trotta is a full-time composer, guest conductor, and clinician.

Get ready to learn all about the 2022 TMEA Clinic/Convention in the preview issue next month! Southwestern Musician | November 2021 37

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TMEA Vocal Vice-President JESSE CANNON II

Don’t Forget the Orange Slices! I do believe there is something to be said about members of an organization being actively involved beyond elections and auditions. Serving our organization is one of the most rewarding things any of us can do.

MARK YOUR CALENDAR check www.tmea .org for updates

November—Renew your membership and register for the convention. November—Make your TMEA convention housing reservation online. January 8—Area Vocal and Band auditions. January 20—TMEA email/mail convention registration deadline. January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/Convention in San Antonio.

rowing up I participated in organized sports—mainly basketball and football. I’ll spare you the stats; just know that I am a better tenor than a point guard or center. My favorite thing about participating was the orange slice snack at the end of the game. I didn’t care that I fouled out before the third quarter, it was all about the promise of those orange slices. We have all been beneficiaries or suppliers of orange slices, juice boxes, or fruit snacks for various activities and events. For many of my friends and me, the orange slices represented a celebration of the activity, community, friendship, and life lessons. It was really about the joy of being a child! At the beginning of the season, parents weren’t asked to volunteer to bring anything; they were simply given a schedule with their names assigned. If your child was on the team, you were assigned a weekend to bring snacks. Am I saying this should be the model for booster clubs or TMEA? No, yet I do believe there is something to be said about members of an organization being actively involved beyond elections and auditions. Serving our organization is one of the most rewarding things any of us can do. TMEA has been one of the biggest contributors to my professional growth. I will never forget serving as a student assistant for the College Division with Dr. Caia McCullar. Through that experience and other opportunities, I gained valuable insight into the behind-the-scenes

Southwestern Musician | November 2021 39

work required for our convention to run as smoothly as it does. I learned that this work is not one-sided—sometimes you give and sometimes you get. There are many opportunities for you to serve through the TMEA Mentoring Program, on a committee, or at the 2022 Clinic/Convention. Be Part of the TMEA 2022 Convention Success Convention volunteers offer a short amount of their time in a variety of roles. Whether you want to be one of the first friendly faces attendees see when they pick up their badge or someone who helps those who visit our Vocal Division office, or more, we need you to register online now as these roles need to be finalized soon! If you haven’t yet, please go to www. tmea.org/vocalvolunteer and complete the online form.

TMEA Mentoring Program Whether you are new to teaching or have been at it for years, I invite you to be part of TMEA’s Mentoring Network. Having a mentor is one of the most critical means of thriving in our first years as a music educator. Don’t wait to get one or to be one! Sign up now at www.tmea.org/ mentor. TMEA Clinic/Convention Update As we near our annual convention, and especially this exciting one where we will celebrate music together, I’m pleased to present information about several of our Vocal Division Invited Choirs. The remaining choirs will be featured in our January issue as our December issue will feature the full preview of the convention. I’m sure that like me, you are looking forward to enjoying the amazing results of these choirs’ dedication and preparation!

Attend the 2022 Clinic/Convention! With over 40 clinics and concerts hosted by the Vocal Division, be sure to register and get administrator support now to attend! WWW.TMEA.ORG/CONVENTION

