Southwestern Musician January 2022 by Texas Music Educators Association

JANUARY 2022

UNIVERSITY OF NORTH TEXAS

Choral Conducting

SYMPOSIUM

2022 JULY 10-14, 2022

ALLEN HIGHTOWER

Director of Choral Studies Professor of Choral Studies

KRISTINA CASWELL MACMULLEN Associate Professor of Choral Studies

JESSICA NÁPOLES

Professor of Choral Music Education

BRIAN C. MURRAY Symposium Coordinator University of Wyoming Assistant Professor of Choral Activities

VOLUME 90 ■ ISSUE 6 JANUARY 2022

CONTENTS FEATURES

Executive Board Candidates . . . . . . . . . . . . . . . . . . .16 Learn about the candidates for TMEA President-Elect and Band Vice-President. (The number of Region nominations required to list candidates for College Vice-President was not met.)

Music Brings People Together . . . . . . . . . . . . . . . . .21 by tricia moore

Music offers us opportunities to make meaningful connections with our students, their parents, the community, and our world.

Q&A for Music Teachers . . . . . . . . . . . . . . . . . . . . . 30 by tmea members

Learn how colleagues structure their classes/rehearsals to stay on track while maintaining interest and how they help students develop effective practice habits.

Choosing Ensemble Repertoire . . . . . . . . . . . . . . . 40 by michael alex ander

Rehearsal repertoire is our textbook, and when we choose it wisely, everyone’s experience can be positive and rewarding.

Socialization Through Music Education . . . . . . . 58 by kristopher brown

In music class, teachers can develop, nurture, and maintain healthy relationships with students to maximize their learning and social emotional development.

58 COLUMNS President John Carroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Executive Director Robert Floyd . . . . . . . . . . . . . . . . . 10 Band Vice-President Dana Pradervand . . . . . . . . . . 23 Orchestra Vice-President Ann G . Smith . . . . . . . . . . 34 Vocal Vice-President Jesse Cannon II . . . . . . . . . . . 45

UPDATES Creating Your Convention CPE Record . . . . . . . . . . . . . . . . . . . . . . . . . .2

Elementary Vice-President Katherine Johns . . . . . 52 College Vice-President Paul Sikes . . . . . . . . . . . . . . .64

Attend TMEA’s General Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Learn More About DEIA in Music Education . . . . . . . . . . . . . . . . . . . .14 TMEA Clinic/Convention Important Deadlines Near . . . . . . . . . . . 20

ON THE COVER: Nathaniel McCall, now a senior, performs with the Westlake HS Jazz Ensemble during the 2020 TMEA Clinic/Convention. Photo by Karen Cross.

Southwestern Musician | January 2022

OFFICIAL PUBLICATION OF TEXAS MUSIC EDUCATORS ASSOCIATION

Editor-in-Chief: Robert Floyd

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

Managing Editor: Karen Cross

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

TMEA Executive Board President: John Carroll, Permian HS

Creating Your Convention CPE Record Almost every clinic and concert qualify for continuing professional education credit (CPE). CPE credit is available only to TMEA Active type members, Honorary Life members, and out-of-state attendees who register and attend the convention. College Student and Retired members will not have access to create CPE records.

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

President-Elect: Michael Stringer, Irving ISD

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

Past-President: Brian Coatney, Wylie ISD

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

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 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

TMEA provides an online method for creating your CPE record after the convention. Follow these steps so that you will be prepared to return from the convention and complete your record.

1. During the convention: Keep track of all sessions that you attend to completion. Active membership, convention registration, and attendance is required for CPE credit to be granted.

2. When you return home: Go to tmea.org/cpe to access your record and claim the sessions you attended and print your CPE form. Submit one to your school district and keep a copy for your records.

www.tmea.org/convention

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. 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 | January 2022

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TMEA President JOHN CARROLL

You Are Shaping the Future When you get tired or doubtful, think back to the person who wrote you a special note, who gave you a tiny gift, who invited you to their wedding, who came by to show off their new child. Remind yourself that you make a difference.

appy New Year and welcome to our second semester! We continue to refine our ways of teaching and find new and innovative methods to better reach and teach more students. My college band director once referred to young people as America’s greatest natural resource. I have thought about that many times throughout my career, realizing that what we do shapes the future for so many young people and, at the risk of being too grandiose, helps shape the future of our communities and country. Something about our profession that I believe is amazing is the fact that we have successful educators spanning such a wide age range, from early 20s through retirement age. We also are seeing a wonderful trend of retired teachers entering another phase of the music education profession through mentoring and advising. Younger teachers infuse energy and implement new technologies in our teaching. While they learn new ideas from younger educators, veteran teachers offer their experience, wisdom, and encouragement, which is critical to anyone starting out in our profession. This cross-generational assistance and support is a theme I have previously covered in my columns while serving as President and Band Vice-President. That’s because I believe so strongly in helping each other. A great friend, now retired, was very successful leading junior high bands, and she always told me how much she learned and was inspired by her younger assistants. That stuck with me—we all have something to offer and we all have something to learn. I believe one of the best things we offer each month in Southwestern Musician is the In Memoriam listing in each Vice-President’s column. While I know each member’s passing hasn’t been reported to us for

Southwestern Musician | January 2022

MARK YOUR CALENDAR check www.tmea .org for updates

January—Renew your membership and register for the convention. January 19—Deadline to cancel a housing reservation online without penalty. January 20—TMEA mail convention registration deadline (checks must be received). January 20—TMEA convention online early registration deadline. January 21—TMEA convention registration available online, at a higher rate. February 9–12—TMEA Clinic/Convention in San Antonio. February 10, 5:15 p.m.—TMEA Division business meetings at the convention. February 11, 5:15 p.m.—TMEA Region meetings at the convention.

EVEN TEACHERS NEED TEACHERS As an educator, one of the most impactful ways to improve is by educating yourself. That’s why the Yamaha Educator Suite (YES) helps music teachers access professional development opportunities, music teacher resources, program health support, advocacy assistance and more. YES brings you a network of like-minded teachers, experts and professionals, who want to help you achieve your goals. Let us help you raise the bar. Go to Yamaha.io/educatorsSWM

inclusion, when they are, it offers us the opportunity to give respect to those who helped us in the past. These are educators who have fought battles for our profession that we may not even realize, and they are teachers who simply went to school every day and shared the gift of music with their students, whether on the elementary, secondary, or university level. Many of these names have been unknown to me, but I make it a point to look at each name in each column every month, say it aloud, and think about the gratitude I have for what they did during their lives. When I see an In Memoriam listing of someone I have called friend, I hurt, but I also understand this is how life happens. I not only hurt knowing I will miss them, but also because I know they were heroes to some students along the way, and those students are better because of those teachers. My beginning band teacher in fourth grade at Rusk Elementary School in El Paso is a name only a few who read this

would recognize. Yet, he changed my life when he gave me a chance to be in band. I will always be thankful I was in class the day he stopped by to see who might be interested in band. He made a difference and influenced the course of my life. I know that each one of you is making a difference. Executive Director Robert Floyd’s October column speaks of “What We Do Matters.” If you haven’t read that, I hope you will. We all occasionally suffer exhaustion, get frustrated by our limited resources, and perhaps see greener grass somewhere else, but we still love what we are doing. I beseech you, when you get tired or doubtful, think back to the person who wrote you a special note, who gave you a tiny gift, who invited you to their wedding, who came by to show off their new child. Remind yourself that you make a difference. Thank you for encouraging me by being an incredible music education community. It is my misfortune that I can’t know each

2022–2023 Executive Board Candidates

Learn about our outstanding candidates for the TMEA Executive Board and get prepared to vote electronically for the next TMEA President-Elect. Details on page 16.

of you personally; nevertheless, know that you inspire me and I am grateful. 2022 Clinic/Convention Update This column doesn’t provide me enough space to tell you everything that will be offered at our 2022 Clinic/Convention that will be in person next month in San Antonio (February 9–12), but I will offer some highlights. Please read your division Vice-President’s column this month for more information. I also encourage you to look at other divisions’ columns. Also, be sure that you have reviewed the full convention preview that was in our December issue, available online at www.tmea.org/ emagazine. Know that our convention schedule will also be online in January. You will have the ability to create your schedule, which you can then access via the mobile app during the convention. Please look for cross-divisional clinics, which are especially prevalent in the College Division schedule. Each convention features our two General Sessions, considered the official meetings of the TMEA membership (but if you’ve gone before, you know they’re much more than meetings!). Our Thursday

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Southwestern Musician | January 2022

gathering will offer a similar experience to the awesome First General Session in 2020. That meeting will also close the nominations of TMEA President-Elect (ballots for online voting by 10 p.m. are emailed immediately following that meeting). Our Second General Session will highlight our mass ensemble of many of our All-State musicians, the announcement of new TMEA officers, and a keynote presentation from Dr. Scott Edgar. Our President’s Concert is Thursday at 8 p.m. in Lila Cockrell Theatre, featuring the Jazz Ambassadors of the United States Army Field Band. Admission is free and this concert will be amazing, so don’t miss this great opportunity! As part of our schedule of incredible clinics, you will find multiple sessions focused on diversity, equity, inclusion, and access in music education. Our divisions are hosting clinics that feature a DEIA focus, and TMEA has scheduled additional clinics targeted to all members (categorized as “General Membership”). See page 14 for details. TMEA’s goal is to continue to offer content that helps ensure our classrooms are more inclusive and supportive

of all students, and that through this focus, we will ultimately witness increased diversity in our profession. Please look for these sessions when you create your schedule and commit to including them as part of your continued development as a music educator for all. Additionally, be looking for the sessions regarding such things as legislative updates, UIL, job interview skills, and membership in the Texas Music Adjudicators Association. If you sponsor a Texas Future Music Educators chapter, student members can attend our convention Friday and Saturday at no cost (they must register in advance). These students will have a special meeting and keynote address just for them on Friday at 4 p.m. (followed by their attendance at College Night!). If you don’t yet have a TFME chapter, please consider starting one. You can find more information regarding this at www.tmea.org/tfme. Have you ever attended rehearsals for the All-State ensembles? These are outstanding “clinics” and are so enlightening. In these rehearsals, we can see how some of our nation’s leading teachers take

a group of extremely talented individuals and quickly mold them into a remarkable ensemble. Look for open rehearsal times in the online schedule and printed convention program. I’ve said it before, but I believe it bears repeating—communicate with your administrators about attending our convention! By the time you read this, I hope you already have, but I realize it’s easy to forget details like this, especially now. If you don’t have approval, get it now (you might share your printed December magazine with them to show them the wealth of specialized professional development available to you at our low cost). I hope your second semester starts off in the grandest of ways. May all your students’ schedules get fixed quickly. May you see eager students wanting to delve into more music. And finally, I hope you will always remember that you do indeed make a difference. The students are fortunate to have caring music teachers, and we are indeed fortunate to teach these young ones! See you in February! 0

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Southwestern Musician | January 2022

Attend TMEA’s General Sessions First General Session • Lila Cockrell Theatre Thursday, February 10, 8:15 a.m.

Second General Session • Lila Cockrell Theatre Friday, February 11, 8:15 a.m.

Following a brief business meeting of TMEA’s general membership, which includes the closing of nominations for TMEA President-Elect, get inspired by a special musical presentation that spotlights our convention theme, Celebrating Music Together. Witness extraordinary musicianship and collaboration of hundreds of Texas music students and educators who all share a love of making music together. We appreciate the dedication of the following groups who are preparing for this amazing event: Baylor Gold Trumpet Ensemble, Brothers in Song, Revolution Strings (Abilene ISD), student performers from Booker T. Washington High School for the Performing and Visual Arts (Dallas ISD), and student performers from James Bowie High School (Austin ISD). If you can’t be at the First General Session and don’t want to miss this incredible presentation, attend the open dress rehearsal in Lila Cockrell Theatre on Wednesday, February 9, at 6:00 p.m.

After this second meeting of the general membership, where elected officers will be announced and the members of our All-State ensembles will perform, we will hear a compelling keynote address by Dr. Scott Edgar. As the leading voice on SEL in music education, Edgar will present “The Journey from Trauma to Trust in Music Education.” In his address, Edgar will help us better understand the social and emotional effects of the past two years and will focus on how we forge a path forward in music education. Edgar is Associate Professor of Music and Director of Bands at Lake Forest College. He is the author of Music Education and Social Emotional Learning: The Heart of Teaching Music and is an internationally sought clinician on the topic. He is the Director of Practice and Research for The Center for Arts Education and Social Emotional Learning. Edgar was a TMEA clinician in 2021 and his article “Social Emotional Learning and Music Education: Now More Than Ever” was featured in the August 2020 issue of Southwestern Musician. 0

Southwestern Musician | January 2022

TMEA Executive Director ROBERT FLOYD

This Convention Is for You Our convention serves as a rejuvenation of heart and spirit and sends us back to the classroom inspired and motivated to touch students’ lives in a special way throughout the spring semester.

he last six weeks have been more personally uplifting than any since the pandemic started. The first week in October, it was so wonderful to attend a full day of the UIL State Marching Contest in San Antonio and watch and listen to the amazing performances of students in these outstanding bands. You could sense and feel the spirit, and I was awed by the level of quality and, most importantly, the musicianship of those performances. Equally rewarding were the comments and thoughts shared during interviews with the bands’ drum majors. They exuded a high level of excitement to be making music together with their fellow students, and in every case, they extended thanks for their family and directors for their love, support, and leadership. Fast-forward to the week before Thanksgiving when the Texas Music Administrators Conference (TMAC) held their fall conference in Austin. This organization of fine arts administrators represents over 75% of the public-school student population in the state, and they work daily to protect and expand arts programs in their respective districts. After an inspiring opening keynote address by composer Eric Whitacre, they spent almost two days problem-solving and sharing ideas to better serve you, the teachers in their districts. Their spirit was contagious and their mindset so positive. That same week, the State Board of Education met in Austin to write rules that school districts follow to carry out the laws passed by the legislature. On Friday morning the SBOE met face-to-face in a public forum where for the first time in almost two years a student music performance opened the meeting. I cannot express how good it felt to be there and exchange hugs or handshakes with the 15 members of the Board after

