December 2020 Southwestern Musician by Texas Music Educators Association

DECEMBER 2020

Contents VOLUME 89 ■ ISSUE 5 ■ DECEMBER 2020

Features Supporting Students Through Music . . . . . . . . . . . . . . 17 Consider these ideas for including and supporting students with disabilities in music class during these challenging times. [l aur a m eeh a n]

Mentoring for Continuous Improvement . . . . . . . . . . . 27 By focusing on supporting our colleagues, we can foster meaningful and positive change in our profession. [n at h a n r . t e m p l e t o n]

Show Me What You Can Do . . . . . . . . . . . . . . . . . . . . . 35 Diverting from an authoritarian approach, consider an alternative of engaging your students in a way that motivates them to seek growth. [k e l s e y j er g er]

Motivating Middle School Singers . . . . . . . . . . . . . . . . 44 Get some strategies that can help you focus the energy and enthusiasm of your adolescent choristers. [ly n n b r i n c k m e y e r]

Taking Your Digital Portfolio to the Next Level . . . . . . 56 Today’s musicians are expected to offer digital samples of their work. Following just a few guidelines, you can improve your digital presence to better showcase your skills and abilities. [s c ot t p o o l]

Columns President’s Notes . . . . . . . . . 5 [br i a n

c o at n e y]

Executive Director’s Notes . .10 With the response to the COVID-19 pandemic ongoing, information printed in this issue is subject to change. For the latest updates, visit www.tmea.org and other relevant websites.

[r o b er t

f loy d]

Band Notes . . . . . . . . . . . . . 20 [da n a

p r a d e r va n d]

Updates

Orchestra Notes . . . . . . . . . 30

2021 TMEA Clinic/Convention Rates and Deadlines. . . . . . . . . . . . . . . . 9

Vocal Notes . . . . . . . . . . . . . 40

2021–2022 TMEA Executive Board Candidates . . . . . . . . . . . . . . . . . . 15 Attend the 2021 TMEA Clinic/Convention . . . . . . . . . . . . . . . . . . . . . . . 24 2021 President’s Concert to feature VOCES8. . . . . . . . . . . . . . . . . . . . 43

[m ic h a el

[j e d

s t r i n g er]

r ag s da l e]

Elementary Notes . . . . . . . . 50 [a b i g a i l

h aw es]

College Fall Conference Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

College Notes . . . . . . . . . . . 60

on the cover

I-Cheng Che, a senior percussion performance major at the University of North Texas, in rehearsal for TMEA’s It Starts With Music production at the 2020 Clinic/Convention. Photo by Karen Cross

[pau l

s i k es]

Southwestern Musician | December 2020

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: Brian Coatney

2021 TMEA CLINIC/ CONVENTION BASICS • February 11–13, anywhere in the world you have Internet access!

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

• $60 early registration fee for active TMEA members

President-Elect: John Carroll

• Video chat one-on-one with other attendees and exhibitors

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

Past-President: Joe Muñoz

munozj@pearlandisd.org 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS

Band Vice-President: Dana Pradervand

• Learn from any clinic—still available for view after February 13 • Register for the preconference of music technology clinics • Earn CPE credit

www.tmea.org/convention Our location may have changed, but our tradition of excellence continues!

pradervandd@yahoo.com 8226 Lakeshore Villa Drive, Humble, 77346 713-743-3627 – University of Houston

Orchestra Vice-President: Michael Stringer

mstringe@aisd.net 1200 West Arkansas Lane (Annex 1), Arlington, 76013 682-867-7662 – Arlington ISD

Vocal Vice-President: Jed Ragsdale

jedragsdale@tomballisd.net 19100 Northpointe Ridge Lane, Tomball, 77377 281-357-3230, ext. 1106 – Memorial HS

Elementary Vice-President: Abigail Hawes

CLINICS

Learn proven methods and strategies you can use in your very next class.

abigail.hawes@cfisd.net 13734 Lakewood Forest Drive, Houston, 77070 281-370-4040 – Moore Elementary

College Vice-President: Paul Sikes

plsikes@txwes.edu 8554 Kensington Court, North Richland Hills, 76182 817-531-4971 – Texas Wesleyan University

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

PERFORMANCES

Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org

Be inspired by performances from elementary through college ensembles.

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

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

EXHIBITORS

Engage with exhibitors who will offer their best prices on the latest products and services.

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 | December 2020

BAY L OR U N I V E R SIT Y SCHOOL OF MUSIC

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

AUDITION PROCESS 1. Complete the Baylor University application at baylor.edu/gobaylor 2. Complete and submit the School of Music application and your video recorded audition at app.getacceptd.com/baylormusic Subscribe to our newsletter or receive School of Music concert information and updates at baylor.edu/music/subscribe

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

twitter @baylor_music

ďż˝ @baylormusic

Baylor University admits students of any race, color, national and ethnic origin, sex, age, disability, or veteran status.

B Y

B R I A N

C O A T N E Y

PRESIDENT’S NOTES

Crucial conversations

check www.tmea .org for updates

December—Renew your membership and register for the convention. December 31—TMEA email/mail/fax convention registration deadline. January 21—TMEA convention online early registration deadline. January 22–February 13—Online registration available at a higher fee. February 11–13, 2021—TMEA Clinic/ Convention, held virtually.

ongratulations on surviving the fall semester! I realize it might seem like you’ve already worked an entire year. I hope you take time over the winter break to rest, relax, and recharge for the spring semester. Given the increased stress and workload we’ve all experienced, we can easily find ourselves overwhelmed and less able to handle conflict constructively. I recently had a difficult discussion with a colleague about a disagreement and was reminded about training I received at a leadership workshop. The training centered on the ideas offered in the book Crucial Conversations authored by Kerry Patterson, Joseph Grenny, Ron McMillan, and Al Switzler. They discuss how to have more effective conversations that hopefully lead to an improved livelihood and career. The first step in employing this concept is realizing you are in a crucial conversation by identifying its defining factors: opinions differ, stakes are high, and emotions are high. The authors then outline seven steps you can use to navigate through that crucial conversation. Start with the Heart Starting with the heart means we listen with empathy and convey positive intent to the other party. The authors explain that where you come from dictates where you will get to: “How we discuss something is often the real issue

To speak honestly without offending, we must display a mix of confidence, humility, and skill. Southwestern Musician | December 2020

rather than what we are discussing. Thus, we need to be in the right place ourselves and create the right space for the other person. So first, we need to manage our emotions and mindset.” Stay in the Dialogue There is no hope for resolution if the lines of communication terminate. This typically happens when emotions run high and we let anger or defensiveness drive the conversation. We must also recognize and avoid referencing our past experiences. I find it easy to access past experiences and transfer those emotions to the current conversation. Make sure you stay focused on the topic at hand; don’t regress to past disagreements. Make the Conversation Safe The safer each party feels, the more likely each will be open and discover common ground. If fear is present, we are more likely to shut down or fight back. Shutting down can take one of three forms: • Masking: we pretend to agree or be listening.

Southwestern Musician | December 2020

• Avoiding: we use distraction techniques. • Withdrawing: shutting down and no longer being engaged. When you sense a situation is becoming unsafe, you need to step back, be a good listener, and remain focused on the desired outcome. The authors offer four paths to powerful listening: • Ask questions and be curious. • Mirror or play back what we sense so that we can confirm feelings. • Paraphrase what was said so we can acknowledge their story. The key here is to stay out of emotions and use their language as much as possible. • Prime is for when we are getting nowhere. When the other person shuts down, we need to encourage them to speak by suggesting something we think they are thinking or feeling. The last thing you need to be aware of is when the other person creates a negative meaning out of what has been said. This needs to be addressed by restating your positive intent. Finally, if someone doubts you, state

your intent twice by using a negative juxtaposed with a positive. For me, the most influential part of the book was a section guiding the reader to develop “Don’t/ Do” statements. These statements are more effective and keep the dialogue safe because they eliminate words that raise defenses. This can also be a powerful way of tapping into what the other party is really thinking and feeling. For example, “The last thing I wanted to do was communicate that I don’t respect your classroom. I do want you to know it is difficult for me to reset the class to your specifications in the amount of time I have.” The negative is an attempt to address the other person’s thoughts/feelings. The positive is a restatement of the shared purpose. This statement works better than the following: “I respect your classroom, but I can’t set your room up with all of your unrealistic demands.” You negate the first part of your statement once you say but because that automatically raises defenses. Don’t Get Hooked by Emotion or Hook Them To stop getting hooked, the authors suggest three things: keep focused on the

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TMEA Event Notice During its November 9 meeting, the TMEA Executive Board decided that all TMEA-sponsored events through March 1, 2021, are to be held virtually. Extension of this policy (originally announced on July 1) is based on the continued commitment to support the health and safety of all students and teachers and their families. This decision was made now so that officers within our 33 Regions statewide could have the information needed to effectively plan their activities and events. The Board will continue to monitor the impacts of COVID-19 for a possible extension of this directive through the end of the school year. For the latest information on all TMEA business, go to www.tmea.org.