Renner MS A Cappella Treble Choir The Renner MS A Cappella Treble Choir is a diverse group of 36 seventh and eighth graders directed by Halley Radebaugh and Becky Kozinski. The first musical ensemble from Renner MS (Plano ISD) to be invited to perform at a TMEA convention, these singers have persevered through trying times and are still up for a challenge. While made up of excellent musicians, the Renner MS A Cappella Treble Choir is so much more—some are athletic and theatrical, some gifted gamers. We are compassionate sisters and friends. Though each of us has our own story, we find connection through music. The Renner MS choir program consists of 250 students in sixth through eighth grades in six ensembles. The choirs consistently receive superior ratings and are well-represented in the TMEA All-Region Choirs each year. Young JH Men’s Chorus Located in southwest Arlington, Young JH is one of the midpoints along the journey among the wonderful fine arts programs of the Martin HS cluster. Young is a two-year school in Arlington ISD, with an enrollment of approximately 800 students. Around 200 students are enrolled in choir, many of whom are also involved in band, orchestra, athletics, AVID, pre-AP classes, and student leadership organizations. The Young Men are a group of approximately 45 auditioned seventh and eighth graders. Young JH choirs are led by Christi Jones and Keith Daniel. Under their direction, the choirs have performed at the Middle School/Junior High National Convention, Southwest ACDA, TMEA, National ACDA, and for the State Board of Education. Argyle HS Concert Choir The choral program at Argyle HS (Argyle ISD) was established in 2016 with five students, and it since has grown to almost 100. With Argyle’s six classical and contemporary performing ensembles, Concert Choir has become the flagship ensemble of the choral program. Concert Choir students have received numerous awards for All-Region and All-State, Solo & Ensemble, and Contemporary A Cappella Recordings, and they have received UIL Sweepstakes awards four years in a row. This year’s ensemble consists of 42 students in all grades, who lead our school in performance, academics, athletics, and

40 Southwestern Musician | November 2021

Renner MS A Cappella Treble Choir

Young JH Men’s Chorus most importantly, character. The Argyle Choir program has quickly become one of the leaders in Texas small school choral music as we try to live out our mission statement of “Love Your Neighbor.” Midway HS Varsity Women’s Treble Choir The Midway HS Varsity Treble Choir is an ensemble of 42 young women from the Varsity Meistersingers Mixed Choir. They rehearse two to three times weekly during the Mixed Choir class period. Midway HS (Midway ISD) involves over 250 students in eight performing ensembles. The Meistersingers is the premier varsity mixed choir of the MHS Choir Department. Meistersinger members also make up the 26-member Chamber Singers, Varsity Tenor Bass Choir, and Varsity Treble Choir. Midway ISD has long been known for excellence in choral music with consistent UIL Sweepstakes awards. Each year members of the MHS Choir earn positions in Region, Area, and All-State Choirs. MHS Choir members also participate in UIL Solo & Ensemble, earning many first division ratings on solo performances.

Argyle HS Concert Choir Frenship HS Varsity Chorale Frenship HS Varsity Chorale (Frenship ISD) is an auditioned ensemble of 65 sophomore through senior students. These students are also phenomenal scholars, thespians, athletes, engineers, and student body leaders. With a long history

of success, Varsity Chorale consistently earns UIL Sweepstakes awards. Ensemble members are regularly named to TMEA All-State Choirs, awarded Outstanding Performer at TSSEC, and cast in lead roles for the award-winning Frenship Fine Arts Musicals. After graduation, many Southwestern Musician | November 2021 41

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members go on to study music at the collegiate level. Varsity Chorale performs traditional concert events throughout the year, competes in UIL, and performs in the annual pop show. Several members also make up the auditioned Madrigal ensemble that meets outside of class and serve as officers in Choir Council. Texas Tech University Choir For more than 50 years, the Texas Tech University Choir has established a stan-

dard of excellence recognized through national and international venues and has enjoyed a rich legacy of outstanding conductors. In addition to performing throughout the state of Texas, the TTU Choir has performed at conventions of the American Choral Directors Association, the Southwest Division of the American Choral Directors Association, and the Association of British Choral Directors, and the choir has toured internationally.