10 Southwestern Musician | January 2022

MARK YOUR CALENDAR check www.tmea .org for updates

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such a drought from that opportunity. Restoring student musical performances to the Friday morning meetings of the full board, a normal prepandemic occurrence, was a most special moment. It reminded the members of the importance of protecting the arts in their decision-making policy role. Thanks go to the choir students from Grapevine-Colleyville ISD for their incredible performance! Finally, in the past couple of weeks we began to receive emails of thanks, several including pictures, from elementary teachers across the state who were recent recipients of $800 grants from TMEA. Through a generous gesture by our Executive Board, TMEA awarded 1,115 elementary teachers grant money for equipment and instructional materials totaling over $865,000. These teachers are the unsung heroes of our profession and deserve all the support we can give them. What a joy to put smiles on their and their students’ faces! While the above experiences are hopefully a precursor of better things to come, it’s without question that teachers have continued to struggle to survive this pan-

12 Southwestern Musician | January 2022

demic and give all the heart, soul, and energy they could muster to their students. I can only imagine the toll it has taken on your personal and professional needs. While the virtual convention this past February provided a temporary lift of spirit in so many ways, there is nothing like face-to-face interaction. I consider our 2022 Clinic/Convention, where we will Celebrate Music Together, the perfect elixir we all need. When I describe the TMEA convention to guests, legislators, and advisory committee members whom I invite to attend, certainly I mention the amazing clinics, student performances, 500 companies in a 1,300-booth exhibit hall, and all that represents. But then I describe the experience by stating that for the 13,000 teachers in attendance it serves as a rejuvenation of heart and spirit and sends us back to the classroom inspired and motivated to touch students’ lives in a special way throughout the spring semester. So, if the 2022 Clinic/Convention is not on your schedule, consider these thoughts as motivation to attend:

• Active members may still preregister for $60 through January 20. • There will be 280 clinics and over 100 concerts and music showcases. • Housing is still available on the TMEA housing website. This is about the time cancellations begin to be made, especially after January 10. Continue to visit the site daily as those canceled rooms become available. • If you loved the Thursday morning General Session production “It Starts With Music” during the 2020 convention, be sure to attend this year’s Thursday General Session, which includes a musical presentation entitled “Celebrating Music Together.” • The convention will continue to include significant content on social and emotional learning, including a Second General Session keynote by America’s foremost authority on SEL in music education, Dr. Scott Edgar. • DEIA workshops are presented by our divisions as well as others that are listed for the general membership, all

with amazing presenters (check the sidebar on page 14 for details). • TMEA conventions historically have been anchored in pedagogy—how to be a better teacher. While focusing on student mental health continues as a priority, it is time to refocus on teaching and learning in music. Each division is hosting a myriad of such sessions. • Over 1,100 booths at press time have been sold in the exhibit hall. See, touch, and experience the latest in equipment, technology, music, and all products and services supporting music education. • A free President’s Concert will be presented by the highly entertaining U.S. Army Field Band Jazz Ambassadors from Washington D.C.

dents from across the state in hotel rooms for 3–4 nights. The Board and staff are continuing to monitor conditions to determine what the protocol will be for attendees, student performing ensembles, and exhibitors. Currently the Henry B. González Convention Center protocol recommends facial coverings while in the center. That can change at any time. TMEA will minimally follow the City of San Antonio’s protocols for mask-wearing and extend these to any venue in use for the convention. We

ask all members to be willing to embrace the decisions ultimately made and understand they will be based on what is logistically manageable and contributes to protecting the health of all in attendance. Any changes in safety protocol will be posted at www.tmea.org/convention, and if any change is required during the event, it will be communicated via the mobile app and signage at event entrances. Again, this convention is for you. I hope to see you there! 0

SAM HOUSTON STATE UNIVERSITY | COLLEGE OF ARTS & MEDIA

• Listen to legislators speak on the importance of the arts in the wellrounded education. • You may order audio recordings of all the clinics for only $10. You must be registered to purchase. With this access, you don’t have to miss any clinics! • You cannot place a value on the inspiration provided by the eighteen All-State student performances. • Performances by invited ensembles from all TMEA divisions as well as music showcases will be wonderful as well. • You may still register for the Wednesday one-day technology conference presented by TI:ME for a low fee of $50. • Perhaps most important of all, you will have the opportunity to visit, socialize, and share high-fives with friends from across the state you may not have seen in two years. The Executive Board and staff are continuing to put finishing touches on the 2022 convention. One of the challenges is putting together a conference of this magnitude while still in the midst of COVID and all the challenges that represents. Perhaps you know that for the 1,865 students to stay in All-State hotels, they must upload proof of full vaccination or submit a negative COVID test result. The Executive Board believed this requirement critical to safely combining All-State stu-

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Southwestern Musician | January 2022 13

Learn More About Diversity, Equity, Inclusion, and Access in Music Education TMEA is pleased to present clinics accepted through the clinic proposal process that include a focus on DEIA in music education. We hope every attendee considers these valuable offerings as an important part of their professional development. In addition to clinics selected by our Executive Board, TMEA invited additional

experts in the field to present clinics that will help us offer a more complete program. Refer to your December issue or the online schedule to learn more about the clinics listed below, as well as others that you’ll find throughout the schedule.

Grouped by day, each clinic below includes its time, host division, room (CC=Convention Center, GH=Grand Hyatt), clinicians, and clinic titles. Full descriptions are in our December magazine and online at www.tmea.org/2022schedule.

THURSDAY, FEBRUARY 10 10:00 AM, Elementary, GH – LONE STAR ABC / Jamie Hormuth, Redeemer Lutheran Sch They Look Like Me! Sharing a Lineup of Diverse Composers 10:00 AM, Elementary, GH – TEXAS ABC / Karen Howard, Univ of St. Thomas World Music Pedagogy in Elementary Music 10:00 AM, College, CC 303 / Constance McKoy, Univ of North Carolina Greensboro What Is Culturally Responsive Teaching and Why Should We Care? 11:30 AM, General Membership, CC 304 / LaToya Webb, Univ of Texas at Austin Courageous Conversations: DEIA in Your Music Program and Community 1:00 PM, Band, CC 304 / Larry Brown, Cypress Springs HS; Ronald Todd, Retired; Reese Burgan, Lone Star College - Montgomery No Private Lessons? Master Classes: An Urban Solution 1:00 PM, College, CC 303 / Constance McKoy, Univ of North Carolina Greensboro Teaching with Intention: Why Your Instructional Choices Matter

FRIDAY, FEBRUARY 11 10:00 AM, Vocal, CC 217 / Derrick Brookins, Klein Oak HS; Stacey Gibbs, Independent Contractor; Melody Gamblin-Bullock, Brookhaven College; Jammieca Mott, Prairie View A&M Univ Including the Negro Spiritual in the Modern Classroom 10:00 AM, Elementary, GH – LONE STAR DEF / Julie Derges, Univ of Houston The Songs We Teach: From Problems to Possibilities 10:00 AM, College, CC 303 / Constance McKoy, Univ of North Carolina Greensboro Culturally Responsive Teaching in Music Teacher Education 11:30 AM, General Membership, CC 304 / LaToya Webb, Univ of Texas at Austin; William Lake, Jr., The State Univ of New York, Potsdam The Courage to Change: A Real Conversation about Bias, Culturally Responsive Pedagogy, and Relationship Building 14 Southwestern Musician | January 2022

1:00 PM, College, CC 303 / Constance McKoy, Univ of North Carolina Greensboro Honoring the Ear 2:30 PM, Vocal, GH – TEXAS ABC / Derrick Fox, Univ of Nebraska/ Omaha Cultivating Inclusive Choral Classrooms 4:00 PM, Elementary, GH – LONE STAR DEF / Julissa Chapa, Garfield ES Customizing the Music Curriculum for Spanish-Speaking ELs 4:00 PM, College, CC 220 / Lori Schwartz Reichl, Making Key Changes Mirror, Mirror on the Wall—Is My Program Reflecting All? 6:30 PM, Elementary, GH – TEXAS ABC / Karen Howard, Univ of St. Thomas Matters of Diversity in Elementary Music 6:30 PM, General Membership, CC 304 / Eric Jimenez, Aldine ISD and The Score Podcast; Jose Diaz, Retired; Jesse Espinosa, Waltrip HS; Daisy Zambrano, St. Thomas Univ Latino/a/x Representation in Music Education: How to Recruit Students and Teachers Into the Profession

SATURDAY, FEBRUARY 12 9:30 AM, Band, CC 221 / Robert Bryant, National Association for Music Education Recruiting and Retaining Minority Student Musicians 11:00 AM, Elementary, GH – TEXAS ABC / Karen Howard, Univ of St. Thomas Ethical Song Research for Elementary 12:30 PM, College, CC 220 / Jacqueline Henninger, Texas Tech Univ Impact of COVID-19 on Students of Marginalized Populations 12:30 PM, Elementary, GH – LONE STAR ABC / Kay Piña, Pennsylvania State Univ Applying Dalcroze Eurhythmics to Global Music

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ERIC WILSON

Conductor, Texas Two-Year Collegiate All-State Choir (Performance on Saturday, February 12)

Conductor, Texas Community College Band Directors Association All-State Symphonic Band 7 – 7:50 p.m., CC Hemisfair Ballroom 1-2

Friday, February 11 WIFF RUDD “Side by Side: Building an Effective Community in the Studio” 4 – 5 p.m., CC 303

ERIC WILSON AND ISAIAH ODAJIMA “Promoting Peak Performance: A Conductor’s Tune-Up” 2:30 – 3:30 p.m., CC 221

LYNNE GACKLE Conductor, Texas Two-Year Collegiate All-State Choir 7:30 – 8:30 p.m., CC Stars at Night Ballroom

Auditions are required of all entering and transferring music majors. Please access video archives of our performances here:

Visit the School of Music booth during exhibit hours and College Night!

For more information, visit baylor.edu/music or email Music_Admit@baylor.edu

FACEBOOK baylormusic

twitter @baylor_music

INSTAGRAM @baylormusic

Executive Board Candidates TMEA President-Elect will be elected by electronic ballot on February 10, after the First General Session (closes at 10 p.m.). Division Vice-Presidents will be elected in their business meetings, February 10, at 5:15 p.m.: Band (Stars at Night Ballroom 1); College (CC 220).

Candidate for President-Elect: Dana Pradervand Dana Pradervand

Present Position: Associate Director of Bands, University of Houston (2019–present). Previous Positions: Director of Bands, Oak Ridge HS (2013–2019); Director of Bands and Music Coordinator, New Braunfels ISD (2009–2013); Director of Bands, Judson HS (2000–2009); Director of Bands, Wood MS (1992–2000); Director of Bands, Evans JH, Lubbock (1991–1992); Assistant Director of Bands, Monterey HS, Lubbock (1987–1991). Education: Bachelor of Music Education, Texas Tech University (1987), Master of Music Performance–Conducting, Texas Tech University (1992). TMEA Offices and Positions Held: TMEA Vice President and Band Division Chair (2019–present), Region 9 President (2016– 2019); Region 9 Secretary (2014–2016); Region 12 Vice President (2008–2013); All-State Audition Seating Chair (2014–2016); TMEA State Honor Band adjudicator (2019, 2016, 2014, 2010); TMEA Area Audition Chair (2009–2013); Clinic/Convention presider (2011–2019). Other Offices and Positions Held: UIL PML Committee (2019–present); Phi Beta Mu Area Representative; Serving on the Board of Trustees for the Foundation for Music Education; UIL Concert and Sightreading Evaluation organizer for Regions 9 and 12; UIL Marching Contest organizer for Regions 9 and 12. Professional Affiliations: Texas Music Educators Association, American Bandmasters Association, Phi Beta Mu Band Fraternity, Texas Bandmasters Association, Texas Music Adjudicators Association. Honors and Accomplishments: UIL State Marching Band Qualifier (2018); TMEA 6A State Honor Band 2nd runner-up (2017); Mark of Excellence National Award Recipient (2017); National Youth Concert in Carnegie Hall (2008, 2013); TMEA 3C Honor Band Finalist (1997); Teacher of the Year (1992). Personal Information: I enjoy being Aunt Dana to my nieces, Zoe and Delilah. My other interests include traveling and learning to cook like the chefs on the Food Network. Statement: It is with great respect and humility that I accept the nomination for the office of TMEA President-Elect. I am fortunate to be in my 35th year of teaching and I am grateful to have served as the TMEA Band Division Vice-President for the past two years. I love being a Texas music educator and acknowledge the legacy of our great teachers. It continues to be my goal to honor the mission and ideals of the Texas Music Educators Association. I believe strongly in collaboration. The open forum-discussions among the leadership and divisional membership are keys to our success as a professional organization. This has been tested and 16 Southwestern Musician | January 2022

proven for many years, but none have been more impactful than in the past two years. As Vice-President of the Band Division, I assisted in developing a plan of action allowing us to navigate through the pandemic. We developed Connections events for all divisions to give members a means to gain ideas, get direction, and find support in shared challenges. I worked with the other Board members to create the virtual All-State audition process that provided our students with an avenue to participate in this important musical and life experience. With a collaborative template, the band and orchestra divisions developed an Invited Ensemble process to select outstanding ensembles to showcase at the convention and honor outstanding teaching. I had to think outside the box to create a virtual convention experience that reflected the ideals and mission of TMEA as well as provide our members with informational and inspiring content. Through the valuable guidance of our DEIA committee, we implemented a more intentional and thoughtful process for selecting clinicians, clinics, and repertoire. Moving forward, I will continue to find new opportunities to celebrate teachers and students from all over the state, and from all divisions. I will continue to review our policies and procedures to ensure that everything we do has transparency and equity, creating better experiences for everyone. And I will continue to support the role of TMEA in its legislative influence and advocacy for all our music programs. It is through service I have grown to deeply understand the positive effect and incredible impact TMEA has on our students, programs, and the membership. For these reasons, I want to continue to serve, and I respectfully ask for your support as the next President-Elect of the Texas Music Educators Association.