goal, refuse to play the game, and avoid the sucker’s choice. Sucker’s choice is when we find ourselves in a situation where we believe there are only two solutions: to stop talking and let it go or to express brutal honesty. Both solutions will fail. The latter fails because it causes the other person to shut down. Therefore, we need to find a middle ground; we should focus on identifying what we want and what we don’t want to happen as a consequence of raising it. To speak honestly without offending, we must display a mix of confidence, humility, and skill. Confidence is the bravery to have the conversation in the first place. Humility is to present it in a soft way, and to know that we do not know everything. Skill is to have the ability to stay in dialogue. Agree to a Mutual Purpose This step involves making sure each party is committed to moving forward with a mutual purpose to resolve the tension. The authors recommend a useful acronym CRIB to remember key steps for developing a mutual purpose: • Commit to seek a mutual purpose by getting each party to first agree to seek a mutual purpose. Once the mutual 8

Southwestern Musician | December 2020

purpose has been defined, it acts as a constant force that we can keep going back to when the conversation gets tricky. • Recognize the purpose behind the strategy. To do this, we must first examine our motives by asking: What do I want for me? What do I want for them? What do I want for us? • Invent a mutual purpose. A mutual purpose does not often easily form, so it is important that you create one together so the conversation can move to a higher level. • Brainstorm new strategies. The conversation then becomes about finding mutual solutions rather than repeating the conversation and hitting the same roadblocks. Separate Facts from Story The goal of this step is to eliminate the stories we create that can derail the conversation. For instance, a difficult student misses an afterschool rehearsal. We create a story that the student skipped because they don’t respect us or the program. We later learn that the student had a family emergency. Once the student states the facts, then we can have a better conversa-

tion about proper communication when you miss a rehearsal versus a conversation about them not respecting our program. Be mindful that different stories can be produced from the same facts. Allow the other side to offer their story and meaning of the facts. It is critical that you be open and listen actively as they could possibly bring new evidence that shifts your interpretation of the facts. We need to keep reminding ourselves that the story is distinct from the facts. The goal is to get both parties to construct a larger, shared story. Agree on a Clear Action Plan Reaching a point of shared meaning does not necessarily mean we will have a successful outcome. There are still a number of pitfalls, such as no decision gets made, the wrong decision gets made, or no action happens following the decision. Have you ever walked away from an intense conversation feeling like everyone said what they needed to say, but there was still no resolution? It’s imperative that both parties leave the conversation with a solid agreement on how to move forward, with distinct goals. Otherwise, more stories will be created, and the same argument will repeatedly ensue. Before reading this book, I lost positive working relationships because of destructive conversations. Thankfully, by utilizing these seven steps and practicing a lot, I have become more comfortable in navigating through crucial conversations. What I’ve offered here is just a brief synopsis of a book full of valuable information and tools. I encourage you to read it and join a book club to help you utilize all of the tools presented. Most importantly, it takes a lot of practice to break your old habits. With this practice will hopefully come better conversations, stronger relationships, and a better livelihood. 2021 Clinic/Convention Be sure to register for our 2021 Clinic/ Convention held virtually February 11–13. The Executive Board and staff have been working tirelessly to plan a fantastic convention that will prove to be rich in teaching resources as well as inspiring performances and keynote speakers. Next month, our magazine will feature the full convention schedule, introductions to our performing groups, a preview of the virtual convention platform and 0 much more!

2021 TMEA Clinic/Convention F E B R U A R Y 11 –13 , 2 0 2 1 • A V I R T U A L E V E N T

TMEA is the lifeblood of our profession. I would attend this convention held anytime and anywhere! DAVID BRANDON, DIRECTOR OF BANDS, DUNCANVILLE ISD

CLINICS

PERFORMANCES

EXHIBITS

Attend clinics by master teachers on strategies and methods you can put to use the next day. In this virtual environment, you no longer have to miss a clinic that’s scheduled concurrently with another you wanted to attend. Recorded clinics will continue to be available.

Over 30 ensembles have been invited to perform for our convention! Concerts will rejuvenate and inspire you as you look forward to your ensembles’ future performances. As soon as the convention platform is available, be sure to add them to your schedule!

In the convention schedule, you will have designated times to peruse the exhibits. Schedule video meetings with exhibitors or text chat online. As always, our music industry partners will be there for you. They will bring their best offers to our attendees!

Registration Fees and Deadlines EARLY REGISTRATION

DEADLINES/FEE CHANGES

•

Active Texas music educators: $60

•

Out-of-state attendees: $110

• December 31: Email/mail/fax registration deadline. Only online payments by credit card after this date.

•

Retired music educators: $20

• January 21: Final day for lower early registration fees.

•

College students: $0 (included in $25 membership)

• January 22–February 13: Registration fees increase. Active members: $80; Out-of-state attendees: $130

•

TI:ME Technology Preconference: $50

Have to Pay by Check? December 31 Final Deadline If you must pay by check, send your form and payment today. After December 31, the only method to pay for convention registration is online by credit card. Considering the potential of slower postal service, don’t wait! Southwestern Musician | December 2020

EXECUTIVE DIRECTOR’S NOTES

B Y

R O B E R T

F L O Y D

Moving forward in gratitude

hat do we do when we don’t know what to do? Similarly, what do we think when we don’t know what to think? How many times have we found ourselves in these quandaries during the past few months, having to decide without any inkling of what the appropriate decision should be? Such is the educator’s life during these COVID-19 times, and certainly the music educator is no exception. As you read this column in late November or early December, you may wonder what the priorities should be moving forward to keep our programs flourishing and vibrant. This is also a time in the school year when it becomes more challenging to motivate and inspire your students—when the success of those great ideas you had for teaching virtually or blended has faded. It may also be a time when basing decisions on the social-emotional health of a student is paramount to gaining an edge in a competitive environment. Each of our Vice-Presidents has reached out to members in their division to share strategies that have worked for them during these unique circumstances. I encourage you to read each column, not just your division’s, as there are many throughout this magazine that could benefit you.

Every glimmer of good times and success, individually or collectively, should be celebrated and savored. 10 Southwestern Musician | December 2020

check www.tmea .org for updates

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Recruiting and Retaining So, what challenges should we be seeking solutions for during this time of the school year? Many programs have experienced a decrease in enrollment this fall. How do we address that scenario? As signup for the fall of 2021 soon approaches, reaching out to those students who used to be a part of our programs should be a priority. Perhaps the best approach is to create a plan for current students in your program to reach out to former students. Many did not leave your program by choice but because COVID-related circumstances affected the method of instructional delivery and schedule structure for your campus or district. Do not assume they are gone forever. I have heard numerous success stories of those students returning after just a simple phone call or visit from a current music ensemble member. Similarly, you could find success with having students in your program do this type of recruiting at the beginning level. Even though they have not been participating this fall, organizing a performance or social experience with those students might be the perfect elixir to help them realize what they have missed. It could encourage them to return home to their music program. Making every effort to retain those students who are with you now is also a priority as signup time for next school year approaches. The January 2018 issue of Southwestern Musician was dedicated almost exclusively to membersâ&#x20AC;&#x2122; strategies for recruiting and retaining students. I strongly encourage you to go online and review that issue (www.tmea.org/ emagazine). It is full of ideas on how to utilize everyone from counselors to current and former students to emphasize the benefits of continued music study. Also, many members answered a question this past spring about how they recruited remotely, and those questions and answers can be found within the Recruiting/Retention topic on our Q&A for Teachers webpage (www.tmea.org/ questions). The reality is that all teachers could find themselves recruiting 100% virtually again. Creative planning can begin now. When I was a high school director, I created a document of short statements by former members of our program who were currently attending colleges and univer-

sities around the state and country. They explained how being a part of a music program throughout high school continued to benefit them. Also included were statements from alumni who were now doctors, engineers, teachers, and representatives of many other professions sharing similar messages. I found great success in providing that document for recruiting and retention purposes. You could publish statements like that on your program website and through social media channels. TMEAâ&#x20AC;&#x2122;s music education advocacy videos carry that convincing message as well, like the one featuring former Director of Engineering for Amazon Web Services telling his story (all are available to view and share at www.tmea.org/itstartswithmusic). Marketing the why of being involved in music has never been more important. Every educator struggles daily to keep their students engaged in learning and music-making due to the pandemic. You work to overcome the constant challenges and distractions that can prevent students from accomplishing the level of success

you want for them. Still, I encourage you to savor those special momentsâ&#x20AC;&#x201D;even the ones that appear small in your eyesâ&#x20AC;&#x201D; where something special happened in a class or rehearsal. It could be a beginner clarinetist crossing the break for the first time without squeaking, or if fortunate enough to play or sing together, ending a phrase that brought a smile to every studentâ&#x20AC;&#x2122;s face, knowing the essence of capturing the musicâ&#x20AC;&#x2122;s spirit was achieved. COVID-19 has been devastating in so many ways, disturbing our psyche and eroding our spirit, if weâ&#x20AC;&#x2122;ve allowed it. Yet those special moments we have experienced with our students must be cherished. Throughout my career as a music teacher, there was nothing more devastating than the loss of a studentâ&#x20AC;&#x2122;s life. In that case, it was from a tragic automobile accident shortly after returning from a Friday night football game. Its impact lived with our band family throughout the year and eroded the spirt of each of us. To help assuage our grief over our loss of Shannon, the students chose a mantra of Remember the Good Times. We cherished

Wishing you and your family a wonderful holiday season!