The TTU Choir has served as the featured ensemble in many of the finest performance halls in the United States, including Carnegie Hall, Chicago’s Symphony Center Orchestral Hall, and Alice Tully Hall at Lincoln Center. Conductors of the University Choir have included Ken Davis, John Dickson, John Hollins, and Rick Bjella. The choir is currently conducted by Alan Zabriskie, TTU Director of Choral Studies. 0

Midway HS Varsity Women’s Treble Choir

Frenship HS Varsity Chorale

Texas Tech University Choir Southwestern Musician | November 2021 43

Beginners at the Bars By Katie Grace Miller

uring my elementary music education student teaching, my incredible supervising teacher chose not to use Orff instruments with her kindergartners. She had valid reasons and began all instruction on those amazing instruments in first grade. The more I worked with these sweet children, however, the more it felt like we were missing out on valuable time during their kindergarten years. We could be building foundations like beat and singing and giving them creative options with our barred instruments from their first year with us. Once I began teaching in my own classroom, I immediately began to test my theory by introducing kindergartners to the barred instruments. I gave them all the details, rules, and visuals, and I instructed them on the pentatonic scale—all in the same class. I’m sure you can imagine how unsuccessful that was! I struggled to help these young students remember all the things I taught them. Even if I offered smaller chunks to learn, as soon as they stood in front of those 10 or 11 bars, it was as if all that information just escaped. They were so excited to make music with those bars that they forgot all the ways to do so effectively and appropriately. While something needed to change, I knew I needed to capitalize on their enthusiasm! One day while cleaning closets, I came across an old two-octave set of individual resonator bells and decided to give the students each only one bar, slowing everyone down and focusing on one thing at a time. We know we need to give our young ones everything in small chunks, yet I wanted them to begin using the bars. So, I believed they needed to know it all to prevent damage to the instruments. If that isn’t backward thinking I don’t know what is!

44 Southwestern Musician | November 2021

My light-bulb moment of using just one bar led me to wonder: why leave 10 bars on when I could just leave one? That problem was solved. My next challenge was streamlining the instruction for playing the instrument correctly and effectively. The Bar Basics My family loves alliteration. Growing up, my Aunt Artie would use alliteration whenever teaching my sister and me something. She would make up silly sayings and songs. From a young age I understood that alliteration helps you remember things. Always including alliteration in my instruction, I immediately went to the letter B because we were learning to play barred instruments. This led me to develop the Bar Basics—eight concise areas of focus to teach students how to hold mallets and play correctly. While this starts with kindergartners, troubleshooting is easy with older students as I can simply call out one word and they know what to fix. We took it slowly and taught a focus each week using one bar only. Depending on the kindergarten class, we might need to go over a single focus for two weeks to ensure everyone understood and could display it. After about 3–4 weeks, I would add another bar, and we would practice playing hands together and hands apart while still focusing on showing the steady beat consistently. I have two children of my own, and even after being a music teacher for 15 years, I still lack patience. I want to get through everything, and I want them to know all of it as quickly as possible. Despite that, because there are so many components to being successful at the bars, I realized we had to take our time with the basics! I have been using my bar basics for the past eight years. I

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have been able to introduce more complicated and advanced concepts with older students because of the extra time spent in the beginning with the basics. The Bar Basics begin with the Bellybutton—having the student focus on playing in the middle of the bar for best vibration. It helps to begin with a single bar so the student has to focus on only one bellybutton at a time! Understand that I don’t give them any instruction on how to hold the mallet (most do watch and copy me). This first focus is that the ball of the mallet is hitting the bellybutton of the bar.

During the next music class (or once students have mastered the bellybutton) we begin focusing on how to hold the mallet. We begin with a Bite so that the students understand to grasp the mallet between the pointer finger and the thumb, and we usually pretend to be baby sharks. (No, I don’t sing that song in class, or it would never end—we usually use the Jaws theme.) For our third Bar Basic, we focus on the other fingers wrapping gently around the mallet and we call those our Blanket. We talk about how when you’re under your blanket at home you can wiggle around under it. This is what your mallet should do. This prevents the children from using too firm a grip. This becomes even more important as the students advance, allowing more focused control with their mallet. I find that when holding mallets, students place their hands either at the end or the head of the mallets. Telling them to find Balance gives them the visual they need. This encourages them to have some