Prepare to Vote Electronically for President-Elect After the February 10 First General Session ends, TMEA will email President-Elect ballots to eligible voters. To prepare to vote, complete the following steps before February 1: 1. Ensure the primary email on your TMEA member record is accurate. Go to tmea.org/memberinfo. You can update and save a new email address in your record. 2. If you will be at the convention on February 10, be sure you can access that email account remotely (on your personal device or over the Internet on a computer, such as at your hotel). If you are unable to access a computer elsewhere, you can go to the TMEA Help Desk by Onsite Registration (Thursday 10 a.m.–5 p.m.). 3. Add membership@tmea.org to your safe senders list to prevent the email from being blocked.

WW.TMEA.ORG/ELECTION

PERFORMANCE PA S S I O N PRIDE A Member of the Texas A&M University System

DEPARTMENT OF MUSIC BACHELOR’S AND MASTER’S DEGREES IN MUSIC EMPHASIZING MUSIC EDUCATION OR PERFORMANCE tamuc.edu/music | 903-886-5303

2022 Admission & Scholarship Audition Dates: February 19 February 26 March 12 Additional audition dates are available upon request. Auditions are required of all entering and transferring music majors and minors.

@TAMUCMusic

@TAMUCBands

@TAMUCChoirs

Candidates for Band Vice-President: Shane Goforth, Eric Gray, and Gerry Miller Shane Goforth

Present Position: Director of Bands, North Shore Senior High (2005–present). Previous Positions: Director of Bands, Holliday HS (2003–2005); Director of Bands, Aubrey HS (1998–2003); Assistant Band Director, Little Elm HS (1996–1998). Education: Bachelor of Music, University of North Texas (1996); Master of Music in conducting, Sam Houston

State University (2020). TMEA Offices and Positions Held: Region 33 Band Chair (2016–present); Region 19 Band Chair (2007–2016). Other Offices and Positions Held: UIL Music Advisory Committee, TMEA clinician, TMEA clinic presider. Professional Affiliations: TMEA, TBA, TMAA, ATSSB, TJEA, Phi Beta Mu. Honors and Accomplishments: UIL State Marching Band Championships qualifier (2018, 2016, 2014, 2010, 2008); Midwest Clinic Featured Performing Ensemble (2017); Midwest Clinician (2017); UIL State Marching Band Finalist (2016); UIL Area F Marching Band Champion (2016); National Wind Band Honors Commended Winner (2016); TMEA Area F Honor Band Qualifier (2015, 2017); Invited and presented clinics at the TMEA, TBA, and Midwest Conventions; ATSSB Outstanding Performance Series– 1st Place Concert (Holliday HS, 2005); UIL State Marching Band Championship–7th Place (Holliday HS, 2003); North Shore Senior HS and Galena Park ISD Teacher of the Year (2016–2017); Holliday HS Eagle Award/Outstanding Teacher (2004); Little Elm ISD Rookie Teacher of the Year (1996); Who’s Who Among America’s Teachers; Active adjudicator and clinician. Personal Information: Happily married to Lawren, a former math teacher and current registrar at North Shore Senior High, for 27 years. Together we have six children; Opal, Cassidy, Annisa, Morgan, Megan, and Henry. All our children are musicians and were actively involved in public school band and choir programs. Statement: I am honored and humbled to be nominated for the office of TMEA Band Division Vice-President. I should first thank the many people who have mentored, guided, and assisted me in the years that I have been privileged to serve TMEA as a member and an officer. It was those master educators who taught me to honor the past of our organization while caring for the present and looking to the future; band, orchestra, and choir directors from schools large and small, elementary to college, who have built and maintained the incredible organization we call our own. It would be my goal to honor their service by continuing the legacy of outstanding leadership that has made our organization the greatest of its kind. In my 25 years of teaching in 2A, 3A, 4A, 5A, and 6A schools, from northwest to southeast Texas, I have had an incredible set of experiences and opportunities that have provided me with a unique and holistic view of the Band Division and its needs. If given the opportunity, I would work tirelessly to represent both 18 Southwestern Musician | January 2022

you and your students when working with the TMEA Executive Board and local leadership as we continue to lead the charge for music and fine arts education in Texas schools. I will solicit and listen to the voices of all members and seek to use that perspective, along with my 15 years of service as Region Band Chair, to guide the Band Division on our journey of continued excellence, always operating with the understanding that together we can and will find solutions to any challenges we might face. TMEA has played an incredibly important role in making me a continually better teacher and professional. I very much look forward to the opportunity to serve and give back to the organization that has given me so much. Thank you for your consideration as you vote for the next TMEA Band Division Vice-President.

Eric Gray

Present Position: Band Director, Gilmer HS, Gilmer ISD (2000–present). Previous Positions: Band Director, Gilmer JH, Gilmer ISD (1990–2000); Assistant Band Director, Nacogdoches HS, Nacogdoches ISD (1989–1990). Education: Associate of Fine Arts, Kilgore College (1986); Bachelor of Music Education, Stephen F. Austin State

University (1989). TMEA Offices and Positions Held: While not TMEA, I have held the following Association of Texas Small School Band offices: President, Region 4 Coordinator (twice), State Chair Audition Coordinator, State Board of Directors, Executive Board of Directors. Other Offices and Positions Held: NAMMB President Elect; Gilmer Yamboree Board of Directors. Professional Affiliations: TMEA, ATSSB, PBM, TMAA, NAMMB. Honors and Accomplishments: Gilmer HS Teacher of the Year (2007); Gilmer JH Teacher of the Year (1996); UIL State Military Marching Contest Bronze Medal Winner (2020, 2021); TMEA Honor Band Area advancement; ATSSB OPS Area advancement; Consistent UIL Sweepstakes award winner. Personal Information: My wife Lynn and I have been married 18 years and have five children together and three grandchildren. My staff at Gilmer are truly my best friends and “the family that I pick,” so those relationships are obviously very important to me. We try to create a family atmosphere within our band programs to give our kids a sense of belonging and a truly safe place to grow and express themselves. I also serve as the Worship Pastor at The Church at West Mountain (2001–present) and volunteer in the community when time permits. Statement: In the summer of 2019, I was honored to be invited to participate in the Summer Dialogue sponsored by TMEA. During those two days, I was truly humbled to be at the table with such a diverse and knowledgeable group of music educators from across the state, sharing ideas and information. The camaraderie and genuine fellowship those individuals displayed amongst each other as we discussed the future of music education in the state of Texas was truly amazing to me. Having served basically my entire career in the Gilmer community, it was refreshing to see colleagues reach out to each other outside of their area and be genuinely concerned with the struggles of others. As I was driving

home from that meeting in Austin, I decided that I, too, still had more to give and could serve in other areas and would look for ways to make that happen. As I have taught for most of my career in one school district, I have also served for most of my career in one area: the Association of Texas Small School Bands. From Region Coordinator all the way to President, I have enjoyed being a member of that organization from its inception. Kenneth Griffin will always be one of my heroes and I continue to be humbled by his work ethic and passion in which he serves the directors and students of ATSSB. He is truly the guiding light of that organization. My desire is to continue to serve all music educators in the state of Texas with emphasis in the band area. As I have been in contact with many music teachers across the state in the last several years, I have become aware of an increasing desire to help those in need, especially the teachers just starting out. I had a wonderful opportunity to meet with the Young Band Directors of Texas this last year and it was so refreshing talking with those new directors and listening to the excitement in their voices. I think as we get older, we lose some of that excitement with the daily struggles of the real world. My desire is to encourage those who have been teaching for awhile and struggling with motivation as well as to find ways to motivate the younger teachers to look past the daily frustrations and keep on going. I am humbled and honored to be counted among the others in the running for TMEA Band Division Vice-President and continue to look forward to finding ways to serve teachers and students in this wonderful state.

Gerry Miller

Present Position: Coordinator of Fine Arts, Coppell ISD (2020–present). Previous Positions: Director of Bands, Coppell HS, Coppell ISD (2016–2021); Director of Bands, Wakeland HS, Frisco ISD (2006–2016); Director of Bands, Lakeview Centennial HS, Garland ISD (2003–2006). Education: Bachelor of Music Education, Loyola University–New Orleans (1999). TMEA Offices and Positions Held: Area B Band Chair (2016– present); All-State Music Distribution Coordinator (2013–present); Honor Band Rules Committee Member (2019–2020); Region 24 Band Chair (2012–2016); Agenda Committee Member (2015); All-State Band Organizer (2012, 2013); Region 24 Assistant Band Chair (2009–2012); Region 3 Jazz Chair (2004–2006). Other Offices and Positions Held: Marching Band VicePresident, Texas Music Adjudicators Association (2020-present); UIL Marching Band Rules Advisory Committee (2020–present); DCI Adjudicator (2017–present); UIL Ad Hoc Marching Band Study Committee Member (2017–2020). Professional Affiliations: TMEA, TBA, TMAA, TMAC, Phi Beta Mu. Honors/Accomplishments: Midwest Clinic Invited Presenter (2021); TBA Invited Presenter (2019, 2021); TMEA Invited Clinician (2020, 2021); TMEA State Honor Band Finalist (five times between 2009 and 2019); UIL State Marching Band Contest Finalist (seven times between 2009 and 2020); UIL Sponsor Excellence Award (2008).

Personal Information: My wife Lori and I have been happily married for 22 years. She is the Director of Youth Ministry at St. Gabriel Catholic Community. Our older son Gerry (tuba) is an alum of the University of North Texas. Our younger son Benjamin (bassoon) is a freshman at Wakeland HS. In my spare time, I enjoy hiking, trail running, reading, podcasts on philosophy and aesthetics, and playing with our two dogs. Statement: I am humbled and honored to have been nominated by my colleagues to serve as the next State Band Chair. TMEA has played a vital role in my professional growth and has positively impacted the lives of my student-performers in innumerable ways. I welcome the opportunity to continue to work in service of the Band Division in this role. As we emerge from what will undoubtedly be remembered as the most-challenging years of our teaching careers, we are also finding moments to pause and reflect on the processes we hold dear—both inside our band programs as well as those provided by TMEA. Engaging in respectful dialogues on these issues is what continues to make TMEA the envy of similar organizations across our nation—the ability to host intentional and candid discussions about the growth and development of band programs across Texas from a student-centered perspective. I was fortunate to experience these values in action when, in 2019, I approached John Carroll about forming a committee of successful directors representing all classifications to study and refine the Honor Band process. In working with John as well as members of the TMEA staff, our panel was met with sincerity and enthusiasm. We crafted the newly adopted competition paradigm in an effort to provide a fair and balanced contest experience from Region to Area to State, and we discussed a pathway to allow more groups to be featured at future TMEA conventions. We are hopeful and excited to see the process launch this spring and summer. TMEA has given so much to me as a music educator, by supporting my programs and offering high-quality experiences for my student-performers. Since the earliest days of my teaching career, volunteering to serve TMEA at the Region, Area, and State levels has been an important part of my life as a band director. I was blessed to have this modeled for me by the men and women who served as my mentors in the profession. This legacy of service is at the heart of the Band Division, and it is vital for us to pass this on to the next generation of band directors in Texas. I hope that my record shows a willingness to guide the Band Division with compassion, seeking first to understand before being understood, and always focusing on the experiences of our teachers and student-performers first and foremost. It is my sincerest hope that, through my words and actions, I have earned your vote to become the next State Band Chair.

Candidates for College Vice-President Note: The number of Region nominations required to list candidates for office was not met. Nominations will be accepted from the floor during the College Division Business Meeting. 0

Southwestern Musician | January 2022 19

2022 TMEA Clinic/Convention February 9–12 • Henry B. González Convention Center • San Antonio

Important Deadlines Near January 19

January 20

• Last day to cancel a reservation made through the TMEA housing system without being assessed a $50 penalty.

Last day to register online at the lower rate! After this date, online registration continues, but at the higher rate.

• Last day to make a reservation with most hotels via the TMEA housing system (some may continue to be available, but the listing will be limited).

January 20

• Last day to modify a reservation made through the TMEA housing system. After that, contact the hotel directly (wait several days, as there is a delay in the hotels downloading their reservation data).

If your registration was submitted with a school purchase order, TMEA must receive payment for it by this date. If we don’t receive payment on or before January 20, you must pay registration online or onsite to attend (at the higher rate).

ATTEND THE BEST MUSIC EDUCATORS CONVENTION!

President’s Concert Jazz Ambassadors of the U.S. Army Field Band Thurs., Feb. 10 • 8 p.m. • Lila Cockrell Theatre • Free! Go directly to Lila Cockrell Theatre for admission to the concert (no tickets).

Create an Online Schedule The online convention schedule is available. Create your schedule online to help you organize your time and to begin the process for creating your official CPE record. You can save, edit, and print your online schedule. This online schedule is presented through Guidebook. Create an account (or log in with an existing Guidebook account). When you download the TMEA 2022 guide to your mobile device in February, the personal schedule you created will be on your mobile app and can be updated.

SEE YOU IN SAN ANTONIO! 20 Southwestern Musician | January 2022

Music Brings People

By Tricia Moore

Together

hen recently teaching my elementary students about Bach’s Cello Suite No.1 in G Major, I showed them a beautiful video of Yo-Yo Ma performing the Prelude from that work so they could see what the cello looks like. This particular video features people from around the world moving to music. Watching it sparked a variety of conversations. I asked them what they noticed or why they thought I showed them the video. While I did get some great musical answers, the one I appreciated most was from a first grader who said, “Music brings people together.” I loved this quote so much it is now displayed in my room as a reminder. Music brought my students and me together during a time of uncertainty. Music continues to bring people together from all cultures around the globe. Thinking on this led me to reflect on how I can utilize my position as a music teacher to stay connected with my students and their families.

Being Apart Brought Us Together The pandemic motivated us to connect in different ways with our students and families. Last year we experienced alterations in our school schedules, physical-distancing parameters, maskwearing requirements, learning platforms, cleaning protocols, and essentially every other component of education. We learned to make videos with our phones, rewrote curriculum, figured out how to provide each student individual supplies, and much more! It was (and is) exhausting! After returning this fall to teach in person, full-time, I met some of my students for the first time. Until then, I had been teaching them while they were in living rooms or at kitchen tables in their homes. I met their pets, their siblings, and their parents. I still ask one of my students about her cat Fireball. I became a part of their lives in a very different way. On first seeing a parent at school, she remarked “It’s magical to see you in person!” One of my first graders exploded one day exclaiming, “This is just the best day of my life!” When I asked why, he answered, “We got to play instruments!”