Southwestern Musician | December 2020 13

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Contact Dr. Melinda Brou, Graduate Coordinator, at 361-593-2824 or Melinda.Brou@tamuk.edu

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the special memories to overshadow our sadness. While I don’t offer the loss of a student as a parallel to the frustrations of successfully teaching during a pandemic, in each circumstance, it’s equally important to hold on to those special moments we experience to help us cope and move forward. Every glimmer of good times and success, individually or collectively, should be celebrated and savored. Finally, it is not just about the students. Cherish the moments of success you as an educator experience as well. As Nathan Langfitt reminded us in his September article on taking care of ourselves, “I hope you can remember that you are doing your best, just as your students and colleagues

are. In the same way that you would never criticize one of your students for struggling in this moment, I hope you can provide the same compassion to yourself.” And during those more challenging moments, reflect on why you chose to become a music educator, and for those special memories during your career, remember the good times, because they will return. 87th Legislative Session As we head into the 87th legislative session, support from other education organizations has never been stronger. It is official that the Texas Association of School Boards has made arts education a part of its legislative agenda. The Elementary

Principals and Supervisors Association has asked us to partner with them on education issues, and Texas Association of School Administrators recently ran an article in one of its publications about the importance of elementary music. You will soon hear from us, asking you to reach out to your newly elected state representative or senator to encourage them to join the Fine Arts Education Caucus, an organization to which we will continually distribute information throughout the session, encouraging their support for our agenda. Hearing from their constituents continues to be the most powerful lobbying voice we have. 0

2021–2022 Executive Board Candidates Executive Board candidate statements and electronic voting procedures will be published in the January issue of SouthweStern MuSician.

PRESIDENT-ELECT

VOCAL VICE-PRESIDENT

Election will follow the First General Session, Thursday, February 11, 6 p.m.

Election during the Vocal Division Business Meeting, Saturday, February 13, 4 p.m.

Jed Ragsdale

Michael Stringer

Jesse Cannon II

Joshua McGuire

Sean Pullen

ORCHESTRA VICE-PRESIDENT

ELEMENTARY VICE-PRESIDENT

Election during the Orchestra Division Business Meeting, Saturday, February 13, 4 p.m.

Election during the Elementary Division Business Meeting, Saturday, February 13, 4 p.m.

Ann Smith

Katherine Johns

Christopher Koenig

Southwestern Musician | December 2020 15

2021 AUDITIONS Admission and scholarships/assistantships available H October 24 H November 14 H February 6 H March 6

music.txstate.edu Texas State University, to the extent not in conflict with federal or state law, prohibits discrimination or harassment on the basis of race, color, national origin, age, sex, religion, disability, veteransâ&#x20AC;&#x2122; status, sexual orientation, gender identity or expression. Texas State University is a tobacco-free campus.

Supporting Students Through Music

by Laura Meehan

hroughout my career, I have had the honor and privilege to speak with many music and arts educators, often as a clinician on differentiated instruction, adapted instruments, and modified activities for students with disabilities in the music classroom. In fact, the content of those clinics were the main points in the original draft of this article. However, as I began writing, I was also preparing my lessons and classroom for the 2020–2021 school year, and it struck me how depleted and exhausted I was. For the first time, I wasn’t excited to peruse Target’s dollar aisle to acquire all sorts of tools and gimmicks to adapt my instruments and lessons. I wasn’t motivated to make accessible assessments or new activities with varying levels of participation. I found myself feeling guilty for not preparing the lessons my students deserve. And here’s the thing—I know I’m not alone. So I scratched that original direction and decided to get refocused on solutions we can all use today to help ensure we are supporting every student through our work as music educators. Understanding During COVID-19 COVID-19 has presented monumental challenges for educators in all content areas around the world. We knew that how we approached these challenges would directly affect our students, yet we often found ourselves with more questions than answers. While content, benchmarks, and assessments all have their place in virtual and in-person classrooms, I urge you to consider the significant level of support your students need today. If veteran

educators are having difficulty coping, handling all the changes, and staying flexible, imagine all the students who have even less understanding and direction. Prior to the pandemic, students with disabilities were already a marginalized population. Given our atypical return to school, I fear this condition may worsen before it improves. Students with disabilities have likely missed out on some of their therapies and school-provided supports identified on their individualized education plans (IEP). While many states and districts did their best to provide at-home supports, it is easy to understand how those attempts couldn’t match the quality of brick-and-mortar learning. I’ve heard from many fellow music educators who haven’t had the opportunity to teach their students with disabilities during school closures, or if they have, about how minimal it has been. As arts educators, we may not always be aware of all the accommodations and supports a student receives, but it’s likely that those services generalize into our classrooms. Unfortunately, with school closures and the pivot from one learning environment to another, many students with disabilities may have regressed into negative behaviors, outbursts, lack of independent functioning, loss of communication, and more. For music educators who weren’t necessarily aware of or working with those students on those behaviors, this could quickly lead to frustration as students with disabilities reenter the music classroom. We must remember that music provides joy, and that is exactly what we all need right now. Southwestern Musician | December 2020 17

Focus Less on Right Notes I was proudly educated in the exceptional Texas music education system. I was a member of two choirs that performed at TMEA conventions, played my horn in some of the nicest concert halls, gave my drum major salute on the 50-yard line of Texas Stadium (admittedly, still one of my life highlights), and enjoyed the opportunity to be a part of and hear some of the most talented public school ensembles in the world. I originally aspired to join the ranks of many extraordinary Texas high school band directors. Then life took me down a different path. When I started my master of music therapy, it took me a while to become comfortable with the idea that wrong notes are okay. Correct pitches and rhythm, while ideal, are not necessarily important. I realize this is difficult to read, and some might consider moving on to the next article, but I hope you hear me out. Music therapy is focused on nonmusical goals—the quality of music being produced isn’t as important as the result of the music-making itself. Working with a certified music therapist, music

therapy can help improve communication, decrease heart rate, calm a panic attack, relieve stress, and lead to many more positive outcomes. I recognize most who are reading this are music educators and have certain music benchmarks or musical goals you want your students to achieve. Additionally, I understand the stress born from competitions and preparing students for various auditions. Students need music and the arts now more than ever, and it is not just so they can advance to the next round in an audition process. The music classroom, when properly set up, is often one of the places where students with disabilities quickly find belonging. These students may not be in the top five chairs at All-Region and may not qualify for your top ensemble based on longstanding criteria. But inclusion, support, and creating music with peers in a safe space is critical right now for all our students, especially those with disabilities. As the 2020–2021 school year is almost at its halfway point, I urge you to continue to include students with disabilities in your classrooms, ensembles, and performances.

Great—But How? Below is a brief, certainly incomplete list of ideas on how to support and include your students with disabilities in music during these challenging times. These shouldn’t appear as an addition to your teaching but rather as an incorporated and inherent aspect of your instruction and interaction with students—a way of fostering camaraderie and support. • When they miss a few notes or can’t answer a music history question correctly don’t make it a big deal. • Celebrate even the smallest of successes and understand their challenges have only grown in this past year. • Even if some students must Zoom, consider creating an open time to create a safe space to just listen to music or have mini jam sessions. • Pair a lower functioning student with 1–2 higher functioning students and invite them to compose a song together. If that is too much, have them rewrite a verse or chorus to a known song and then perform it together.

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18 Southwestern Musician | December 2020

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• When the time comes for performances, make sure all students are included. Parents need to see their children succeeding and being a part of something as well. It doesn’t have to be Handel’s Messiah, but allow them to share the joy making music gives them. • Allow expression through music. Put on a backing track, give them a few instruments of choice, and let them improv either as a solo or in a small group. You can give students prompts or have them make up their own. • Show them you care. This holds true regardless our circumstance, and while it might sound cliché, it is for a reason. With all our current precautions, it can be difficult to smile at students in the hallway and it might not be possible to offer them a highfive. Consider leaving students a sticky note on their music folder expressing one positive thing they did in your class that day.

• Adapted instruments: try using different grips or ways to hold instruments. • Alternative assessments: consider having students choose from a field of two or shorten the assessment to what you consider most important. As we continue to face uncertainty in our future, please remember some of your students, especially those with disabilities, may have experienced more trauma and stress during this time. Many students with disabilities may not fully comprehend what is happening around them, including why they haven’t seen you in a while

THE

UNIVERSITY

or why there are suddenly extra rules to follow. Be considerate and patient. Make sure all your students are still accepted and included in your classroom and remember the happiness music can create and how much we all need that joy right now. 0 Laura Meehan is a board certified music therapist and certified educator in the areas of music and special education. She currently teaches at Caminiti Exceptional Center in Tampa, Fla. and is pursuing her doctorate at the University of South Florida.

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• Be flexible and open to their needs and accommodations and be aware these may look a little different than the last time they were in your class. • Look to your school and your community. What is needed? Maybe you could submit a recording to a local nonprofit, highlighting students in support of one another. • Encourage conversations. Bring up a topic from music history or based on a composer you’re teaching them about. Facilitate a roundtable and encourage students to give their opinions. For students with disabilities this could be in the form of simple yes/no answers, but make sure they have a seat at the table and that their opinion is heard. They’ve missed out on this during the time they were away from their peers. Think creatively, get flexible, and be sure to take care of yourself as well so that you can be your best, most positive self for your students. As always, continue using these strategies: • Differentiated instruction: creating varying participation levels within activities to make sure all students are included. • Adapted notation: consider using colors or shapes.