46 Southwestern Musician | November 2021

of the mallet extending out of each side of their hand, creating that balance. Next, we focus on our elbows in a twostep process. We make sure our elbows are Bent so that we are not playing the barred instruments as Frankenstein would, and then we make sure our elbows are Bright. Bright elbows are up and away from the body (not close like T-Rex arms). We also talk about the importance of not being too bright or you might blind Mrs. Miller! This helps students relax the shoulders but still make sure that their elbows are not glued to their bodies, so they have maximum movement. I also use this fun phrase that helps them remember: “Bright keeps the bite tight!” If their elbows are in the correct position, this helps eliminate the dreaded pointer finger on the mallet shaft—what I call the butterfly (not surprised it starts with a B?). We say the finger is a butterfly perched on a flower or branch, and when I see my students with butterflies on their mallets I call out “Bye, bye, butterfly!” With sass and attitude, my students say it back to me and fix those fingers. I will warn you that this is the hardest habit for my students to break. I still have to say it consistently because that finger on top makes them feel like they have more control. However, it prevents them from doing the next Bar Basic which is Bounce. When I teach the term bounce, I say “Bounce like a basketball,” because in P.E. they learn that when they bounce a basketball it always comes back up to them. I want them to have that image when thinking about their mallet. Finally, our last Bar Basic is Baby’s Head. You’re probably wondering what this could possibly have to do with a barred instrument. From day one, my students know

that if they treat an instrument unkindly, that instrument goes into “Timeout” until the student shows that they can use it appropriately. Yet sometimes when students progress to playing with all bars on or even in a pentatonic scale after only having one or two bars to play, they get excited and begin to strike hard. One day when I was teaching, a young student was striking the bars very hard. I knew this student had a new baby sibling. I told him, “You need to tap the barred instrument like you are tapping your baby on the head. You wouldn’t want him to cry, would you?” I reminded the class that they didn’t want to have any crying babies, and I proceeded to wail like a baby. The children thought this was hilarious, and ever since, it’s continued to work. Whenever students strike too hard, I say, “Uh oh, I hear some unhappy babies,” and they are reminded to lighten up on the instruments. Sometimes just crying out waaaaah will fix it and give me a few smiles as well. Using these simple words has really changed my teaching for the better and has made my students more independent musicians. They can troubleshoot their playing in the moment and solve issues by checking themselves to make sure that they have all the Bar Basics. I hope that this process benefits your students, enhances your teaching, and helps your mallet percussion lessons be successful. 0 Katie Grace Miller is an elementary music teacher in Orlando, Florida, and author of Beginners at the Bars: Introducing the Basics of Barred Percussion Technique with Age-Appropriate Structure for Beginners.

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TMEA Elementary Vice-President KATHERINE JOHNS

Something to Sing About As I think about our rehearsal experiences, I’m reminded of the dedication of our Invited Ensembles who are preparing for their performances during our upcoming convention.

rior to the beginning of school, my principal asked me to consider restarting our afterschool choir this year. Eager to do so, I began recruiting fourth and fifth graders for this choir the second week of school. This afterschool choir begins rehearsals the Monday after Labor Day and rehearsals are held weekly. This year, I had 65 fourth and fifth graders sign up for choir. As I was preparing for the first rehearsal, our school district remained closed two days following Labor Day weekend because of the number of students testing positive for COVID. As that first afterschool rehearsal neared, I must admit, I was nervous. Since then, our number of COVID cases has decreased, and by implementing safety measures during this rehearsal, we have persevered and the students are loving their choir experience (as am I!). As I think about our rehearsal experiences, I’m reminded of the dedication of our Invited Ensembles who are preparing for their performances during our upcoming 2022 TMEA Clinic/Convention. In this column, I will share details from three of our six Elementary Division Invited Ensembles. Before I do that, I wanted to offer a related experience. In 2018, I submitted an application and recording of our choir for the 2019 convention. If you don’t recall seeing me direct a choir at that convention, you would be right, because our choir was not selected. Of course, I was disappointed. I remember the preparation that led to that recording, and I recall being proud to apply. Having experienced it myself, I understand what it means for any educator who takes the time to work with their ensemble to create the best possible recording and submits it only to receive the email informing them that they were not selected. It can be disheartening.