It has been two years without any assemblies or music programs at my school, and we still aren’t permitted to have in-person performances for our families. In December, I video-recorded all performances from my classroom and pushed them out like world premieres for the families to watch. I do what I can to stay connected with the parents I began building relationships with during the early stages of the pandemic. I have found the ClassDojo app to be very helpful in maintaining those connections. I send parents pictures of what their children are doing in music class. I communicate with them if their child is sick or simply needs some extra attention. The app can translate from English to Spanish and vice versa, which helps support successful communication. I use the app to send positive reinforcement, praising my students for doing well. I also decided to continue utilizing Google Classroom with second through fifth grades. My students love creating music with some of the sites we used last year, such as Chrome Music Lab and Incredibox. They also ask me to add lessons and music they enjoy to their Google Classroom. This is keeping us connected, through comments and with the opportunity to simply relive their classroom musical experiences. I also plan to use this online platform to post the music that needs to be memorized for our programs. When I started teaching 25 years ago, I could never have imagined I would be doing what I am doing today. I also presume that Bach couldn’t imagine his music would be played and listened to so avidly 300 years later. Yet, we remain connected with Bach through it. If there is one thing I know with absolute certainty, it’s that music will always have the power to change society and bring people together. 0 Tricia Moore is an Elementary Music Teacher at Parmer Lane Elementary in Pflugerville ISD.

Southwestern Musician | January 2022 21

UPCOMING FEATURED PERFORMANCE The University of Texas Wind Ensemble at the 2022 TMEA Conference February 11, 2022, 8:30 p.m. San Antonio, TX Featuring: Omar Thomas Low Down Brown Get-Down Alexander Arutunian Trumpet Concerto featuring Prof. Billy Hunter, trumpet Ottorino Respighi The Pines of Rome with members of the Cavaliers Drum & Bugle Corps

MARK YOUR CALENDAR The Art of Band Conducting and Rehearsing Workshop I June 12-16, 2022 University of Texas faculty in addition to Craig Kirchhoff & Richard Floyd, Guest Clinicians

TEXASBANDS.ORG

TMEA Band Vice-President

DANA PRADERVAND

Repertoire Is Curriculum Repertoire is the instructional guide that ultimately dictates the scope and sequence of our programs, and therefore must be considered through a very intentional and thoughtful process. In Memoriam Darin Johns March 24, 1968–November 19, 2021 James (Jim) Cain June 13, 1941–November 28, 2021

MARK YOUR CALENDAR check www.tmea .org for updates

January—Renew your membership and register for the convention. January—Make your TMEA convention housing reservation online. January 8—Area Band and Vocal auditions. January 20—TMEA mail convention registration deadline (checks must be received). January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/Convention in San Antonio. February 10, 5:15 p.m.—Band Division business meeting at the convention. February 11, 5:15 p.m.—TMEA Region meetings at the convention.

t’s that time of year! Time to begin thinking or continue thinking about what repertoire to play for concert season. Everyone has their own system for selecting music. You may be someone who programs music according to the strengths or weaknesses of your ensemble. Others may program from a menu of “good old standards” they have taught before. Still others may research and explore new music, vowing never to repeat pieces. And perhaps some face this time of year with no idea of what to play or how to select. Regardless of your method for selecting repertoire, it is one of if not the most important of our responsibilities as educators. Repertoire selection should be more than finding the piece that will ensure a first division at UIL or selecting a program in hopes of competing in a contest. H. Robert Reynolds, iconic conductor and master educator from the University of Michigan, said “Repertoire is Curriculum!” In contemplating this, it can be said that repertoire is the instructional guide that ultimately dictates the scope and sequence of our programs, and therefore must be considered through a very intentional and thoughtful process. A large percentage of the year is spent in concert band rehearsals, and the repertoire that we choose to work on will ultimately determine if our students enjoy being in our programs. Therefore, the music we choose must be of quality, must have instructional value and musical merit, and most importantly, must be relatable to our students. While understanding the strengths and weaknesses of your ensemble is critical, let me offer some additional criteria for selecting your spring programs. 1. Is there opportunity for skill development?

Southwestern Musician | January 2022 23

2. Does it provide a pathway for musical expression? 3. Is there historical value to this piece? 4. Are we honoring diversity through the music we choose (composers, genres, etc.)? 5. Can your students see themselves in a piece—does it reflect their life experience? Everyone has a favorite piece they have performed, and it became our favorite, because to us, it has quality music merit, we learned a lot from it, we relate to it, and

it gives us joy. What selection from your spring season repertoire will be your students’ favorite? For additional guidance on this topic, read Michael Alexander’s article on page 40. 2022 Clinic/Convention Update The excitement is building as we near our annual convention. There is a full slate of clinic offerings for your professional development, along with inspiring concerts and motivational speakers. And let’s not forget the opportunity to rejuvenate and reconnect with our colleagues from

Clark W Fobes

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www.clarkwfobes.com we will be running some specials during the week of the TMEA convention! Use code TMEA2022 for 10% discount on any item over $175 with FREE shipping!

Debut NOVA San Francisco 10K LEUTHNER ISHIMORI PILGERSTORFER 24 Southwestern Musician | January 2022

across Texas. January 20 is the deadline for early online registration. Registration will continue after that date, but the registration fee will go up, so register early! You may now view the entire convention schedule online and create your personal schedule, which you can transfer to your convention mobile app, so get started crafting your ultimate convention schedule! In your schedule, be sure to include times to peruse our exhibit hall. Make a point of welcoming back our industry partners and exhibitors and thank them for their continued support of TMEA and Texas music education. It is my pleasure to introduce the Band Division’s Middle School and High School Invited Ensembles for this convention. Please add their concerts to your schedule and come support our colleagues and their amazing students. Dawson High School Percussion Ensemble The Dawson High School band program has approximately 300 members, 32 of whom are percussion students. These students are involved in a variety of other activities such as additional fine arts classes, athletics, and UIL academic teams. The Dawson Percussion Ensemble performs a wide range of music across all genres of percussion ensemble literature. The Dawson Percussion program earned the Mark of Excellence-Foundation of Music Education National Percussion Honors Award for 2021, and in 2019 the ensemble was awarded Best-in-Class at the Shadow Creek Percussion Ensemble Festival. All members participate in the TMEA All-State audition process, as well as solo and ensemble contest, percussion concerts, and band UIL preparation during the spring semester. The percussion students study with the top private teachers and percussion consultants from the Houston area. Dawson HS is in Pearland ISD. Harlan High School Wind Ensemble The Harlan High School Wind Ensemble was established in 2017 with the opening of the school. The primary focus of the band is to cultivate all students for leadership roles through a thorough education in all aspects of instrumental music performance, both in concert and marching settings. This is achieved by focusing on individual musicianship and growing

Dawson High School Percussion Ensemble

Harlan High School Wind Ensemble

Harlingen High School Jazz Ensemble Southwestern Musician | January 2022 25

the technical and musical abilities of each student. The program has an established tradition of excellence commensurate with the namesake of the campus. All concert ensembles and the marching band have earned superior ratings exclusively. Band members have also been successful in the various individual performance assessments such as Solo and Ensemble and the TMEA All-Region process. Harlan HS is in Northside ISD (San Antonio). Harlingen High School Jazz Ensemble Harlingen High School is home to one of the finest high school jazz programs in the country. The Harlingen HS Jazz performing groups consist of multiple jazz ensembles and student combos. In 1998 the Harlingen HS Jazz Ensemble performed at the International Association for Jazz Education Convention with guest artist John Fedchock, a first performance at that level for any South Texas high school jazz ensemble. While in New York, the jazz band participated in a tribute to Duke Ellington’s music with Wynton Marsalis leading them at Lincoln Center as part of an instructional series published for music educators nationwide. The Harlingen HS Jazz Ensemble has performed three times by invitation at the Midwest Clinic. The Harlingen HS Jazz Ensemble also performed in 2017 as the TMEA Invited Jazz Ensemble. Aledo High School Wind Ensemble The Wind Ensemble is the top-performing concert ensemble at Aledo HS. All members of the Wind Ensemble participate in the Bearcat Regiment Marching Band, All-Region, and Solo and Ensemble. The Wind Ensemble performs several concerts throughout the season, ending in May with a multi-night media production “Night at the Pops.” The Wind Ensemble has advanced to state multiple times in the TMEA Honor Band process and was honored to perform as the 5A State Honor Band in February 2016. In 2020 the Wind Ensemble was invited to perform at the National Concert Band Festival. The Aledo HS Wind Ensemble has consistently earned UIL sweepstakes awards the last 29 years and has been chosen as a National Winner through the Foundation for Music Education multiple times. 26 Southwestern Musician | January 2022

Aledo High School Wind Ensemble

Krimmel Intermediate School Symphonic Band

Admission & Scholarship

Auditions 2022 UNDERGRADUATE & GRADUATE

FEBRUARY 19 | MARCH 5 ALTERNATE DATES BY APPOINTMENT

UNDERGRADUATE DEGREES IN Music Education | Performance | Composition | Music Industry Studies | Jazz

uta.edu/music

Keller Middle School Band

Reynolds Middle School Jazz Band Krimmel Intermediate School Symphonic Band The Krimmel Intermediate Band program includes three performing groups: the Symphonic, Concert, and Cadet Bands. Since the opening of the school in 2007 (in Klein ISD), the Krimmel IS Symphonic Band has earned several distinctions at the state and national levels. They performed in 2009 at the Midwest Clinic and at the Music for All National Concert Band Festival in 2018. Most recently, the Krimmel Symphonic Band was named a National Winner in the Mark of Excellence/National Wind Band Honors through the Foundation for Music Education. Students in the Symphonic Band participate in Region Band auditions, solo and ensemble contests, Concert and Sightreading evaluations, and various festivals. Both the Symphonic and Concert Bands have been consistent UIL sweepstakes award winners since its inception. Keller Middle School Band Keller MS Band is honored to perform at this year’s TMEA Clinic/Convention.

The school is located north of Fort Worth in Keller ISD. Our musical journey begins at Bear Creek Intermediate, in homogenous instrument classes meeting alternating days. The primary focus is building confident players with proper fundamentals while cultivating a love for the musicmaking process. After the beginner year, students transfer to KMS, where the curriculum consists of musical skill-building, developing critical thinking, increasing expressiveness, and performing diverse repertoire. The Keller HS band cluster works collaboratively for the success of each student. We believe a strong music program impacts students’ social-emotional experience and improved quality of life for years beyond their time within our band halls.

Reynolds Middle School Jazz Band The Reynolds Jazz Band from Prosper ISD is composed of seventh and eighth graders who go above and beyond through this performing opportunity outside their primary band class, meeting for afterschool rehearsals on Fridays. With the events of the past year, we were unsure what the interest in jazz band would be, so we were pleased when students pleaded with us to give the jazz band a chance. At the first rehearsal, we had over 30 students! Students are involved in a variety of activities, such as athletics, dance, cheer, student council, NJHS, and various UIL academic teams. The Reynolds Jazz Band has received numerous first division ratings and accolades at The NRH2O Music Festival, TCU Jazz Festival, and Chet Baker Jazz Festival. Guest artists will include Dr. Jimmy Simmons and Travis Harris. 0

Attend the Band Division Business Meeting February 10, 5:15 p.m. • Stars at Night Ballroom 1–2 Get updated on association business and vote for the next TMEA Band Vice-President. Southwestern Musician | January 2022 29

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.

How do you structure class/rehearsal to cover what’s needed and keep interest and engagement high?

• • • •

I set goals and post them at the beginning of each rehearsal. I always schedule more than I believe we can get to so that students who are not directly engaged can look ahead. I also ask questions that require full band response that can be done without talking (thumbs up, numbers indicated by fingers, etc.). —Josh King, Beckville ISD I begin each class with a 30-second dance warmup. This gets smiles on their faces and allows them to use their bodies, which is vital for singing! They each get the chance to choose a school-appropriate song, which creates conversations since some students might not have heard a selection before! —Alyssa Lavender, Wakeland HS I change up our daily routines all the time, and we don’t just go through the drills—we reflect. I call on kids; I walk around; I ask for their input; I respect their opinions. It’s more of a discussion and that keeps them motivated and engaged. —Katie Lewis, Maus MS Let your students lead rhythm call and response, and allow them to be the class leader for the day. Even high schoolers love the chance to be in charge. Other ideas can be as simple as tossing a ball around the class to someone they don’t know, or circling around the piano instead of sitting in rows. Little changes each day keep them on their toes. —De’Evin Johnson, Duncanville HS

30 Southwestern Musician | January 2022

• • •

•

Interest is developed through encouragement, achieving specific goals, individually and collectively. I don’t mind having a predictable routine, as long as it is student-success driven. I do use Fridays as a special day to alter the routine. We have backward days, “monk” rehearsals, improv, small ensemble (student-selected) recitals. —Eric Wharton, Mexia HS Get them engaged by teaching transposition on the easier warmup techniques or teach the students who have moved on to a more advanced technique an alternative part to play along with students who haven’t quite mastered this technique. —Ben Ayers, Frisco Memorial HS Something as simple as changing the order in which daily tasks are completed can lead to a more effective rehearsal. If every class starts with a sightreading exercise, try changing the first objective to rhythm reading to keep the rehearsals from becoming stagnant. Students also enjoy when we randomly increase the tempo, simply for the sake of differentiating. They love the challenge. —Aaron Vierkant, Magnolia West HS I think of my elementary music lessons as being high–low– high–low. When they enter, we start with a song or dance that keeps them on their feet, then we sit down for a song or learning activity, then we are up again for more movement or a game or playing instruments, then we’re back down for more learning or listening to a story, etc. Don’t let them sit too long, and don’t keep them up too long, and you’ll find it’s just right! —Corey Fisher, Windsong Ranch ES

•

Each day our warmup is different and challenging. I allow students to develop the rhythm studies that we do daily and they select which scales we use throughout the studies. We then sightread random excerpts daily, each is timed so we don’t spend too much time on it. When we get to literature, students work in varied ensembles daily so they get to rehearse with different instrumental pairings. They learn what others’ parts sound like and how to blend and balance beyond their section. At the end, we put it all together and discuss our learning and how to improve for the next day. —Renferd Joseph, Alief ISD

•

There are many ways to approach the same thing repeatedly so the material doesn’t become predictable or boring. Perhaps one day, students are coloring in fingerings on a worksheet with notes on them, and the next day, they are doing finger exercises on the instrument with a metronome and various pre-planned movements. The following, you might show the class a fingering and ask them what note corresponds to it. Some repetition is good—routines for how a band enters the room, tunes, warms up, etc. Give some students roles to play in that routine and change up who serves in those roles to keep it interesting. —Carolyn Ireland, Folks MS Make a plan and be willing to flex when needed. Variety is essential, and there’s no right or wrong way if you know the concepts you want to teach and can get them accomplished within the rehearsal. My colleagues always have a nonmusical poll ready for younger students (e.g., who makes

•

the best fast food french fries or which superhero would win in a head-to-head matchup). This quick break in rehearsal gives students a chance to disengage from the music and engage with each other when defending their answer. After this short mental break, they quickly get back on track. —Leigh Ann McClure, Keller Central HS Elementary students are motivated by lessons that are structured so that they can anticipate what’s coming next. We focus the group with a recitation and vocal warmup. We follow that with reviewing familiar song material to check for understanding and see what needs continued practice. We then go to a movement activity followed by sitting for a group activity where we introduce or practice a challenging activity or concept. This is followed by an activity that reinforces the new activity, and we end the class by doing a summative activity. —Todd Nolde, Canyon Pointe ES Instead of doing a consistent F Remington every day, change it up and do the Chickowitz exercises and discuss balance and blend across the band. Play the warmup chorale and emphasize different voices or have them perform a section in a marcato or staccato style so that students can demonstrate understanding. —Brent Farmer, Bullard HS

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How do you help students develop effective practice habits?