LIVE AUDITIONS AT UNM FEBRUARY 15 AND FEBRUARY 20, 2021 LIVE STREAM AND VIDEO AUDITIONS ALSO ACCEPTED! TO SCHEDULE AN AUDITION OR VIRTUAL AUDITION PLEASE CONTACT MICHELLE MORRISON MMORRISON@UNM.EDU 505-277-8998 For general scholarship questions please contact: Dr. Michael Hix, Associate Chair Department of Music mhix@unm.edu Additional scholarships are available in Jazz Studies: Glenn Kostur gkostur@unm.edu Music Education: George Nicholson gnicholson@unm.edu

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Southwestern Musician | December 2020 19

BAND NOTES

B Y

D A N A

P R A D E R V A N D

With a little help from my friends

n one of my recent morning walks, I was listening to random tunes on YouTube, and the Beatles hit song “With a Little Help from My Friends” began to play. As I listened, the words made me smile and I began to laugh. I had just figured out the subject of this December article. This famous song begins: What would you think if I sang [played] out of tune? Would you stand up and walk out on me? Lend me your ears and I’ll sing [play] you a song And I’ll try not to sing [play] out of key Oh, I get by with a little help from my friends . . . Entertained by the text of the opening verse and taking inspiration from the first line of the chorus, I decided to get a little help from friends and colleagues! I asked five outstanding and experienced band directors and friends if they would offer us their thoughts on some questions as we approach the halfway point in our school year.

When we reach out to our friends and colleagues—no matter where they are—we can be sure they’ll be ready to help. 20 Southwestern Musician | December 2020

check www.tmea .org for updates

December—Renew your membership and register for the convention. December 31—TMEA email/mail/fax convention registration deadline. January 9—Area Band and Vocal auditions. January 21—TMEA convention online early registration deadline. January 22–February 13—Online registration available at a higher fee. February 11–13, 2021—TMEA Clinic/ Convention, held virtually.

Each of the following graciously responded and I thank them for taking the time to share their insight and ideas: • Todd Clearwater, Director of Bands, Klein Oak HS (Klein ISD) • Donnie Hull, Director of Bands, Haltom HS (Birdville ISD) • Kim Garza, Director of Bands, Lopez MS (North East ISD) • Kim Shuttlesworth, Director of Bands, Glenn HS (Leander ISD)

• George Trevino, Director of Bands, Lopez ECHS (Brownsville ISD) I hope you will find their responses helpful, inspiring, and validating. As you read their responses, consider how you would answer these questions. Now, I encourage you to go to your music media and download “With a Little Help from My Friends” and listen to it as you read on. Describe something you changed, after you began teaching remotely or blended, that has improved your instruction or connection. Donnie: We have tried to introduce more literature to the students. We’ve doubled the number of stand tunes we typically prepare and we are reading more concert music than we would have in a typical year. Kim G.: We now ask students to play small chunks of something we are working on. This allows us to hear all students multiple times throughout the class period. Kim S.: One of the biggest changes to my teaching was making sure that instructions are given in as clear, detailed, and concise way as possible. This allows the students the opportunity to exhibit the same skill, and we get more done. How have you kept students engaged and learning in this abnormal learning environment? Todd: Now more than ever we must be the source of energy in the room, whether in person or online. We must be energetic enough, interesting enough, and relevant enough that every student is consumed with what is going on. Donnie: We have focused our effort on finding new music, techniques, or locations to practice. For the online learners, we have them play along with publisher’s

recordings or work on a piece they have chosen themselves. Kim S.: We use breakout rooms, leadership teams, and small checkpoints for assessment. George: What I believe helps most students stay engaged is introducing something new each week. Our focus leans more toward concept over content—we create a curriculum that follows a sequence of exercises, but it changes every week as it relates to the content area we are working on. Is there a technology solution that has made a difference in your efficiency or effectiveness of teaching or managing your program? Todd: We have large TV monitors, webcams, speakers, and USB microphones in each teaching space. Kim G.: I have all virtual students via Zoom projected on a screen in the room. I also use a Lightspeed microphone while I teach to allow the sound of my voice to clearly be heard through the computer for the online students. If your students are participating in the TMEA audition process, what strategies have helped them prepare? Todd: We use targeted video assignments through Schoology. Donnie: We’ve set our curriculum to have weekly recordings of etude excerpts. To keep it fresh, we’ve challenged students to record from different locations in their houses (garage, bedroom, closet, bathroom). Kim G.: We imported the etudes into SmartMusic and created weekly assignments. Students can earn medals on our Region Olympic Chart, where they earn

2021 TMEA Clinic/Convention • Online • February 11–13 W W W. T M E A . O R G / C O N V E N T I O N

22 Southwestern Musician | December 2020

incentives at the end of the season. George: This is a voluntary activity for our students. We primarily do remote lessons after school. What do you do to ensure you can maintain good balance and selfcare during this time? Todd: I am trying to recognize the difference between what I have always been able to do and what is possible in this environment and not beat myself up over it. I have a choice! I can be down about how slow the teaching is, or I can celebrate the tiny musical victories. Donnie: The best thing right now is to have a team of colleagues whom I truly enjoy working with. Kim G.: I choose one day out of the week to enjoy family time and give them 100% of my attention. I also aim to laugh with my students every day. Kim S.: I created boundaries and I try not to take work home. I put timers on my phone for how long I can look at email, social media, etc. It has been very good for my mental health and it has made me more connected when I am in front of my students.

These responses remind us that when we reach out to our friends and colleagues—no matter where they are—we can be sure they’ll be ready to help. I hope each of us will look for opportunities to ask questions like this and offer strategies that have helped make our lives and work more successful. Gonna try with a little help from my friends. 2021 TMEA Clinic/Convention: This column content is the perfect segue into thinking about our February convention that will be held virtually! Next month, this magazine will feature a full convention preview, with information about the sessions, an introduction to our performing groups, exhibitor directory, and more! While we won’t be together in San Antonio, our convention will remain an event you will not want to miss! There will be numerous clinics presented on a wide range of topics and issues that TMEA members requested, offered by the best of the best in our business. We will enjoy performances by our selected invited middle

school, high school, and college ensembles. You’ll have opportunities to hear from and engage with some of the icons of our profession and meet with our exhibitors to get the best deals on their products and services. All of this and more will lead to the must-attend President’s Concert featuring VOCES8 (presented at no additional cost to registered attendees). The 2021 TMEA convention experience will inspire you, educate you, and rejuvenate you. For more information and to register, go to www.tmea.org/convention. Be sure to register before January 21 to take advantage of the lower fee. Registering by mail? If you or your school district will pay your registration fee by check, we must receive this mailed registration and payment by December 31 (go to www.tmea.org/register to download the form). With the potential for postal service delays, be sure you process this request immediately. After December 31, the only way to pay for the convention will be online with a credit card. I look forward to seeing you online in February for another amazing convention! 0

Southwestern Musician | December 2020 23

Keynote presentation by

WYNTON MARSALIS! World-Renowned Musician • Arts Advocate • Educator • Composer

2021

WWW.TMEA.ORG/CONVENTION Go to page 9 for details on registration fees and deadlines.

24 Southwestern Musician | December 2020

Attend the 2021 TMEA Clinic/Convention Register for our virtual event today! • Over 150 clinics led by master educators • More than 30 invited performing ensembles • Connect online with attendees and exhibitors • Attend the President’s Concert: VOCES8 • Vote for your future TMEA leaders

Southwestern Musician | December 2020 25

UNIVERSITY OF NORTH TEXAS COLLEGE OF MUSIC

Welcomes

Mark Montemayor

Associate Professor of Music Education Published in the Journal of Research in Music Education (JRME), the International Journal of Music Education, and the Journal of Music Teacher Education, and in the book series A Composer's Insight: Thoughts, Analysis and Commentary on Contemporary Masterpieces for Wind Band. Lead author of World Music Pedagogy, Volume IV: Instrumental Music Education (Routledge, 2018). Member of the editorial committee for the JRME and the Bulletin of the Council for Research in Music Education

Mentoring for Continuous Improvement

by Nathan R. Templeton

he work of TMEA’s Diversity, Equity, and Inclusion Committee continues to focus on advocating for ways to serve the diverse composition and needs of the TMEA membership, as well as on how we, as educators, can be more inclusive in meeting the diverse needs of our students. The subcommittee on mentoring that I serve on has been reviewing the TMEA Mentoring Program through the lens of supporting greater diversity in our profession. By enhancing support systems for educators serving traditionally underrepresented populations, expanding our diverse pool of mentors, and identifying steps to address equity and access in our music programs, we can foster meaningful and positive change in our profession. In his book An Administrator’s Guide to Better Teacher Mentoring, William L. Fibkins likens teaching to a performance art—one where those who are classically trained (performers) persist at improving their craft through countless hours invested in honing and refining a set of unique skills that may take a lifetime to truly master. Resultingly, the goal of mentoring is the development of a positive relationship in which mentors empower protégés through frequent reflective dialogues so that the protégés can reach their full potential. However, during these challenging times of COVID-19, we must also craft a direction forward that addresses how we relate and function together while being isolated from the energy and presence of our colleagues. Therefore, the emerging themes I offer here center on building capacity virtually through e-mentoring, collegial support and mental wellness, and mentoring and coaching for continuous improvement.