48 Southwestern Musician | November 2021

MARK YOUR CALENDAR check www.tmea .org for updates

November—Renew your membership and register for the convention. November—Make your TMEA convention housing reservation online. November 1—TMEA Elementary grant application deadline. January 20—TMEA email/mail convention registration deadline. January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/Convention in San Antonio.

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However, even though our choir was not selected that year, I plan to submit again (after my Vice-President term is complete, of course). Most importantly, I want to utilize this process as a means for challenging students to a higher level of musicianship. This should be a growth opportunity for them and me. Additionally, I believe the only way TMEA can offer a wide variety of invited ensembles at our convention is to have a sizeable number from which to select. I hope we can receive more applications from small school programs, instrumental ensembles, and show choirs. That said, as we all know, in any limited selection process, even ensembles that are well prepared may still not be selected, simply because of the number of performance opportunities (and this can be a life lesson for our students). However, looking back on my experience, I can honestly say that the choir I submitted in 2018 was not ready to perform at our convention. I loved teaching that group and they were wonderful students, yet when it was time to record, they were still having intonation issues. Participation had dropped by the time we recorded, and I also now question the selections I chose for them to sing. I should have programmed more variety and at least one a cappella piece. I learned a great deal from the submission process. It can be a process that requires a few attempts, learning more with each endeavor, before you succeed. If you are rehearsing choir or instrumental ensembles this year, I hope you’ll consider applying in 2022 for our 2023 convention. The submission process will start in May and be due in June. If you have any questions, please reach out to me. TMEA Mentor Program If you are new to teaching elementary music this year, please consider enrolling

in the TMEA Mentoring Network at www. tmea.org/mentor. We are also looking for experienced teachers to mentor new teachers. We are especially looking for teachers from smaller districts. The process to sign up is simple and so rewarding—I hope you will participate! TMEA Clinic/Convention Update Have you registered for the convention and notified your administrator of your plans to attend this incredible opportunity for specialized professional development? There are over 50 hours of clinics and concerts specifically targeted to elementary music educators! As a reminder, you can show your administrator the list of clinics available to you at www.tmea. org/2022clinics. Don’t wait to get their approval to attend, and if you haven’t yet, be sure to secure your hotel reservation at www.tmea.org/housing. While our initial block of housing sold out very quickly, TMEA continued to work to add rooms in downtown hotels. If our secured rooms are sold out, the reservation system will offer access to other hotels. In this month’s column, I’m pleased to introduce a few of the ensembles you will have the opportunity to see and hear at our upcoming convention. The remainder are scheduled for inclusion in the January issue (next month, you’ll receive the full preview of the 2022 TMEA Clinic/Convention in this magazine). I sincerely hope you’ll make plans now to support these students and their dedicated directors through your attendance at their performances. Reyes Elementary School Chamber Choir The Reyes Elementary School Chamber Choir is honored to represent Canutillo ISD at the 2022 TMEA Clinic/Convention. The choir is a high-performing auditioned group of fourth and fifth graders that boasts a tradition of excellence, musi-

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TME A.ORG/CONVENTION 50 Southwestern Musician | November 2021