•

• •

One of the good things that came from online learning was our development of virtual practice logs. They helped train students on what to practice and in what sequence. Students made videos of themselves practicing each step. We have continued this, even though virtual teaching has stopped. It has helped create a positive, effective practice routine for our students. —Leigh Ann McClain, Griffin MS You can teach a student how to practice by modeling the behavior during rehearsals and sectionals. After demonstrating, offering a brief explanation of the why will encourage the students to change their practice habits. We need to model efficient and effective methods of practice for our students. Fifteen minutes of high-quality practice can be more beneficial than 30 minutes of playing. —Jason N. Thibodeaux, Churchill HS We build these practice habits in the classroom. Time is given to practice a difficult passage, and examples of how to practice are offered. —Beth Kerzee, Marfa ISD I ask students in my trumpet studio to frame their practice around achieving short-term goals, each of which supports previously identified long-term goals. Before they begin, the student decides what they want to achieve in the

•

• •

time available. This takes some trial and error, but students quickly figure out how much they can get done, and this process typically makes their practicing more efficient. —Andrew Cheetham, Texas State University Even at the elementary level, we can set the groundwork for effective practice habits. Whenever we begin a new piece of music as a class, I spend time going through the same routine: recognize staff symbols and notes, read the rhythm, read the melody on solfège, and sing the song with lyrics. Each consecutive day we work on the piece, we re-create the routine but we move faster through each step. I hope students will have this method imprinted in their minds when they go to middle school so that they can be successful in their at-home practice. —Jessica Shindle, Handley ES Show them how to practice. Take at least one full class or lesson practicing with them. Talk them through all the motions of practicing and take them through every thought you have while practicing. Students won’t practice if they aren’t taught how to practice. —Mandy Guilfoyle, Texas Music Institute I host open practice after school and encourage them to bring a friend and practice. Once they realize how relaxed it is, voluntary attendance increases dramatically. I have a love– hate relationship with practice logs. While some students are dishonest in their reporting, when I require them, the band hall is full of students practicing after school. The years I chose not to, the band hall was empty, and I regretted it. —Katherine Barrier, Jacksonville MS

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• Also working as an adjunct horn professor, the way I help

students develop their practice habits is by teaching them how to troubleshoot problems. If they make a mistake, I have them stop, identify the problem, and try to think of a way to fix it. If they need help, I guide them by asking pointed questions, and once they figure that out, I ask them whether they had trouble getting into or out of it. Once they figure out the root of the issue, we isolate the problem and create a quick exercise they can utilize to fix it. My goal is that they become able to teach themselves. One hour in a weekly lesson isn’t enough learning time. —Stephanie Ginnings, Fowler ES

• At the elementary level and with beginner students, half the

work is getting them to simply take time to practice. I start them out by saying, “I want you to listen when you walk by your instrument. You will hear it say, ‘Pssst—hey you—come play with me!’ ” This bit of whimsy seems to work as some students have complained their instruments want to be played all the time! —Tamara Edwards, Thornton ES

• We model this during afterschool practices by focusing on

only a small section of the audition music, breaking it down by phrase until we learn it with minimal error. We discuss how the length of practice time does not matter if you aren’t focusing on smaller chunks. Working 10–15 minutes on specific sections does more for you than practicing for an hour on everything. —J.R. Smith, Grand Oaks HS

• Starting in sixth grade, students write down what they are

practicing daily and weekly. We practice how to practice during their class. We show them how to use their metronome, and how to set up and use the wire stand. We talk through what kind of chair to sit in and proper posture. The rest is about consistency and starting small, with something as simple as five minutes of practicing note name flash cards and counting charts. —Krystal Michal, Robinson HS/JH/INT

day of practice achieved. The page also has areas for reminders (next lesson date and time, fees due, etc.) and four staves for warmup/intervals/theory practice. Many of my students choose to photograph their weekly page and keep the page in their school ensemble binder to ensure it will be brought back to their next lesson. I often write myself a word or two about upcoming technique or repertoire. It works! —Christine Beutner, Denton ISD

• Make before- and afterschool practice a cool thing to do

in your band hall—encourage older students you trust to partner with the younger ones and help them. Encourage kids from different classes to practice together so that they can hear different sounds. Encourage them to bring a buddy in the band to practice with. Make it a fun and engaging environment. —Carolyn Ireland, Folks MS

• We utilize the practice process for every new line or piece of

music. It starts with clapping and counting, and it progresses through articulations, note names, fingers, and fake play or air and tongue. We use it for everything—no one is too old for the practice process. —Marissa Davis, Crowley MS

• Our beginner band students are required to submit weekly

practice cards. On the back is a “How to Practice” outline. This explains to students and parents why, where, when, and how to approach practicing. This page is also on their Google Classroom. Also on their Google Classroom we have a generic “Daily Practice Routine” schedule for middle schoolers to follow. There is one page specifically for woodwind students and another for brass. —Gregg Diamond, Bushland HS 0

• I encourage them to come to the band hall and practice

so I can hear their individual routine and help facilitate that practice. I also talk about what they should start with and what they should be thinking about in each of the steps of their practicing. —Ben Ayers, Frisco Memorial HS

• I use an assigned practice routine that

changes weekly and helps students develop a routine of their own. The practice routine always includes long tones, technique, the weekly assignment, just-for-fun material, and a cooldown. In the classroom, I always demonstrate and talk about effective practice tools like sequencing, repetition, and varying articulation and tempo. —Alanna Tate Kumme, West Ridge MS

• I use a template for at-home practice in my private flute studio. Students are to begin at the top of the page and work the assignments in order: book, page number, exercise number/song title, goal/focus, and boxes to check for each

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TMEA Orchestra Vice-President ANN G. SMITH

We All Need a Mentor on Our Journey You as a coach need your own coach to help you keep moving forward on your journey with the same joy and excitement you had when you began it.

n the October and November issues of Southwestern Musician I began addressing some topics and viewpoints on competition in music. I intended to continue this exploration, but some recent experiences moved me in a different direction for this month’s column. We just passed through the holiday season that for many of us meant high-stakes performances. They offer opportunities to assess and evaluate our work product, and they can result in a high level of stress. We want our performances to be exemplary. There are days when we feel as if our rehearsals are not as good as we’d like. We are starting to select and prepare repertoire for our UIL Concert and Sightreading Evaluations. We are away from our homes and families more than any other time of year, and we want to be part of a magical holiday season for our community. It’s no surprise that many of the conversations I’ve had with directors and educators during this time centered on the high levels of stress, frustration, and exhaustion. In addition to these conversations, I had a discussion with someone about my own stress levels, my perceived bad days, and my journey. Aha Moment During this conversation, I expressed my frustration with my growth, or my perceived lack thereof. I felt as if I had been taking steps backward, and I was being hard on myself and our performances. The person I was talking with said all the right things to help me see the growth and give myself credit or grace and to encourage me to enjoy the journey. It hit me that I know all these things and I often say them to my students, so why can’t I believe them for myself? It was then that this person said, “Because coaches need coaches!”

34 Southwestern Musician | January 2022

MARK YOUR CALENDAR check www.tmea .org for updates

January—Renew your membership and register for the convention. January 19—Deadline to cancel a housing reservation online without penalty. January 20—TMEA mail convention registration deadline (checks must be received). January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/Convention in San Antonio. February 10, 5:15 p.m.—Orchestra Division business meeting at the convention. February 11, 5:15 p.m.—TMEA Region meetings at the convention.

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We All Need a Mentor One of the first things I always suggest to a less-experienced teacher is to have a mentor. I encourage them to not only find a mentor on their campus or in their school district, but also join the TMEA Mentoring Network. A mentor is an invaluable source for a new teacher, and having a mentor shouldn’t end after our rookie year. Everyone needs a mentor, from the early-career teacher to the veteran with many years of success under their belt. A favorite TV show of mine is The Resident, a medical drama series. In a recent episode, the hospital CEO hired a physician consultant to observe the surgeons for better medical results. The surgeons weren’t initially receptive because they viewed themselves as the experts in their field. Ultimately, a suggestion made by the consultant resulted in a better outcome for a patient. The message is that no matter what our level of expertise, gaining the perspective of an outside, unbiased person can benefit our professional endeavors.

Who Should Be Our Coach? We need to be completely comfortable with the person we choose to be our mentor. We should regard this person as an expert in our field, and they need to be someone who has time for us. I recently changed mentors because my previous one didn’t have the needed time to give. Your mentor/coach should share a similar vision and philosophy that you hold close. If your mentor has a vision or philosophy that opposes yours, it will not be a beneficial relationship. One of the most important characteristics of a coach or mentor is that of confidentiality. You must have the confidence that your concerns or struggles are exactly that—yours—they don’t belong to everyone in your area or profession. The Result Directors and friends who are experiencing frustration and struggles prompted this conversation. I would challenge all veteran teachers and those with less experience to find a mentor/coach. You as a coach need your own coach to help you keep moving forward on your journey with the same joy and excitement you had when you began it. I believe we would

experience far less frustration, stress, and burnout if we had coaches to collaborate with on a regular basis. Let’s not wait for an emergency situation to seek a coach or mentor. We are all givers in one way or another, so give yourself the gift of a mentor, coach, or confidant. TMEA Clinic/Convention Update This is such a busy and exciting time of year, and despite the busyness I hope you have registered for the convention and secured your hotel reservations. If you haven’t, there is still time to do so. I don’t want you to miss this exciting opportunity to gather together. You can now view the convention schedule online and create your personal schedule, which you can save and edit (go to www.tmea.org/convention). Please add to your schedule the clinics presented by the Orchestra Division’s Featured Clinician, Margaret Selby. She will be presenting clinics addressing cello pedagogy, healthy school programs, and program and personal sustainability. In addition to our featured clinician, we will have a variety of clinics addressing topics and ideas from DEIA to conducting,

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rehearsal technique, and pedagogy. There is something for everyone to learn. A must-add for your personal convention schedule are the performances of our Orchestra Division Invited Ensembles, three of which are featured this month (with our others in the November issue). Show your support of our colleagues and their students with your attendance. The Orchestra Division business meeting will be on Thursday, February 10, at 5:15 p.m. in CC 214 CD, and it will feature the winners of the TexAsta Concerto Competition.

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University of Houston Moores School Symphony Orchestra With over 100 members, the Moores School Symphony Orchestra (MSSO) is conducted by UH Director of Orchestras and Hourani Endowed Professor of Music Franz Anton Krager. The MSSO has been hailed by international artists and critics alike as a student ensemble of professional quality and versatility. The MSSO appears regularly with world-class performing artists and has been featured at several TMEA conventions and the Midwest Clinic in Chicago. In 2018 the MSSO performed with acclaim at the Kennedy Center for the Performing Arts in Washington D.C. The MSSO collaborates on a regular basis with the Moores Opera Center, Moores School Choruses, and the Houston Ballet’s Ben Stevenson Academy. It is a leading ensemble in the area of new music as well as being an important repository for the standard literature. Cinco Ranch High School String Orchestra The orchestras under the direction of Brett Nelsen have enjoyed a reputation of musical excellence. Ensembles from this prestigious program have performed in major concert halls across Texas and the United States, where they won many coveted awards. Since Oscar Vera joined the Orchestra Program as a fellow director, the orchestras have ascended to even

greater heights. In 2010, the orchestra had its Midwest Clinic debut, and in 2020, the orchestra was named the Grand National Champion of the ASTA National Orchestra Festival in Orlando. The students who have contributed their time and talents have made the orchestra program a success. Graduates of the Orchestra Program are now best-selling authors, doctors, lawyers, professors, world-class concert soloists, and fellow TMEA members. Mariachi Nuevo Cascabel The Sharyland High School Mariachi Program was founded in 2013, and it promotes student growth and success through the learning of traditional and modern Mexican music. This program has received many awards over the past eight years, including The Monitor’s “Best Readers’ Choice Award” for five consecutive years, third place at Mariachi Vargas Extravaganza, second place at the TAME state competition, UIL Sweepstakes awards, and National Grand Champions at the Mariachi Spectacular Competition in 2019. In addition, we are proud to have an image of our Mariachi Nuevo Cascabel members included in an October 2021 National Geographic story in which 33 photographers from around the world shared glimpses of joy found during a difficult time. The program’s continuing mission is to lead students to achieve success through music. 0

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Choosing Ensemble Repertoire