Building Capacity Virtually Admittedly, I am somewhat of a social butterfly, craving physical and intellectual contact with my peer groups. This loss of collective time together has fostered feelings of isolation and loneliness. Virtual platforms, such as Zoom, Skype, and WebEx have quickly become familiar tools. Capitalizing on the wide range of possibilities within these platforms is a great way to continue to build capacity virtually. While attending meetings and professional development sessions or conferences virtually is somewhat of a no-brainer, an ancillary purpose of that attendance is the renewal of mind and spirit through informal social gatherings. Scheduling a virtual coffee talk or happy hour is a great way to meet socially for fellowship. Set aside some time to come together and share stories, discuss ideas, or in the simplest form, see the smiling faces of your peers. Allow this extemporized time to become an authentic zone of channeled energy that will ultimately improve this moment of the human condition. “The President’s Own” United States Marine Band has modeled this well, coming together virtually to fellowship and share chamber and small ensemble music, thereby creating an oscillating reality that closely resembles what is likely to become the new normal. Collegial Support and Mental Wellness The first task of the intentional educator is to understand our self-efficacy. How we deal with the stresses and challenges of life will ultimately be reflected in our instructional practices. Extended stress is also a predictor of mental health issues, including anxiety and depression. In his book The Courage to Teach, Parker Palmer makes a compelling argument that you teach who Southwestern Musician | December 2020 27

Share wisdom with someone whose racial, ethnic, or socioeconomic status differs from your own. Differences can yield opportunities rather than barriers if we seek them. you are. As such, the author recommends that educators attend to their inner lives as one means to renew heart, mind, and spirit. In short, brokenness cultivates more brokenness. Operating during these times of global crisis is certainly a predictor of extended stress, and the priority should be to focus on self-betterment and personal wellness. First, form a support group of colleagues who will be honest with you. Those closest to you will know when your behaviors and personal nuances (verbal and non-

28 Southwestern Musician | December 2020

verbal) are irregular. Moreover, social supports enhance mental and physical health. Second, create safe spaces by fostering trusted relationships with stakeholders. And finally, know your limits. Take time to reconnect with your inner self. Project Restore, published by TEA, is a great resource for your consideration. Mentoring and Coaching for Continuous Improvement Mentoring is a relationship-based process with specific and comprehensive

goals. As the mentor relationship evolves over time, we build wisdom—the ability to apply skills, knowledge, and experience to new situations and processes. By contrast, coaching is associated with improved performance and the purposeful development of specific skill sets. In the book Techniques for Coaching and Mentoring (Megginson and Clutterbuck), we learn that while mentoring and coaching roles are often detached, they may also be used in complementary fashion: • Mentoring and coaching require a symbiotic connection between the mentor or coach and the protégé. • Mentors and coaches are accountability partners who work in protégés’ best interests. • Mentors and coaches bring new approaches to either a specific skill or an entire career. • The role of mentors and coaches is to ask protégés the right questions to promote greater self-awareness and more informed decision-making. • Mentors and coaches are not called on to solve problems. They are to

question how the best solutions might be found (p. 5). Similarly, continuous improvement is about being a lifelong learner. Like any skilled craftsperson, to continuously hone the skill set is necessary for improved performance. My wife is a fantastic basketball coach, and I watch as she guides our two children to shoot hundreds of baskets each day. Why? To get better at shooting, you must hone the skill set. Likewise, as a band director, I watched one of my mentors spend countless hours each rehearsal during the fall season working on marching fundamentals. Why? To produce a more polished performance, you must hone the skill set. Admittedly, sharpening skill sets is a natural fit for music educators. After all, we spent countless hours in the preparatory years learning to better our craft. I fondly recall John Whitwell, former director of bands at Stephen F. Austin State University, sharing wisdom with our advanced conducting class, saying “to perfect your craft, surround yourself with others who are perfecting theirs and you will eventually be in the company of greatness.” In my twenties, I did not quite understand what I now know as a professional educator. The road to greatness is a process of overcoming failures and challenges. Greatness is the process, not the result. The challenge to each of us is to find something within ourselves that we do not do well (or could do better) and actively seek to improve it. Moreover, being a mentor to a sister or brother in the profession creates the context for careful listening and deep connection that also honors diversity in person and profession (Palmer, 2017). Fostering Inclusion Honoring personal and professional diversity begins with understanding personal bias and how experiences frame approaches. Seize the opportunity to cross the cultural and ethnic lines often blurred by an insecurity born from lack of experience or understanding. Share wisdom with someone whose racial, ethnic, or socioeconomic status differs from your own. Differences can yield opportunities rather than barriers if we seek them. Meaningful change takes time. Be the change you wish to see in our noble profession. Continue to be part of what TMEA

has done well for so many years and discover avenues toward continuous growth. Let’s continue to foster inclusive environments and let’s do better with regard to equity and access. Every child needs music. We must not price ourselves out of the business of teaching. Keep costs low and ensure our ensembles closely resemble the demographic of the school population. Bring Out the Best in Each Other The pandemic is here, but it will pass. The overarching question becomes one of resilience. How much better will we be when our current challenges are no longer the flavor of the day? How we invest now will determine the rewards of the future. I am so thankful to have grown up in the Kilgore HS Band program. My director, Mike Geddie, made a profound impression on me and many more like me. He taught the values of hard work, dedication, and perseverance. He taught that success is something to be earned. He taught us to cherish the gift of music, and he inspired greatness from within. He did all of this, regardless of skin color or circumstance. When I became a band director, I called on him frequently for his knowledge and wisdom. In so doing, he inspired yet another generation of future educators. To this day, Mr. Geddie is still my mentor, and he’s my friend. Collectively, we share similar stories, although not all are positive, for sure. May we continue to mentor each other. May we continue to explore the best in our neighbors. May we continue to accept the noble calling to teaching, and may we continue to offer a world-class music education to

every student, regardless of skin tone or circumstance. We can be certain that younger generations are watching. Like any great conductor, it’s not whether you paint a pretty picture—it’s that you give them something to watch that connects at a deeper level. 0 Nathan R. Templeton is Associate Professor and Director of the Meadows Principal Leadership Institute in the Department of Educational Leadership at Texas A&M University Commerce. Templeton is a member of TMEA’s Diversity, Equity, and Inclusion Committee. References Fibkins, W. L. (2011). An administrator’s Guide to Better Teacher Mentoring. Lanham, MD: Rowan and Littlefield Education. Megginson, D. and Clutterbuck, D. (2005). Techniques for Coaching and Mentoring. London: Elsevier Butterworth Heinemann Publishing. Palmer, P. J. (2017). The Courage to Teach: Exploring the Inner Landscape of a Teacher’s Life. (20th ed.). San Francisco, CA: Jossey-Bass. Project Restore. Retrieved November 4, 2020, www.texasprojectrestore.org/ videos/series-overview Templeton, N. & Tremont, J.W. (2014). Applying Business Lessons to Education: Mentoring as Job-Embedded Professional Development. International Journal of Organizational Innovation, 6(4).

Have a Story to Share? Many of our best feature articles are written by TMEA members like you. Perhaps you developed an effective teaching method, found a new technology that helps make your work more efficient, or have been successful in building administrator and community support. Whatever your areas of success, Southwestern Musician provides a venue for sharing your ideas with your colleagues around the state. Learn more:

www.tmea.org/magazine Southwestern Musician | December 2020 29

ORCHESTRA NOTES

B Y

M I C H A E L

S T R I N G E R

In Memoriam Alex Pancheri April 18, 1945–October 18, 2020

Colleague contributions

his school year, I have found myself reaching out more than ever to trusted colleagues to try to figure out how to teach in our current environment. It has been so great to get together with other orchestra directors from around the state each month for the TODA Coffee Colloquy and in our TMEA Connections to exchange stories, ideas, and gain perspective on this year. As you’ll see throughout this issue, this month we decided it would be a great idea to have colleagues from around the state share their tips and tricks on how they are being successful despite this pandemic. I would like to express my appreciation to the following who took some of their precious time to offer their perspectives: • Sally Kirk, Dulles MS (Fort Bend ISD) • Jennifer Martin, Boles JH (Arlington ISD) • Sundas Mohi-Truong, Klein Cain HS (Klein ISD) • Colleen Whatley, Pearson Ranch MS (Round Rock ISD)

The contributions in this issue remind us of how important it is to share our ideas and help each other, especially in this most challenging time. 30 Southwestern Musician | December 2020

check www.tmea .org for updates

Describe strategies you have used to connect with your students virtually and in person. Sundas: I have found that it takes a lot more time and effort to connect with students whether virtually or in person. I am a new head director at my campus this year, which makes connection even more important. Some things I have done are: • Sent handwritten postcards to seniors (time consuming, but very worth it). • Featured students on social media for various things (officer selection, birthdays, Region orchestra, students who participated in spirit days). • Greeted each student by name as they enter the Zoom and physical room, whenever possible. • Been transparent with them. It’s important to be positive, but kids will always see through an act. When I am struggling with technology or overwhelmed with life, I just tell them. It is important for students to know that we are trying our best and attempting to make the best of the odd situation we are in. I truly believe having a certain level of transparency with kids helps establish trust and relationships faster. Colleen: This week was my first with students rotating into my classroom for inperson instruction, so my efforts to build relationships have been focused on virtual connections thus far. I have used a few approaches: • My beginners have a video-recorded playing assignment every class period. I provide them a practice checklist to complete during their asynchronous time and last on the list is always an action item. My feedback is a video response. I speak directly to the student, telling them what they did well and demonstrating what they can work on. • Post-synchronous office hours have been a great opportunity to connect with students in a more casual environment. The beginners have so many questions, but they’re often intimidated to ask during large-group instruction. During my office hours, I simply leave my virtual classroom open, turn off my video and audio, and wait for the intermittent “Umm—