cianship, and service. Since its inception in 2015, the choir has consistently earned superior ratings, including a Gold Award at the 2018 WorldStrides Festival. This year, eight choir members were invited to perform with the TCDA Elementary Honor Choir. In addition, the choir regularly performs at various community events and local festivals. Rocio Rodriguez has taught elementary music for ten years. She holds a bachelor’s degree in voice performance from UT El Paso and a master’s degree in music education from the University of Florida. Mitchell Intermediate School Mixed Choir The Mitchell Intermediate School Mixed Choir is honored to represent Conroe ISD with their TMEA convention performance. The Mixed Choir is directed by Cyndie Lowry and Julie Stobbe. It consists of fifth and sixth grade students, who meet three mornings a week before school. This choir has consistently won superior ratings at choral festivals for the past 16 years, many times being named bestin-class. They perform numerous times throughout the school year and have been invited to sing the national anthem at Houston Astros games and at band competitions. This is the first TMEA Clinic/ Convention performance for the Mixed Choir and they are delighted to raise their voices in song! Austin Children’s Choir The Austin Children’s Choir has been a staple of the Austin community for the past 35 years and has affected the lives of hundreds of children. ACC provides enriching musical experiences for children across Austin, as well as a new hybrid method for students as far away as New Jersey. In the past eight years, the choir has performed annual concerts and collaborative performances with musicians around Austin and the Hill Country. Most notably, ACC performed Rutter’s Mass of the Children in 2015 with the Hill Country Youth Chorus, Bernstein’s Mass in 2018 with Conspirare, Austin Symphony Orchestra (ASO), Chorus Austin, the African Children’s Choir, and Chisholm Trail MS, as well as Walton’s Henry V: A Shakespeare Scenario with ASO and Chorus Austin. 0

Reyes Elementary School Chamber Choir

Mitchell Intermediate School Mixed Choir

Austin Children’s Choir Southwestern Musician | November 2021 51

TMEA College Vice-President PAUL SIKES

Being Thankful While each student is different, I have loved seeing each of them approach music with a similar excitement and newness I enjoyed when I was in school.

he end of the year is typically when we review the past year or so and count our blessings. With the ongoing pandemic, distressing news headlines, continued divisions in our communities, and exhaustion from the stress of it all, I understand it might be hard to focus on gratitude. I believe, however, that this is exactly the time that we need to focus on those things that have sustained us, those things that have encouraged us, and those things that continue to inspire us to move forward, regardless of the challenges and problems we face. I want to share a few of my reasons for being thankful to encourage you to take some time to think about these and other things that may be blessings to you. Music It seems my whole life has been enriched by music. Some of my earliest memories are listening to my mother sing through her music while we drove about town. She is a soprano and sang in church and community choruses in every town we lived. She was a music major in college and has never lost her love of music. Because I was surrounded by music and have been attending concerts since I can remember, it was natural for me to join our school music programs. Like my mother, I have found a lifelong love of music. Listening to it daily enriches my life and nourishes my soul. Whether I’m singing to the radio or introducing old music to my kids, I am always happier with music playing. But nothing compares to making music. When I can sit and play an instrument or sing, by myself or with others, the rest of the

52 Southwestern Musician | November 2021

MARK YOUR CALENDAR check www.tmea .org for updates

November—Renew your membership and register for the convention. November—Make your TMEA convention housing reservation online. November 1—Deadline for Collegiate Music Educator Award nominations. January 20—TMEA email/mail convention registration deadline. January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/ Convention in San Antonio.

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world melts away. For that glorious time when I am making music, my mind and body are fully consumed and focused on only that. It is a time when I can focus on the beauty of the sounds, on working to make myself better, and on communicating with others. It is, and always has been, a refuge where I can be happy no matter what else is happening around me. My Teachers In addition to my mother, I was also encouraged and inspired by my teachers. My first orchestra and band teachers still stand as some of the most influential people in my life. I have had so many others who have been an inspiration, but those first teachers showed me the joy that comes from sharing music with others. They put the spark in me to make music education my life’s work. In their classes, I fell in love with music and learned so much about the benefits of working hard to be the best musician I could be while working with others toward a common goal. Without them, I probably would have been an engineer. I can’t even imagine that!