By Michael Alexander

hat are you playing for contest this year?” This is one of the most common questions I hear from ensemble directors, both novice and veteran. What we play has a key role in how we play it. I have always thought of repertoire as the ensemble’s textbook. In the warmup, we may use ancillary method books for teaching scales, tone, and technique, but in rehearsal the textbook is the repertoire. Unlike our math, science, and language arts colleagues, who use the same textbook for years, ensemble directors can change their musical textbook throughout each year. That opportunity makes the choice of literature extremely important in the overall sequence of pedagogy. The repertoire selection process is one that can be fraught with pitfalls unless you consider several questions: • Does the music motivate the students to practice? • Is the music appropriate to student progress in your pedagogical sequence? • What will the students learn during the preparation of the piece? • What TEKS objectives will be met by rehearsing and performing the piece? Know Your Students All kids are different. As such, their needs, abilities, interests, and ambitions will not be uniform. They may not be as concerned about getting a superior rating at UIL as you are. Early in my career, I always believed that orchestra was in the top two to three interests of most of my students, but my expectation was that it would rise to the top of the list the week before a concert. For many of them it did, but for others, that level of focus did not happen until they were on stage. I wondered whether it was possible to motivate my students by balancing their desires for repertoire with my own. I began to inquire and consider their ideas on literature in an attempt to explore a more meaningful music selection process beyond my favorites or music that was high, fast, and loud. I asked my students about their favorite pieces we had performed and what elements of those pieces made them

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memorable. Some of their responses were: “I love Elgar’s harmony.” “I like all the double-stops Del Borgo uses.” “I like it when my instrument gets the melody.” “Can we do more pieces like Can-Can that use spiccato?” I realized that one reason students stayed in orchestra was because many of them liked performing the works of the great masters. I began asking for their ideas on other pieces from the classical repertoire they wanted to perform and considered the suitability of those pieces or other pieces by those composers. I also asked them what elements they liked about the music on their personal playlists. Although many responded that they loved the texts of their favorite songs, others described the musical elements they enjoyed (harmony, melody, rhythm, style, etc.). I found that my students were more motivated in rehearsal and performance when the repertoire included some musical elements or techniques from their playlist interests. If our literature can reflect the interests inherent in the diversity of our students,

we will have little difficulty in motivating them to rehearse and perform. It is our responsibility to provide an appropriate distribution of the classics with more contemporary genres and styles and to teach works that champion the great diversity of composers, past and present. Our role as directors is to be the filter for quality, appropriateness, and pedagogical value of the literature we choose. Know Your Resources We are fortunate to have such easy access to recordings and perusal scores. Most publisher or distributer websites have either performance recordings or digital files of their music as well as scores for online perusal. Once you have a few titles selected from these sources, also search for recorded student performances on YouTube for a reality check; you may be surprised how different a piece sounds when performed by students instead of professionals! The new music reading sessions at our state summer conferences have the added benefit of prescreening for quality by music selection committees and the unique opportunity for hands-on experi-

ence with individual parts. Searching the publisher/distributor booths at state and national conferences can result in great conversations with fellow directors about their favorite pieces for teaching and performance. There are also social media groups and association discussion boards with archived threads about recommended literature. Join these social media groups; they represent voices from the profession and often have valuable responses. In addition to online resources and conference reading sessions and exhibits, seek out the advice of your mentors, colleagues, peers, and former teachers. These are the people who know you best and may even know your program well. I guarantee you, advice on literature will be freely given, along with annotations about successes and failures! Know Your Ensemble When it comes to selecting music for your ensemble, consider what they can do first. Starting with the positive will allow you to dream and explore new literature. For example, a middle school orchestra may play great in G major in first position, with some basic knowledge of third posi-

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tion in the first violins and a little fourth position in the cellos. The first part of that statement (play great in G major) tells you what they can do now; the second part (violin and cello knowledge of positions) tells you two things: 1. Third and fourth positions are solid with a few students, and 2. Everyone else will need to learn third and fourth positions to use those skills in the literature. Make a list of skills your ensemble possesses (by section) on the left side of a page and then, on the right side, list those skills that some members can do or that most of the section can do at an introductory level. When choosing literature refer to this list and follow the 80/20 rule: They should already possess 80% of the skills needed and have at least a cursory knowledge of the other 20% required to have an enjoyable experience in rehearsal and performance. Otherwise, rehearsals can become cumbersome, frustrating, and boring. Once you know what your students can do, consider the areas still requiring growth. The grey area at the edges can get you into trouble. If most of the students have not been introduced to a skill, don’t program literature that requires that skill until you can find time to teach it in the sequence of pedagogy contained in your warmup. It is very frustrating for students to learn new pitches and rhythms while also learning a new technique. A sequential pedagogy to build skills over several concert cycles (or years) is the strongest path to building an ensemble that is motivated to learn new techniques. New skills should be taught, reviewed, and mastered in your warmup at least one or two concert cycles prior to using them in literature.

how teachable a piece may be. When it comes to difficulty level of literature, I advise new teachers to play within their UIL category (Grade 1, 2, 3, 4, 5). There is great literature that may tempt you, but remember that you should reach new plateaus throughout your career and not try to do it all in your first several years. Be realistic and then find the most rewarding program you can teach. Balance your dreams with the capabilities of your students and yourself. Know the Elements of a Great Concert Program I’ve never heard anyone say a concert was too short. Most would rather hear less music played well than more music played poorly. Create programs with a variety of genres, styles, composers, and tempos (you get to decide the percentages of each). Consider having a theme for your concert based on its calendar date or the style, period, or genre of several pieces to be performed. Parents enjoy learning about the music too, so consider having students write (or at least read) notes about their thoughts on each piece. Feature students, guest artists, and community or administration officials as soloists, narrators, or guest conductors. Select a balance of easy and difficult works. Easier pieces provide a great opportunity to work on individual tone and ensemble skills. More difficult pieces give students a goal to work toward. By select-

ing music at a variety of difficulty levels, you can ensure students are challenged to practice and develop their technical abilities while having opportunities to show off the skills they’ve already learned. Including a few easier pieces in the folder allows you to perform those spur-of-the-moment concerts often requested by administrators. We always had a grade 2 “gig folder” for just such purposes. Programming an easier piece or two also ensures that, even on a “rainy day,” students can feel successful. Students deserve literature of high quality. The composer Soon Hee Newbold refers to it as “choosing steak over junk food.” On top of its pedagogical value, consider if a piece has an x-factor that makes it desirable to rehearse, perform, and hear. If you choose your musical textbook wisely, rehearsals and performances will be positive and rewarding experiences for both your students and you. 0 Michael Alexander is Professor of Music Education and Associate Dean of Academic Affairs for the School of Music at Baylor University. Reference 1. Mick, J., Smith, B., Alexander, M. (2017). The status of school orchestra programs in the United States. Journal of String Research, 8(1), 15-31.

Know Your Abilities While efforts to increase access to private study will likely have a positive impact on students’ achievement, it is incumbent upon contemporary school ensemble directors to recognize that most of their students will receive most or all of their technical and musical instruction in the school context.1 In other words: If you can’t teach a skill, don’t try to perform pieces that require it. If there are areas where you have deficiencies in your pedagogy, seek out advice from your colleagues, peers, and mentors. Carefully weigh your abilities to teach specific skills when evaluating Southwestern Musician | January 2022 43

School of Music

2022 Horned Frog

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DR. SHERI NEILL DIRECTOR • DR. CHRISTOPHER ASPAAS CONDUCTOR

SESSIONS JULY 10-13, 2022

JULY 13-16, 2022

SECTION LEADERS CHRIS AHRENS NORTH MCKINNEY HIGH SCHOOL MICHAEL DEAN TRINITY HIGH SCHOOL KAY OWENS MARTIN HIGH SCHOOL MARK ROHWER FLOWER MOUND HIGH SCHOOL CHERYL WILSON JANASAK GARLAND HIGH SCHOOL (RETIRED)

FOR REGISTRATION INFO*, PLEASE VISIT OUR WEBSITE AT WWW.CHOIRCAMP.TCU.EDU *ALL EVENTS SUBJECT TO CHANGE IN RESPONSE TO COVID-19

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TMEA Vocal Vice-President JESSE CANNON II

Windows, Mirrors & Sliding Glass Doors Programming a diverse set of repertoire is one powerful step toward increasing inclusion and equity in music education, and it can encourage more students to see themselves in music education, now and in the future.

MARK YOUR CALENDAR check www.tmea .org for updates

January—Renew your membership and register for the convention. January 19—Deadline to cancel a housing reservation online without penalty. January 8—Area Vocal and Band auditions. January 20—TMEA mail convention registration deadline (checks must be received). January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/Convention in San Antonio. February 10, 5:15 p.m.—Vocal Division business meeting at the convention. February 11, 5:15 p.m.—TMEA Region meetings at the convention.

ere we are at the beginning of a brandnew year, many of us looking forward with great expectation as we prepare to return to school and attend the 2022 TMEA Clinic/Convention in a few weeks! As you begin putting together UIL concert programs, I want to revisit an important topic (with hopes we haven’t forgotten about it)—diversity in repertoire. While thinking through the concept of selecting repertoire, I was reminded of an article I read by Rudine Sims Bishop when she coined the phrase “windows, mirrors, and sliding glass doors” to explain how children see themselves in books. As music educators, one of the most important things we are responsible for is choosing high-quality music to share with our students. Our backgrounds and training in music education give us unique opportunities to serve our students by programming music that celebrates diversity. When we program music by BIPOC and female composers, we automatically increase the power of those voices. It does require thoughtful reflection to ensure students learn from composers with different perspectives and life experiences; simply putting a piece in front of students does not amplify those voices. Going a few steps further will increase the depth of your students’ musical experiences and enrich them as respectful people. If repertoire is the foundation of our curriculum, how do we best serve our students through the choices we program and study? When we put a piece of music in front of our students, we are teaching them more than what’s on the page. We are teaching them to value diversity and equity by intentionally including more diverse composers. Representation is

Southwestern Musician | January 2022 45

important for students, and teachers need to provide mirrors and windows for students to reflect on their own perspectives as well as others’. A mirror is a story that reflects a student’s culture and helps them build their

identity. A window is a resource that offers the student a view into someone else’s experience. Sliding glass doors expand on the concept of windows. Instead of just viewing another person’s culture or experience, sliding doors allow singers to walk

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into a story and become part of the world. The future of music education depends on the recruitment and retention of a diverse group of teacher candidates. Programming a diverse set of repertoire is one powerful step toward increasing inclusion and equity in music education, and it can encourage more students to see themselves in music education, now and in the future. 2022 Clinic/Convention Update Only a few days remain until the early registration deadline of January 20. If you aren’t registered for the convention yet, take advantage of the discounted rate by doing so now! The full convention schedule is available at tmea.org/2022schedule and you can begin creating your personal schedule, which you can access during the event on the convention mobile app. As you consider what I offered this month about how repertoire choices can be part of our work to support greater diversity in our profession, I invite you to review the 2022 TMEA Clinic/Convention schedule, where you will find multiple learning opportunities that support this goal (highlighted on page 14).

This new arrangement by Michael J. Miller is designed to be performed as a stand-alone version for concert band or it may be utilized as an accompaniment for the new SATB choral setting by Russell Robinson. If you’re looking for a combined performance work including band, orchestra and chorus you can add the string orchestra arrangement also by Michael J. Miller and use them all together to provide a rousing closer for any concert event. SATB Choral Arr. By Russell Robinson- $2.45 per copy String Orchestra Arr. By Michael J. Miller -Set C - $50.00 Jazz Ensemble with Vocal Arr. By Charlie Hill - $68.00

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As part of your personal schedule, remember to visit our exhibit hall to support our exhibitors, who, like us, have endured their own struggles through the pandemic. As the convention nears, I am proud to introduce the final six 2022 Invited Choirs (other choirs were featured in November). These friends and colleagues will appreciate your support and attendance at their concerts as they share their students’ gifts with us all. Faubion Middle School Cambiata Tenor-Bass Chorus Faubion Middle School in McKinney ISD serves a diverse population of approximately 1,350 students: 38% identify as Hispanic and 13% as African American, and 40% of the students are classified as economically disadvantaged. With 250 singers in the choral program, Cambiata Tenor-Bass Chorus is a non-auditioned chorus, with 44 singers who closely reflect the diversity of the Faubion community. With a strong history of success at solo festivals, UIL Concert & Sightreading Evaluation, and All-Region Choir, Cambiata exemplifies the essence of hard work. Many of our singing scholars are pillars not only in the choir family, but also in athletics, student council, and NJHS. With Directors Liz Turner and Jarrett Hatcher, Cambiata is exhilarated to share the culmination of this musical journey with the membership of TMEA. “Brothers in song from womb to tomb!”