Mrs. Whatley, my bow isn’t making any sound.” Turning my video and audio on, “Hmmm—I think you have enough rosin, but let’s work on that hinge motion!” It’s been really fun to get to know the students this way. • Celebrations! Celebrating student success has always been an important focus in my classroom, and virtual learning hasn’t changed this. Students feel so much more exposed in the virtual setting, so it was critical to establish a goal of being brave from day one. I call on students to do various activities and we applaud every success. Is it overdone? Well, sure. Isn’t that the fun of teaching beginners?

share with me after the performance. The visual effect will be a group performance, but aurally, it will be a solo recital. • Non-varsity ensemble students will play along with a prerecorded video of their orchestral piece. The prerecorded video will feature a quintet of four of my colleagues and me. We’ll have a socially distanced recording session, and students will be provided with the video in advance to practice along with. For the performance, I will conduct while students play (muted)

If you are performing this semester, describe how you are accomplishing that. How are you including students learning remotely? Sally: We are planning two outdoor winter in-person concerts, one for beginner orchestra and another for our performing orchestras. It will take place in the front of our school under our rotunda and we will practice safe social distancing with audience chairs spaced out throughout our parking lot. We rehearse via SmartMusic but will need a few live rehearsals to pull it all together. We will have a virtual orchestra put together for students who choose to stay 100% online. Jennifer: We are planning to record a performance in class for each orchestra to livestream in the evening. We plan to have online students projected on the screen and included on the recording. Online students will also record welcomes and introductions for each group. Colleen: Except for my 100% virtual varsity orchestra, my orchestras have approximately two students per class in person. I am teaching all virtual and inperson students simultaneously. Remote learners are not permitted to come to school for rehearsals during the day. With that said, any performance I plan must be virtual. • The Beginners’ performance will be in the evening. All students will sign in to our Google Meet from their homes. Students will be muted, and I will play piano while they perform for their parents. Parents are asked to record their performance from home, and to

Southwestern Musician | December 2020 31

and the video runs. Their parents will record their performance at home and share it with me. • For the varsity ensemble, we are planning to create a virtual ensemble performance. This will be a one-time deal—I do not intend to make this our new performance format by any means. However, I’m hyper aware of the recruitment and enrollment issues we will be facing in the future if we don’t have a product to share with our elementary programs. Thus, I am having my students put this together in December. We’ll hope to close the year with a socially distanced, outdoor performance. If you are teaching in a blended setting, describe how you have incorporated the students learning remotely into lessons with those who are in person. Jennifer: The virtual students join on Zoom. I try to be mindful to speak directly to online students and let them know they are important to the rehearsal. I also call on online students to play for the class. In my junior high classes, we have two directors. The director not on the podium can run the chat and help with tuning and questions. Sundas: The best thing we have implemented is the use of Zoom breakout rooms. I initially heard about using breakout rooms for sectionals from Creston Herron. I highly recommend everyone try this and tweak it to make it work for you! For our varsity and non-varsity classes, we do student-led breakout room sectionals twice weekly. We have taught students how to create lesson plans for these sectionals. They select 4–6 spots that are 4–8 mea-

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sures long and write down what is difficult about these spots. Each time, a different student is the sectional leader. The goal is for every student to have a chance to lead the sectional at some point. Breakout room sectionals are not as efficient as regular in-person sectionals, and I believe it is important to be transparent with students about that. However, because the priority is connection, this is a great way to help them build relationships with each other, develop individual leadership skills, and take ownership of their music. What steps have you taken to maintain a good work-life balance that would help other teachers? Sally: I believe everyone needs a therapy outside of his or her profession to maintain mental well-being. It can be art therapy, family time therapy, church, yoga, book club, running, or actual therapy— anything that allows us space to breathe, contemplate, meditate, reflect, and give thanks. Feeling the sun (especially if you work in a space confined by four windowless cinder block walls) is vital for our wellbeing. Whatever therapy outside of school we find, we need to jump in deep and let our minds recharge so we are full and ready to pour all we have into our students. Sundas: I’m a workaholic. Last semester, home became work. I have had to really reset and create firm boundaries for myself in terms of allowing myself to rest when needed. I try to not work on at least one weekend day. But I also think it is important to let yourself do what you want to do in terms of working at home. I have always heard colleagues tell me to not bring work home, but I feel an unyielding guilt when certain tasks don’t get done. If you need to

work for an hour at home to feel at peace, do it. Try to limit your at-home work, but don’t beat yourself up if you feel that you need to take care of something or spend one afternoon a week at work for some extra time. You know yourself better than anyone. Colleen: As the wife of another orchestra director and mom to three musicians, work and life have always coexisted. I can honestly say that this move to a mostly virtual work-life has dramatically changed our home dynamic. My advice would be to find someone to hold you accountable—someone who will encourage you to close that laptop at the end of the workday and go home. We’ve chosen to turn off devices from 4 to 8 p.m. Some nights, the laptops are back open at 8 p.m., and we’re back to work. But, those four hours of natural light, personal connections, and other activities (reading, practicing our own instruments, going for a run, etc.) are giving us the mental breaks needed to stay emotionally healthy. TMEA Clinic/Convention Update I hope you enjoyed the tips and suggestions provided by our colleagues. It was incredibly difficult to reduce their responses to what you read above; they were full of wonderful and beneficial information. I hope you are looking forward to learning more techniques and strategies from your colleagues during our convention in February, held virtually. I have always gained so much at our convention and been able to apply many of the techniques in my rehearsals as soon as I return. This year will be no different! I’m confident you will gather many new great ideas by attending our convention. In addition to the amazing learning experiences you’ll have, you will continue to experience inspiring performances by our invited ensembles from across our state. You’ll have time to connect directly with your trusted suppliers during exhibit hours and discover new providers as well. Be sure to watch for next month’s magazine to arrive as it will contain a full preview of our schedule, list of exhibitors, introductions to our performing groups, and more! 0

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SHOW ME What You Can Do

BY KELSEY JERGER

he performing arts require great vulnerability. You must put yourself out there, opening your heart, accessing your emotions, and revealing those emotions through performance in front of others. You’re not working at the privacy of your desk; you’re using your body and voice to communicate! Performing takes a great deal of self-confidence, and that confidence must be practiced and nurtured. Today, our students are more out of practice than ever, having spent months without a single opportunity to perform in front of peers. As teachers of the performing arts, we must recognize this vulnerability and take steps toward developing that confidence in our students to bolster their ability and desire to perform!

Create a Safe Space The first step in helping our students overcome these vulnerabilities is creating an environment in which they feel comfortable and willing to explore. Teachers of all content areas know that students need to feel loved and have a sense of belonging before they can begin to learn. As music teachers, we must go a step further and take special measures to anticipate and alleviate the pressures of performing. In a field where your mistakes are not made privately but instead are on display for all to witness, it is important that we give special attention to the lesson that it’s okay to make mistakes—in fact, it’s a necessary part of the process. To instill this vital principle, I emphasize the value of effort and personal growth over the value of success. Students in my classes are accustomed to rating their own comprehension and participation by holding up one, two, or three fingers. The comprehension category teaches that it’s okay if you don’t fully understand something yet. They come to realize that learning is a process and through practice and hard work, everyone is capable of moving through the steps toward comprehension. The participation category teaches that it’s okay if it’s not perfect as long as you are trying

your hardest. Students develop self-accountability, realizing that they alone have the power and responsibility to show the teacher their capabilities. When students feel safe and valued, regardless of their success, they will be more willing to take the necessary risks for performing music. Creating a safe space is an important foundation for engendering student performance and creativity; however, even when we do everything possible to anticipate and alleviate their vulnerability, some student disengagement is inevitable. So, what can we do in the heat of the moment when students simply refuse to participate? Show Me What You Can Do Desiring to align with the established safe space and positive culture, I sought an alternative to the authoritarian method of threatening students to participate “because it will affect your grade.” Instead, I devised a phrase in the authoritative spirit that would motivate students by illustrating why it was worthwhile for them to participate: “I’m here to help you grow. Show me what you can do!” This is not a threat. This is a mission. It is a mission for students to prove competency. And why? Because that’s the only way to grow. When I introduce or review this mission at the beginning of the year, I give them the long version: “Everyone knows teachers have a job. My job is to help you grow, to teach you the things you need to know to progress to the next grade and be the best you can be. You may not know this, but students have a job, too. Your job is to show me what you can do and what you can’t do yet. For the things you can do, we’ll put a little check next to them and we’ll move on. For the things you can’t do yet, even after trying your hardest, we’ll work on those together! There will always be things you can’t do yet, just remember that I’m here to help you grow. Show me what you can do!” Now this might seem interchangeable with “You can do it.” Southwestern Musician | December 2020 35