54 Southwestern Musician | November 2021

After my first teachers who inspired me to pursue music education, my college professors continued the profound impact on my life. Those whom I learned from as an undergraduate and graduate student offered outstanding musical and educational experiences where I could learn how to be a competent professional and see music in new ways. They opened my eyes to the multitude of possible career paths in music and music education. I learned that music education could provide a lifetime of new experiences and challenges; it is a career in which I could constantly grow. My Colleagues Although I haven’t studied with an official teacher in a long time, I continue to learn and be inspired by my colleagues. I have been very fortunate because I have always enjoyed the people I work with. In every school, those with whom I interact on a daily basis have provided mentorship, encouragement, and friendship. They understand my daily work and are therefore the most qualified to help and guide me through the challenges I face or lend an ear when I need to talk through things. A

few have even become my lifelong friends. Many people who I have met in music education are those I now talk with on a regular basis, drive across the state for to attend their birthday party, or meet yearly for a fishing trip. These individuals continue to inspire me in music and in my life in general. My Students Once I became a music teacher, I learned that it was more fun than I could have imagined. Creating a safe space where students could work hard, make mistakes, and share great music at a high level of performance was like a dream come true. While each student is different, I have loved seeing each of them approach music with a similar excitement and newness I enjoyed when I was in school. I have also loved seeing them improve, grow, and mature as people and musicians. Some have decided to go into music education as a profession, thus becoming my colleagues. Some have gone into other careers but have continued to make music in their communities. Others may have moved on from making music but still hold those school music

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experiences as some of the most enriching times in their lives. Regardless of their paths, I am always happy and excited to see them, visit with them, and reminisce about the great times we shared. TMEA I am so thankful for the Texas Music Educators Association. It is an organization that brings so many things that are blessings in my life together. As a high school student, the TMEA auditions gave me a purpose for my practice. Region, Area, and State auditions crystallized my goals and effort and helped drive me to be the best musician I could possibly be. The ensembles I was a part of were always wonderful experiences where I could make great music with like-minded people. I clearly remember each ensemble, the music we performed, and the outstanding directors with whom I worked. As a teacher, TMEA continues to be an organization that I love and support. The audition processes still serve as an important goal for my students and students across the state. Those Region Bands, Orchestras, and Choirs continue to inspire students just as they did when I was in them. In addition to these groups, TMEA has continually sought to expand opportunities by increasing the number of ensem-

bles as well as introducing new ensembles such as mariachi and percussion. Our Region meetings, Connections events, workshops, and convention serve as a place I can continually be inspired. I have the opportunity to be with my former teachers, my colleagues, my former students, and my friends. Our TMEA events are welcoming and enjoyable spaces where I can grow and rejuvenate my spirit by being around others who share the love of music and music education. TMEA is the organization that brings together so many of the things I am thankful for in my life. I imagine you are also thankful for these things as well as many more. In this season of thanksgiving, I hope you will take a bit of time to consider those things that are blessings to you. I believe it’s important to stop and reflect on the good things in our lives. Doing so reminds us that we are indeed fortunate and have much to be thankful for. I wish you all a Happy Thanksgiving. College Division Fall Conference Speaking of giving thanks, I appreciate all who attended this year’s virtual fall conference. The minutes for this event will be published in the January Southwestern Musician. While I missed seeing everyone in person, I am thankful that we can

still meet and share ideas. I love coming together because I am reminded of the wonderful people who make up the College Division. It is truly an honor to work with so many smart and capable people. I encourage you to continue communicating and working with each other. The pandemic has showed us that we can collaborate even at great distances. TMEA Clinic/Convention Update We are so excited for the TMEA Clinic/ Convention, which is only three months away, February 9–12, in San Antonio! If you haven’t yet, be sure to register and secure your housing reservation. Go to www.tmea.org/convention for all the details. The convention fees have remained the same for years and are remarkably low compared to similar conventions across the country. Next month’s issue will feature a full preview of the event, so be sure to look for that to arrive! On page 22, you’ll find a compelling feature article by one of our College Division Featured Clinicians, Constance L. McKoy—don’t miss it! Continue to encourage your colleagues and students to join now so they can enjoy all the benefits an active membership offers throughout the year. I look forward to seeing you in San Antonio! 0

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