Friendswood Junior High Chamber Choir The Friendswood Junior High Chamber Choir, under the direction of Laura Rachita, is a passionate, dynamic, and well-rounded group of seventh and eighth graders. This advanced ensemble exemplifies the caring climate and culture that we strive for in our department. These women take personal responsibility and pride in their work and celebrate each other’s individual gifts and talents. We collaborate within the Fine Arts Department by presenting a musical with the Theatre Department and combined performances with the FJH Wind Symphony. FJH Choirs are consistent UIL Sweepstakes award winners and are always well-represented in All-Region Choirs. We are honored to be part of the esteemed legacy of Friendswood ISD, following in the footsteps of TMEA convention performances by ensembles in our district in 2008 and 2010. Magnolia High School Chorale Under the direction of Jennifer FranzMelady and Thea Persinger, the Magnolia High School Chorale (Magnolia ISD) is a select mixed group of singers from all grade levels and various outside interests. They participated in the 2018 SWACDA conven-

tion where they were the college conducting clinic choir. They were also Foundation for Music Education winners in 2017 and 2018. The MHS Chorale recently were the 2021 American Classic Madrigal Festival co-winners and have received consistent UIL Sweepstakes awards. They have been the featured choir at Carnegie Hall in New York City and the National Cathedral in Washington, D.C. Plano East Senior High School Concert Choir Plano East Senior HS is a 6A campus with an enrollment of over 3,000 students. Plano East houses the IB World School for Plano ISD, which affords our campus and program a complete ninth–twelfthgrade environment. The Plano East Senior HS Concert Choir is the top-performing ensemble of seven vocal ensembles within the choral program. Under the direction of Daniel Knight and Dana Goodnuff, the Concert Choir has a tradition of excellence with consistent UIL Sweepstakes awards. Members of this chorus are involved in the International Baccalaureate program, Advanced Placement classes, athletics, theatre, and other clubs throughout the school. The Plano East Senior HS Concert Choir was featured at the 2020 SWACDA

Vocal Division Business Meeting Thursday, February 10 5:15 PM / CC 217 TMEA Region Meetings Friday, February 11 5:15 PM Various Locations Check the Online Schedule

Faubion Middle School Cambiata Tenor-Bass Chorus Southwestern Musician | January 2022 49

Friendswood Junior High Chamber Choir

Magnolia High School Chorale

Plano East Senior High School Concert Choir 50 Southwestern Musician | January 2022

Stephen F. Austin State University A Cappella Choir

Convention. This will mark the choir’s first TMEA convention performance. Granbury High School Varsity Tenor-Bass Choir The Granbury High School Varsity Tenor-Bass Choir is honored to perform for the 2022 TMEA Clinic/Convention. This is a historic event for Granbury HS (Granbury ISD) as the 2021–2022 Varsity Tenor-Bass Choir is the first tenor-bass choir in the school’s history to receive this honor. Under the direction of Kendra Fisher and Kyle Wheatley, the Varsity Tenor-Bass Choir is a group of auditioned ninth–twelfth graders who are also members of the Varsity Mixed Choir. They represent a wide variety of disciplines at Granbury HS, including football, basketball, track, cross country, cheerleading, baseball, soccer, robotics, engineering, theatre, culinary arts, and health sciences. Many of these young men rank in the top of their class and hold leadership positions in other academic and service organizations on campus. Stephen F. Austin State University A Cappella Choir Under the direction of Michael Murphy, the A Cappella Choir is the premier choral ensemble at Stephen F. Austin State University. The select mixed chorus has a distinguished tradition of performing distinctive and diverse repertoire at the highest level of artistry. Throughout its rich and successful history, the choir has had many guest appearances at state and national conventions, including TMEA, National Association for Music Education, the American Choral Directors Association, and has performed in many international concert venues. 0

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TMEA Elementary Vice-President KATHERINE JOHNS

Why Puppets? I love the imagination and childlike wonder that comes from incorporating puppets in my classroom. If you haven’t used puppets, just find one and see what happens.

have so enjoyed all the wonderful social media posts and emails TMEA has received regarding the grant money TMEA provided to Texas elementary music programs. The Executive Board ultimately increased the total amount allocated so that we could fulfill all the eligible proposals submitted by our elementary music teachers. For our campus, I ordered a new xylophone to supplement the 24-year-old xylophones that have been well loved in my classroom. Other members purchased instruments or xylophone stands. On Facebook posts, I saw everything from scarves and fruit shakers to books, cymbals, and more. I did, however, receive a curious phone call from TMEA staff (whose expertise is more firmly rooted in the secondary music education world) wanting to better understand multiple grant proposals for the purchase of puppets. I utilize puppets for certain activities and songs—a snail for “Snail, Snail,” a dog for “Doggie, Doggie,” a monkey for “Here Sits a Monkey.” Now I have a boa constrictor puppet named Sneaky the Snake as our “class pet.” He hasn’t always been a puppet though. For many years, Sneaky was simply a picture projected on my board when students learned a new rhythm. He would eat my food and grow with rhythms appearing on his side. This idea originated with Lamar Robertson, a leader in the Kodály method. Before I purchased this beloved puppet, Sneaky was alive in the imaginations of my students, and we had so much fun. I invited the staff in on the fun. One of my vice principals who heard all about Sneaky from the students played along. I once told a third-grade class that Sneaky the Snake drank all her Diet Cokes. I texted her when the class was dismissing, and she ran in looking for Sneaky. The class went wild! I did feel a

52 Southwestern Musician | January 2022

MARK YOUR CALENDAR check www.tmea .org for updates

January—Renew your membership and register for the convention. January 19—Deadline to cancel a housing reservation online without penalty. January 20—TMEA mail convention registration deadline (checks must be received). January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/Convention in San Antonio. February 10, 5:15 p.m.—Elementary Division business meeting at the convention. February 11, 5:15 p.m.—TMEA Region meetings at the convention.

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TEXAS STATE SCHOOL OF MUSIC AT TMEA 2022

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SATURDAY JAN 15

all-state flute judging

Clinician: Adah Toland Jones, Professor of Flute

THURSDAY – SATURDAY FEB 10 –12 college fair booth

CF 4010 in the College Fair Exhibit Hall Host: Krystyn Jensen, Recruitment Coordinator

THURSDAY FEB 10

11:00 am texas state clarinet choir CC West Lobby Music Showcase

Clinician: Vanguel Tangarov, Associate Professor of Clarinet

2:30 pm an introduction to opensource software for musicians Grand Hyatt 4th Floor - Crockett CD

Clinician: Andrew Cheetham, Assistant Professor of Trumpet

6:30 pm how to incorporate chamber music in your orchestra program CC214 AB

Clinician: Lynn F. Ledbetter, Professor of Violin

10:15 pm sigma alpha iota sing-a-long CC Hemisfair Ballroom

FRIDAY FEB 11 10:00 am the harmony director in sectionals Grand Hyatt 4th Floor - Crockett CD

Clinicians: John Denis, Assistant Professor of Music Education Jordan Stern, Lecturer of Music Education

11:30 am better hands for better bands: a conducting refresher CC Stars at Night Ballroom 1 - 2

Clinician: Kyle Glaser, Associate Professor of Music

6:30 pm kids, choir and drums Grand Hyatt 4th Floor - Texas DEF

Clinician: Lynn Brinckmeyer, Professor of Music Education

9:30 pm alumni reunion

San Antonio Marriott Riverwalk - River Terrace Room Hosts: Joey M. Martin, Interim Director School of Music, Krystyn Jensen, Nico Schüler and the Alumni Committee

11:00 pm phi mu alpha sinfonia sing CC Hemisfair Ballroom

SATURDAY FEB 12

9:00 am atssb all-state concert band Lila Cockrell

Conductor: Caroline Beatty, Professor of Music

little bad as the third-grade teacher then had to work to calm his class back down. When we were shut down because of COVID, I needed something to spice up my videos, so I bought a boa constrictor puppet online. He appeared in all my videos. My husband heard me making a video where Sneaky drank all the coffee and he yelled “Sneaky!” to the joy of my students watching from home. In the 2020–2021 school year, Sneaky traveled with me on a cart from class to class when I was a mobile music teacher. Sneaky now spends most of his time sleeping in the front of my classroom while I teach. The students ask to talk to him and pet him, and they’ve learned he’s grumpy when you wake him from his nap. He helps me pick up bean bags and always pretends to bite the students’ hand, and the students laugh (even the fifth graders). I love the imagination and childlike wonder that comes from incorporating puppets in my classroom. If you haven’t used puppets, just find one and see what happens. I will have Sneaky the Snake in the Elementary Division office at the TMEA

convention. Please come by and say hi to him. He will love that. If you are lucky, he’ll talk to you. His voice is the best part! 2022 Clinic/Convention Update It is time to start planning for your convention attendance. Since we have transitioned from paper packets to digital handouts, look for them in the online convention schedule as of February 1. You can print them or simply download them to your mobile device to avoid doing that when your signal is affected by thousands of other devices at the convention! I always review handouts as I plan my day and review all the wonderful sessions I don’t want to miss. I am very excited about this year, and I hope everyone will find the information presented useful and relevant. Looking Beyond Our Division While you are looking through all the wonderful sessions hosted by the Elementary Division, also look for those hosted by other divisions that might be of interest to you. Since I teach elementary choir, I always look at the Vocal Division sessions to see if there is anything that

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Southwestern Musician | January 2022 55

would help me with my young choir. I have never ventured into College Division sessions, but look at the following clinics they are hosting that are relevant to elementary music educators: What Is Culturally Responsive Teaching and Why Should We Care? In this session, Constance McKoy will provide an overview of four principles of culturally responsive teaching and how they may be applied in the context of music teaching and learning. The Impact of Music Education on Child Development: Maxfield Navarro will discuss how music education is an important part of a child’s development and how our classes and materials impact our students. As a doctoral student in human development, he will detail several ways that music education positively impacts a child’s cognitive, social, and emotional development. Mirror, Mirror on the Wall—Is My Program Reflecting All? Lori Schwartz Reichl will focus on the needs of students as learners and global citizens, rather than only as musicians. She’ll help us consider how our curriculum allows students to hear, see, and experience cultures and music in more than one way and will provide innovative methods to introduce content, cultures, and repertoire to learners of all ages and abilities. This list is definitely not all-inclusive, but it gives you a glimpse into what you

56 Southwestern Musician | January 2022

might find if you look beyond clinics with an “E” as the primary division code. Invited Ensembles I’m pleased to share more information about our wonderful Invited Ensembles, who are preparing to present amazing performances during our convention. Three others were included in our November issue. I hope you’ll include these concerts in your personal schedule to show these directors and their students your support. Parker Elementary Advanced Chorus Parker Advanced Chorus has been part of Houston ISD’s Parker Elementary School magnet program since its inception in 1975. Under the direction of Marianna Parnas-Simpson, the Advanced Chorus has grown from 30 to 200 students. They perform extensively in Houston and throughout Texas. Parker Advanced Chorus has performed for conventions of several associations, including TMEA, ACDA, Organization of American Kodály Educators, and American Guild of Organists. They have also performed with the Houston Symphony Orchestra and have won second place in the American Prize National Competition (Youth Choir Division). About their performance at an ACDA national convention, Dr. Anton Armstrong, Professor of Choral Studies at

St. Olaf College, stated, “Your young choristers sang with incredible beauty of vocal technique and an exceptional maturity of musical expression. Your impressive pedagogy reminded us that great music and artistry can happen in our public elementary schools.” Asa Low Intermediate School Choir The Asa Low Intermediate School Choir is honored to represent Mansfield ISD at the 2022 TMEA Clinic/Convention. The non-auditioned choir consists of sixth graders who meet on an A/B schedule. Under the direction of Bridgett Wigley, the choir has consistently earned superior ratings at choral festivals. ALIS choir students have performed with the 2016 TCDA Honor Choir, sung the national anthem at UT Arlington’s basketball games, and offered an opening solo for the world premiere of Z. Randall Stroope’s Carmina Pax with the Arlington Master Chorale and full orchestra. This is the first TMEA Clinic/ Convention appearance for the ALIS choir, and they value the experience both in preparing as well as presenting for such an esteemed audience. Pomona Elementary Pirate Choir Pomona Elementary, in Manvel, Texas, serves a diverse population of over 800 students in PreK through fifth grades. Since its opening in 2017, Pomona Elementary has twice been named a Capturing Kids Hearts National Showcase School and is committed to engaging learners, in a safe and diverse learning environment, while building positive relationships and achieving academic success. The Pomona Elementary Pirate Choir, directed by Emma Bassett, is an nonauditioned ensemble with approximately 75 students in grades 3–5. Their goal is to perform quality repertoire while building healthy, happy, and excited singers and provide outstanding performance opportunities. The choir performs throughout the community, including for Veteran’s Day celebrations, VFW meetings, and holiday events. Pirate Choir took home trophies from the Texas Renaissance School Days Festival in 2018 and 2019. The Pomona Elementary Pirate Choir is proud to represent Alvin ISD at the 2022 TMEA Clinic/Convention. 0

Parker Elementary Advanced Chorus

Asa Low Intermediate School Choir

Pomona Elementary Pirate Choir Southwestern Musician | January 2022 57

Socialization Through Music Education

By Kristopher Brown

merican children spend most of their day in highly structured educational systems that are expected to account for every minute of their learning. On average, a child has less than 30 minutes of unstructured time to release excess energy and built-up stress before they return home. This lack of unstructured time limits students’ opportunities to practice positive social norms and develop healthy emotional coping skills, making every social encounter and behavioral choice at school a series of high-stakes tests. When students fail these social assessments, they receive a negative consequence, such as detention. Instead of learning the value of healthy social habits, students learn to avoid getting caught to keep negative consequences at bay. Although social emotional learning has been trending progressively in U.S. schools, many school systems approach social emotional learning and behavior management as two independent entities. Walk into any elementary at the start of the day, and you’ll often hear a characteristic trait like honesty or respect being discussed in the abstract, while classroom rules are built to minimize disruption to instructional time. This disconnected approach can lead teachers down a path of survival, trying to mitigate unwanted behaviors with consequences and using extrinsic rewards for minimally acceptable behaviors. Instead of behaving in class because it’s the right thing

58 Southwestern Musician | January 2022

to do, students expect rewards for demonstrating the minimum. This can often create a what’s-in-it-for-me attitude. Intrinsically motivated students feel a frustrating level of cognitive dissonance as they watch their counterparts being rewarded extrinsically for standard expectations while they go unrewarded. Restorative Behavioral Management (RBM) attempts to promote healthy social behaviors in a learning community by providing teachable moments for our students to develop intrinsic motivators. RBM develops, nurtures, and maintains healthy relationships between the student and teacher to maximize learning content and social emotional intelligence. How Do I Start? Just as our students arrive with varying levels of intellectual development, they also have different degrees of social and emotional development that require just as much instruction and care. Most behavioral management systems focus entirely on the student, with varying degrees of environment suggestions. RBM starts with a focus on the impact of the teacher’s behavior in the classroom and how they respond to problematic behavior. In other words, healthy thoughts, emotions, and behaviors are learned skills for students and teachers. Non-violent communication addresses the behavior and not

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the student, while sharing the emotional state of the teacher. “I feel when ” statements identify how a teacher feels, identifies the cause, and then identifies the relationship between the two. It isolates the behavior from the student, identifying the behavior as a problem and not the student themselves. For example, instead of saying “You’re rude. Be quiet. I’m teaching,” a teacher who uses RBM might say, “I feel frustrated when I’m talked over during instructions. I can’t determine if the class will understand what to do. Will y’all commit to helping me make sure the class understands the instructions?” This approach provides an opportunity for a student to empathize with their teacher and models social and emotional skills because the teacher demonstrates how to verbalize an emotional state and ask for support. In the same way we ask our students to analyze data in a math problem, RBM provides students an opportunity to understand behavior from a scientific perspective—cause and effect. Remember to keep comments you-centered, without assigning blame, even if the student is the current source of the distress. “I feel anxious when there’s pushing happening in the line” will yield a different response from, “Timmy, stop pushing Alex.” One results in, “I wasn’t, Mr. Brown,” while the other invites everyone to assess their behaviors and make a different choice.