That phrase, however, could spur them to wonder “What if I can’t?” I’m not contending that you should never use that expression, but when students are particularly vulnerable, I try to be more delicate with my wording. The phrase show me what you can do indicates that whatever their best is, it will be accepted. Whole-Class Approach: There are lots of reasons why a class or student won’t participate. This year, it will often be that the kids are just out of practice performing and don’t have the courage to leave their comfort zones. It doesn’t matter why they won’t participate; what matters is that they understand that to grow, they must show you what they can do! To take my frustrations out of the process when a class won’t participate, I have found it freeing to have responses prepared for both successful and unsuccessful participation levels. For any given activity, you can use the chart on the right to guide your response based on the level of participation of the whole class. Try to keep a positive tone and body language throughout the process. Remember, we want them to take ownership of their learning. If I show frustration in my responses, they think they are not moving forward because they didn’t please me, not because they didn’t achieve the step at hand. Not only does this method help the students become more autonomous, but it has lowered my stress level, too. I don’t feel like the drill sergeant, harping on the kids to try harder. I don’t have to wonder in the moment whether they’re being lazy or are incapable. The process remains the same. And in the case in which they are truly incapable, I’m glad I didn’t reproach them for being unsuccessful. Having less confrontation and more conversation with my students allows all involved to feel understood and encouraged that there is a plan in place for future growth and achievement. Individual Approach: I have found the “Show me what you can do” method to be very effective when managing a whole class but that modification is required when faced with an individual student refusing to participate. When the whole class is limited from moving on, it feels like a natural consequence for not achieving the step at hand. When one student is prohibited from moving on, it is always perceived as a punishment because they

Class Participated Appropriately Step in the Teaching Process:

Example Statement:

Rate participation. Acknowledge success. Move forward.

Class, please rate your participation. Wow! That time the majority showed what you can do! Let’s move on!

If students do not participate appropriately, progress through the four steps below, as needed. When students participate appropriately, use the response above.

Class Did Not Participate Appropriately Step in the Teaching Process:

Example Statement:

1. Rate participation. Try the same step again.

Class, please rate your participation. It looks like the majority did not try their best that time. Let’s try again, and remember— show me what you can do!

2. Acknowledge struggle. Simplify task or go back to a previous step.

It seems like we’re having a little trouble with [this concept]. Let’s try [this solution] and see if that helps!

3. Entice with next step. Review expectations. Try last time.

I was hoping to add [this concept] to this one today, but if we need a little more time on this step, that’s okay too. Let’s try it one more time. [Review expectations here.] Show me what you can do!

4. Acknowledge struggle. End process.

It seems like we’re not quite ready for the next step today. Maybe we’ll have time to try again next week.

are the only one missing out on that next step. Instead, I suggest reminding the individual once to show you what they can do, then essentially ignore any further nonparticipation, giving them time and space to overcome their vulnerability and accept the music for themselves. Often the reason a student won’t participate is fear. While they may openly express another sentiment such as “This is boring,” it’s simply being used to mask their vulnerability. If they are intimidated into participating before they are comfortable, they may create a negative association with you or your class. Commit to the Process At first, adhering to this method was difficult for me. When I would forgo pushing my students to achieve, I felt like I was giving up on them. I would think to myself: I know they can do this, if they would just try harder! I believe this line of thinking can be hazardous to our student relationships. The fact is, we can’t really know their capabilities. We can theorize what is achievable

for a given age group and experience level, but there are so many unknown variables when applying that theory to real children. Are the students well-rested, fed, and emotionally stable? Are they scared? Do they have the prerequisite knowledge for this task? These variables will be particularly unpredictable in today’s pandemicaffected classrooms. Our students this year may not achieve at the same rate or degree to which we are accustomed, so we need to commit ourselves now to being sensitive and responsive when faced with those inevitable frustrations. Program Your Positivity The “Show me what you can do” method is a helpful tool for resolving student disengagement, but it is not a replacement for your expert judgement. Once you get a feel for a class, you may recognize that they just need an energy boost. You might say, “Hey everyone, it feels a little sluggish in here today. Let’s hop up and do some quick stretches!” Or once you get to know little Judy, you may learn she just needs a few Southwestern Musician | December 2020 37

more personal invitations than the average child: “It’s time for movement, Judy! Hop up and join us! Yep—you’ll need to stand up for this one! 1, 2, 3, up! There you go!” Of course the “Show me” method isn’t the only way to manage students who refuse

to participate; however, it is one method that will work uniformly to address behavior in a positive way and reduce the stress on you. It is a trusted response you can always feel comfortable using without fear of looking back and regretting how you

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handled the situation. In a field where it is natural to encounter noncompliance, this method will allow you to maintain healthy relationships with your students in a setting where they feel safe to perform. I have been a more peaceful teacher since I began using this method. By having programmed, authoritative responses, I am not acting on my frustrations when students don’t achieve at the rate I predicted. Instead, I feel content knowing I am directly addressing student growth, not by intimidation, but by motivating them to prove competency. Through this sensitivity to student vulnerability you can develop confidence in students, even when they are unsuccessful, so that they will grow to love performing every day. Whether you are managing a whole class lacking enthusiasm or just one defiant student, you can always engage students in a positive manner with the phrase show me what you can do! 0 Kelsey Jerger is the Music Specialist for West Birdville Elementary (Birdville ISD).

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VOCAL NOTES

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R A G S D A L E

We’re in this together

e made it through the semester! What an accomplishment—and I mean that in all seriousness. As we prepare for the spring semester and perhaps the extended need for the hybrid model of music education, we can look forward to the 2021 TMEA Clinic/Convention, held virtually, February 11–13. We’ll get great ideas from our amazing educators presenting a variety of clinics and inspiration from incredible choirs, and we’ll make connections with exhibitors and colleagues. Please make sure you register (www.tmea.org/register), and look to next month’s issue for a full preview of the schedule, introduction of our performing groups, exhibitors list, and more! Until then, I wanted to share some experiences offered by six directors about their fall semester and the realizations they’ve had during these challenging months. I hope as you read them, you’ll find comfort and relief that there are other directors who feel the same way you do and are learning more about themselves and how they can continue to reach students where they are. These six incredible directors are from different school classifications and areas across Texas: • Paul Doucet, Carroll Senior HS (DFW Metroplex) • Gershom Garcia, Big Spring HS (West Texas) • Amy McMichael, Whitehouse HS (East Texas) • Marie Parisot-Olsen, Arnold MS (Houston area) • Sharon Paul, Cypress Creek HS (Houston area) • Michelle Willey, Tomball JH (Houston area) Thanks go to each for agreeing to share some of their insights from the past few months.

Other directors feel the same way you do and are finding out new things about themselves and how to continue to reach students where they are. 40 Southwestern Musician | December 2020

check www.tmea .org for updates

December—Renew your membership and register for the convention. December 31—TMEA email/mail/fax convention registration deadline. January 9—Area Vocal and Band auditions. January 21—TMEA convention online early registration deadline. January 22–February 13—Online registration available at a higher fee. February 11–13, 2021—TMEA Clinic/ Convention, held virtually.

Describe something you changed, after you began teaching remotely or blended, that has improved your instruction or connection. Paul: I vehemently resisted our learning management system for the last five years. When I finally embraced the software this year, it allowed us to streamline our processes for all aspects of our program! We can craft lessons that all students (virtual and in-person) can engage in at the same time. Gershom: We are using this opportunity to have more one-on-one vocal instruction, fundamentals of singing, as well as supplying students with vocal tracks of their fall concert music uploaded to Google Classroom. We’ve also allowed opportunities to create songs through student-friendly music software. Amy: My technology skills have vastly improved, which I believe I can use going forward with all my students. Sharon: We shifted to only display certain items online to streamline the process. We have downloadable items for virtual students and folders available for pickup. Easily carried folders are important since there can be no class storage. Michelle: I have decided that relationship is primary and curriculum is secondary. I have focused on students’ mental well-being first. It is hard for us as musicians to put music second, but I know the students have appreciated this. What has been most effective for keeping students engaged and learning in these times? Paul: We spend at least 5–10 minutes simply chatting at the start of class, and this has completely changed the dynamic. We’re flexible and adjust our instruction as needed, and this has created an environment of trust. The students tell us they like that we care for them. Gershom: Our number-one goal is to try to make choir feel as normal as possible and offer consistency. We are singing great music (with masks), we are having virtual performances, and we just completed the first round of Region auditions. At the beginning of the year we held a socially distanced get-to-know-you doughnut social where each of us shared fun facts through a PowerPoint presentation. Amy: Frequent changing of activities throughout the class period has helped. Marie: We expect online and in-person

students to stretch, do vocal warmups, and keep up with rehearsal and music theory. For virtual, we do individual call-outs during class to make sure they’re engaged, we ask our remote students to answer questions or sing short segments over Zoom (as they would in person), and we assign recordings. Sharon: We have them perform periodically during the week. I think having students perform from time to time, in person or online, helps to bring everyone together as a team and offers a moment to celebrate each other. Michelle: We use lots of check-in/ Google meets, emails, and phone calls. We stop students at the door to ask how they are, using time we aren’t engaged in formal learning to talk about their lives. I also offer opportunities for student leadership and individual recognition, like reading a simple rhythm line alone. If you use a technology solution that has made a difference in your efficiency or effectiveness, please describe it. Paul: Canvas has allowed us to send rehearsal tracks, record beginning of the year voicings, and give part quizzes. Additionally, we use musictheory.net and sightreadingfactory.com. Amy: Having assignments on Google Classroom makes the days I am out much easier. There’s less prep, and I can see assignments immediately. Marie: We use a HoverCam Solo for wide angle classroom video and our laptop’s internal camera for tight angles, toggling back and forth when we move about the classroom. I highly recommend a wireless mouse. Sharon: We use Schoology, and since we all wear facemasks in person, I find it very beneficial to hear all students sing and perform without their masks at home. Michelle: I think my single most useful tech solution has been Sight Reading Factory. However, I grade virtual students on minutes spent on the program per week, not through assignments. What do you do to ensure you can maintain good balance and selfcare during this time? Paul: We put a moratorium on afterschool rehearsals this semester. The synchronous model we work with requires we engage in-person and virtual students at