It’s easier for children to adopt healthier and more socially acceptable behaviors and habits when they can separate the unwanted habits and behaviors from their identity. When we’re young, our inner thoughts and self are imprinted by the thoughts, actions, and opinions of those around us. When I was younger, many adults labeled me as smart because I would understand or grasp certain concepts faster than others. Smart is not a measurable behavior, but I started identifying as smart and expected everything to be easy for me to understand. When I felt some amount of challenge, I was more likely to give up. As I’ve grown older, I have a better understanding that there are measurable things I can do that can be inferred as smart, like re-reading texts, asking for help, trying a different solution.

may make a behavior go away in the short term, it robs the student of emotional growth. When a student displays defiant behaviors toward a teacher, it’s usually because that behavior or action kept them safe in the past. In most of our interactions with students, teachers are a proxy for the central adult figure in that child’s life. When we engage that student in a stressful situation, the student’s behavior will model a similar pattern from that familial relationship. Exerting dominance on some students escalates that crisis. The behavioral cycle at home has the possibility of ending in a physical confrontation, which cannot happen in a school setting. In other words, the classroom is the safest place in which they can win back power. Brains under the stress of fight, flight, or freeze are not rational— in those moments, rational behaviors and choices don’t exist. RBM seeks to help a student out of that loop. Maslow’s hierarchy of needs theory is commonly employed when attempting to understand how children learn based on motivation. Yet, I struggle with why modern education often misses the connection between a child’s emotional state and their ability to learn and be redirected. Emotional safety is paramount to learning. We can’t expect students to respond rationally when our actions as educators trigger an emotionally unsafe space—regardless of our intent. Instead of focusing on how to minimize a current disruption, consider how your approach can de-escalate the situation and provide a teachable moment.

You may initially feel as if you’re slowing down classroom instruction, but once you get into the rhythm of this management style, you will notice far fewer class interruptions and personality conflicts.

Measurable Is Changeable A key aspect to RBM is to identify a measurable behavior. Words like respect can be interpreted over a wide spectrum of understanding. By using and identifying measurable behaviors, students and teachers develop a mutually understood emotional language, enabling a better understanding for each other. Measurable behavior is changeable behavior. We can’t measure how rude a person is, but we can count how many times a student interrupts a teacher. RBM grows a student’s intrinsic reasoning for discontinuing negative behaviors based on empathy and relationship building instead of risk of consequence.

How often do our students internalize a negative thought process as part of their identity because an adult in their life imprinted behavioral choices as character traits? The Fight, Flight, Freeze Loop Students are likely to get stuck in a power struggle loop with teachers when they are redirected by student-centered feedback. Instead of the behavior being the problem, a student will feel as if they are the problem, putting the student into a defensive position. They focus on surviving the immediate situation instead of listening and seeking to understand. When the fight, flight, or freeze survival instinct is triggered, the irrational part of the brain takes over. What teachers view as compliance is often the student instinctively freezing. It’s why yelling at students to be quiet rarely works and constantly requires an escalation of consequences. And while compliance

The Return on the RBM Investment After I adopted this mindset, I saw a dramatic change in my classroom climate. The more subdued students spoke up more often, mirroring how I spoke when they interacted with their classmates. Students with anger issues were inclined to share their feelings through calm words rather than outbursts. For an entire year, the only time I had to call down to the front office was for a medical issue. I never had to raise Southwestern Musician | January 2022 61

TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

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Beth Bronk Director of Bands bbronk@tlu.edu 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

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my voice to gain the attention of the class. I didn’t come home mentally and emotionally drained. When you reflect on your decisions in the classroom, ask yourself the following questions: • Are my behavioral management choices helping my students develop healthy self-regulation or negative coping mechanisms? • Do I use student-centered language, or do I point out measurable behavior to the student? • Do I feel in control of my own emotions when I work with students? Do I readily share how I feel with them, offering the cause and effect of certain behaviors? • Are the emotional and behavioral expectations of students developmentally appropriate for their capabilities? • Are my behavioral management choices providing me with short- or long-term solutions?

We often ask children to exert more control over their emotions than they are developmentally capable of. Children are learning how to be people. You have more emotional control simply because you have more lived experiences—including mistakes. Those experiences have helped you develop your own coping mechanisms and emotional intelligence. Using RBM will help you develop a better awareness of your mental and emotional boundaries, give you more tools for communicating those needs with students, and give you more insight navigating personal and professional relationships. Adopting RBM in your classroom will require an intentional mental and emotional investment; it’s important to understand that it’s not a quick fix for behavioral management. It will take time and require you to change your philosophy on student behavior—and that’s not easy. You may initially feel as if you’re slowing down classroom instruction, but once you get into the rhythm of this management style, you will notice far fewer class inter-

ruptions and personality conflicts. Other teachers will ask you how you do it. This is how I came to incorporate RBM—when I asked my wife, an educator at a discipline alternative education campus, about it, she smiled and said, “I don’t teach English. I teach adulthood through English content.” Since then, I’ve applied this idea to music education. I teach children how to be a human through music literacy. Changing my approach has created more musical moments because students understand I will not give up on them. They can’t get thrown out. We’re going to work through our emotions and, when they’re ready, keep singing. 0 Kristopher Brown is an independent educational consultant, specializing in behavioral management and Kodály pedagogy. He will be presenting a clinic on Restorative Behavioral Management at the 2022 TMEA Clinic/ Convention. You may contact him at KristopherBrown@kodalyviking.com.

Join Thousands of Music Educators at the 2022 TMEA Clinic/Convention FEBRUARY 9–12 • SAN ANTONIO HENRY B. GONZÁLEZ CONVENTION CENTER

W W W.T M E A . O R G / C O N V E N T I O N Southwestern Musician | January 2022 63

TMEA College Vice-President PAUL SIKES

It’s Almost Time to Recharge One of the best ways to recharge is to meet colleagues and friends at the annual TMEA Clinic/Convention. This year’s convention is going to be a wonderful experience as it will be our first in-person convention in two years.

hope you had a wonderful holiday and were able to rest and recharge. As educators our job is to pour ourselves into the development of others to help make them better. We work long hours to ensure our students have what they need to be successful. As we continue to work through this challenging year, it is important that each of us takes time to take care of ourselves. It is difficult, if not impossible, for a person to pour themselves into anything when there is little left to pour. As we begin this spring semester, I hope you will plan time for yourself so that you can stay refreshed and continue to do this allimportant work—educating and inspiring tomorrow’s teachers. One of the best ways to recharge is to meet colleagues and friends at the annual TMEA Clinic/Convention. This year’s convention is going to be a wonderful experience as it will be our first in-person convention in two years. While last year’s virtual convention was a success and important for us all, nothing compares with seeing friends and colleagues and having meaningful, in-person interaction. At this convention we will feature great clinics by some of the most outstanding professionals in our state and from around the country. We will also take in world-class research during our poster sessions, get to hear inspiring speakers and performances during our General Sessions, spend time in the amazing exhibit hall, and be rejuvenated by outstanding concerts by some of the best music groups in the state. When you’re not in a clinic or concert, you can enjoy music throughout the convention center at four music showcase stages. Almost half of our 2022 music showcases will be offered by college music students. Stop

64 Southwestern Musician | January 2022

MARK YOUR CALENDAR check www.tmea .org for updates

January—Renew your membership and register for the convention. January 19—Deadline to cancel a housing reservation online without penalty. January 20—TMEA mail convention registration deadline (checks must be received). January 20—TMEA convention online early registration deadline. February 9–12—TMEA Clinic/Convention in San Antonio. February 10, 5:15 p.m.—College Division business meeting at the convention. February 11, 5:15 p.m.—TMEA Region meetings at the convention.

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by and support these students, many of whom we hope will be future colleagues! Importantly, we will also be electing our next College Division Vice-President at the College Division business meeting. For those of you who seek to serve others and make an important impact on music education in the state of Texas, I encourage you to run for this elected position as there is still time. I can tell you from experience that it is one of the most rewarding and profound professional experiences one can have. Thanks go to those who attended our College Division Fall Conference in October. It was a wonderful day where we discussed important topics, made plans for the future, and had the opportunity to work with colleagues from around the state on things important to us all. Below are the minutes from the day. Please read through them and let me know if you have any questions. TMEA College Division Fall Conference Report October 15, 2021 Meeting was called to order at 9 a.m.

by Paul Sikes, College Division VicePresident. He introduced the TMEA Presidents and staff in attendance. After introductions, Sikes gave several updates and announcements. These included about membership, scholarships, the College Music Educator Award, Texas Music Educator Research online, and Connections events. Executive Director Robert Floyd gave updates from TMEA, including an update on the Texas Arts Education Campaign. Floyd encouraged members to join by visiting www.txartsed.org. Sikes then reviewed the College Division’s goals and plans from the last year. These included: 1. Goals a. Increase College Division membership and engagement, professional and student. b. Define and broaden how best the College Division can support the mission and goals of TMEA. c. Strengthen relationships between College Division membership and other division’s membership.

2. Plans a. Encourage professional members to be more involved in the current offerings. b. Create new opportunities for the professional members to support the mission and goals of TMEA. c. Create new ways for TMEA to support our professional members’ work. d. Create new opportunities for the student members to support the mission and goals of TMEA. e. Survey current offerings that support our student members. f. Create new ways for TMEA to support our student members’ work. g. Build stronger relationships with other organizations to support each other and build a coalition of organizations supporting the same goals. h. Review the TMEA Research agenda (articles, poster sessions, providing grants). In support of TMEA College Division Goals, Sikes welcomed guests from the

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66 Southwestern Musician | January 2022

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Texas Music Administrators Conference for a discussion with the TMEA College Division. Guests were Joe Clark, President of TMAC and Director of Performing and Visual Arts, Spring ISD, and Dinah Menger, Vice-President of TMAC and Director of Vocal & Elementary Music, Fort Worth ISD. Discussions then proceeded about what current music majors and soon-to-be teachers need coming out of the restrictions in which we have been. Also discussed were ways to work more closely together as organizations. Discussion items included: 1. Recruiting more students to become music teachers. 2. Providing practice interviews to build interview skills and résumé building. 3. Providing training for specific preservice skills. 4. Providing training to reduce burnout. 5. Minimizing barriers to getting our college students into the classrooms on a more regular basis. 6. Working together to influence important rules and legislation that affect both groups. 7. Bringing music administrators to the college classrooms to provide information to our music education majors. Following TMAC discussion, the College Division discussion turned to the edTPA, with various members offering experience and perspectives about edTPA related to the possibility of it being approved for use across the state. Plans were made to have members testify at the December State Board for Educator Certification, and College Division members were encouraged to contact their representatives to express concerns with the edTPA. The plan is to also offer an alternative to the edTPA, similar to the Sam Houston T-Tess option. Following the edTPA discussion, updates and information were given by Sikes and Floyd about the TMEA Clinic/

Convention to be held February 9–12 in San Antonio. Members were encouraged to register and secure housing, which is at a minimum. Sikes also asked for volunteers and for members to encourage their college students also to volunteer. He reviewed the 2022 College Division Featured Clinicians, Dr. Constance McKoy and Dr. Judy Willis, and reminded everyone about the call for papers for the Research Poster Session. Members were reminded that we are returning to our normal College Night format. College Night will be on Friday, February 11, from 5 to 8 p.m. Booths are available, and schools may request a booth for the entire convention or just college night (www.tmea.org/exhibit/college). College Reunions during the convention are scheduled for Friday, February 11, 9:30–11:30 p.m. Discussion then returned to the College Division goals and plans. Sikes led discussions about other initiatives that have supported those goals and plans. 1. Research Grant: The Executive Board approved a research grant in the amount of $1,200 to support advancing knowledge in the area of music education. No applications were received. The application can remain open with no deadline. This would allow more individuals to complete the application process. Members agreed to move forward with no deadline. 2. College Student Committee/Open Forum—Members voted to create this committee to give voice to our students. In visiting with the staff and board, we are seeking other ways to serve this purpose in a meaningful way. Membership agreed to sending out a survey to college students asking for their ideas on how TMEA can better serve them. Also discussed was the possibility of creating a college student open forum during our upcoming convention. 3. College Student Orchestra—The Executive Board would like to inves-

Attend the College Division Business Meeting Thursday, February 10, 5:15 p.m. • CC 220 Get updated on association business and vote for the next TMEA College Diviison Vice-President. 68 Southwestern Musician | January 2022

tigate the potential use of college students to serve as the orchestra accompanying the TMEA All-State Choirs. A number of volunteers put their names forward to serve on this committee. Sikes will work with the Orchestra VP and the Vocal VP to form the committee. Discussion then moved to committee breakout sessions where committees had an opportunity to work on plans for the upcoming year. Committee Reports • Amy Simmons, Research, reported that they support the open deadline of the research grant proposal. They would also like to have the winner of the grant provide at least a poster and perhaps a paper for the TMEA research journal. • Darla Meek, Teacher Prep, reported that they formulated a purpose statement and a set of goals. They also generated ideas of what an alternate to edTPA would look like. The committee continued the discussion from TMAC and developed specific items they would like to see music majors study to prepare them for teaching. They also will develop a Facebook page to help everyone stay informed. • Elizabeth Chappell, DEIA (no report) • Kathy Mayer, Two-Year College, reported the committee discussed enrollment challenges facing those campuses. They also discussed the new teaching modalities put in place during the pandemic and how departments of music can adjust to ensure their students have what they need to be successful in the new environment. • Blair Williams in place of Carter Biggers, Clinic Review, reported the committee liked splitting the review into smaller committees to help reduce workload and to focus on expertise. The committee made suggestions to Deputy Director Frank Coachman to help make the process easier, such as adding hyperlinks to help with navigation. There was also the suggestion to have a final committee look at the top overall clinics to pick the final ones. Sikes adjourned the meeting at 2:57 p.m. 0

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