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Southwestern Musician | December 2020 41

the same time. The ability to leave work at 3:25 p.m. keeps us healthy and sane! Efficiency and not trying to teach the most difficult concepts is paramount. This year we are focusing on strong fundamentals and expressive singing. Gershom: I walk “the mountain” (Big Spring State Park), which overlooks the town. It gives me some quiet time, God time, and a different view of our town and situation. I grill and try new recipes. Just get the darn mask off! Amy: I have made a point to take per-

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sonal days with my husband (who is also a high school teacher) and have taken a couple of road trips. Before, I would have never dared to miss a rehearsal. I don’t suppose a margarita machine hidden in my office closet would be an acceptable answer. Marie: Therapy and bath bombs! Seeing my therapist helps me be present for my family, students, and colleagues. Working with a professional has helped me navigate the anxiety and frustration during this difficult time. Sharon: I try to find time to unplug

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from my phone for several hours after I go home each day. I must admit, that’s a huge challenge. Michelle: I think the most important thing I have learned is that work will still be there tomorrow. Don’t take work home emotionally. Do the things that make you happy. When you need to cry, cry. Find a therapist or a trusted friend with whom you can decompress. Read a book. Order out instead of cooking sometimes. For planning, do whatever you can do to streamline the process. Any final thoughts? Paul: I feel like we are making a difference and that it is worth all the hurdles we are overcoming. Good singing is still happening, and the students are still growing! Gershom: This has reminded me that I cannot be in control of everything. I have focused more on my health and well-being for the sake of my family and the sake of my students. It has caused me to value the now and moment with my friends and family, whatever it is we are doing. Amy: I do not allow myself to get uptight about pandemic news or perceived dangers. I think this has rubbed off on my students, who I believe see my class as a place to relax and enjoy what they love, which is singing. Sharon: I’ve been teaching a while and I think our district administration, school board, principal, and fine arts director have been very supportive, creative, and instrumental in keeping our school environment safe for teachers and students. I am grateful for that. Michelle: Students are learning and they will get through this. So will we. I hope you took a moment to think about your answers to these questions as well. Our thanks go to our colleagues for sharing their thoughts. I hope you have a wonderful close to this first half of our school year and that you find the opportunity to rest and enjoy your time during the 0 holidays!

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MOTIVATING middle school singers B Y LY N N B R I N C K M E Y E R

hen middle school students are excited and motivated about singing, they are unstoppable. Thus, a big part of our job as music educators is to establish an environment that supports that excitement and teach in a way that motivates them to grow musically. Over the years, I’ve learned from amazing educators across the globe and have developed a few ideas from my own work with young singers. I hope the following strategies for teaching adolescents will offer you something that you can incorporate into your work with this wonderful group of students. Take what works for you and your singers and leave the rest! What’s in It for Me? Each of us wants to know what we will get out of every situation. Our students most likely will not remember how we taught them to read sixteenth-note patterns. However, they will remember how they felt during our rehearsals. They will remember how we encouraged them to be the best versions of themselves in our ensembles. They will remember the ways in which we modeled how to be a good human. If we will consistently ask ourselves whether our singers are experiencing the joy of singing, we will stay on a positive path of serving them well. 44 Southwestern Musician | December 2020

Never a Dull Moment Anyone who works with adolescents knows they crave variety; multitasking is their way of life. Through singing, we provide a learning platform that fosters safety, encourages creativity, and supplies opportunities for them to develop their problem-solving muscles. If rhythm is the building block of successful musicianship, then it is essential for developing singers to engage in full body movements. Body percussion and drumming on chairs and desks builds physical pathways to intellectual understandings of rhythmic concepts. Even the simple task of writing markings in music forms connections in the brain. Have you ever noticed how difficult it can be for some adolescents to walk to the beat or tap a subdivided pulse for any length of time? Move, move, move! Movement reduces inhibitions and gives students a chance to feel the music as a total body experience. Something as simple as walking to another part of the room or turning to face a different wall (while singing) can shift a singer’s energy and focus. I have heard numerous times that a person’s skill with language is a strong predictor of intelligence. Assuming that information is accurate, we as educators have an obligation to provide moments that allow singers to manipulate their language expertise.

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Throughout the week, inject time for students to have a 60-second conversation with a neighbor (use a timer to signal them to regain focus). This can provide students a safe space for sharing their insights with each other. These moments set the stage for continuous heuristic processes, reflective analysis, and self-assessment, and they can foster a growth mindset. Furthermore, this process may encourage that shy singer or mostly nonverbal student to open up and use their voice in class.

Love Those Expanding Voices Often when we talk about middle school singers, the conversation immediately turns to changing or expanding voices. Research experts Lynne Gackle, Patrick Freer, and Henry Leck help mentor choral directors who work with adolescent voices. We benefit greatly from their guidance on how middle school singers navigate their limited vocal ranges, shifting timbres, and bodies that seem to change almost daily. The following strategies for success come from their wise guidance as well as a few other respected choral educators: • When a singer’s voice (male or female) cracks in rehearsal or a performance we can respond with, “How cool! You are going to be a man/woman very soon!”

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46 Southwestern Musician | December 2020

• James Cumings (middle school director in Michigan) recommends: invite every singer to create a video diary throughout their time in middle school choir: ▷ Sing a short melody for one minute and speak a short phrase. (E.g., My name is __________. I love baseball.) ▷ Record the video on the first day of every month and submit it to the choir director. ▷ Teachers and students can monitor and review the progression of each singer’s vocal range, speaking voice, and resonance in tone production. • Adolescents usually enjoy competitions. Cumings passes out “Mad Minutes.” Singers have one minute to quickly write the names of the solfège syllables under a musical excerpt. ▷ Try changing the solfège syllables to pitch names. ▷ Have singers write the counting (1, 2 &, 3, 4 &) or rhythm syllables, etc. • Spencer Wiley (Harker Heights HS Choir) engages his singers with

another type of competition, and middle school singers enjoy this as well. The choir sings an assigned sightreading excerpt using a metronome. If the example is performed with no errors, the tempo is quicker the next time. If errors occur, the tempo is slowed down and the process starts over. The goal is to sing a faster and faster tempo with no errors. • Use a broom—or yardstick—of power (from James Cumings): ▷ Have the choir sing a well-known melody. ▷ To indicate the choir is singing with a tall, warm vowel, the teacher (or student volunteer) holds the broom perpendicular to the floor. ▷ To show the choir they are producing a spread, bright tone, the broom is held parallel with the floor. • One of my favorite teaching devices is paper plates: 1. Using markers, teachers or students write out a 4-beat rhythm on a paper plate. (E.g., ta, ta-di, ta-ka-di-mi, ta.) 2. Students move to a circle and place their plates on the floor in front of them. Then the students step to the beat and chant/clap/tap the rhythm in front of them. 3. They keep on moving around the circle, without stopping, until they are back to their home plate. 4. Ask them to discuss with their neighbor. Which plate has the most difficult rhythm? Why was it the most challenging? Alternatives for this activity: ▷ Challenge the students to use a faster tempo (with a metronome). ▷ Instruct them to chant/tap/clap only the eighth notes on each plate and audiate the other durations in the rhythmic patterns.

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▷ Change directions around the circle and chant/tap/clap only the rhythm on beat 2, audiating beats 1, 3, and 4. ▷ Guide half of the choir to chant/ tap/clap on beats 1 and 3 and the other half to chant/tap/clap on beats 2 and 4. ▷ Add pitches: Sing all quarter notes on [do], all eighth notes on [sol]. Audiate all the other rhythms. • Sing the melody of a well-known canon such as Music Alone Shall Live. Ask for a volunteer skilled at performing beatbox rhythms. Invite that singer to perform a beatbox rhythm while the choir sings the melody. This can open an opportunity to talk about how the music changed with the beatbox rhythm, stylistic choices, and more. • Teach a short folk song such as Rocky Mountain. We will use G major for this example. ▷ Display the notation and instruct the singers to sing the song, while audiating a select pitch (e.g., audiate B).

sensations in the singer’s mask and the variations in tone quality. Which worked best for choral singing?

working with these fascinating young singers as I do! 0

• Divide the choir into two groups. Sing through a short melody or folk song.

Lynn Brinckmeyer is Director of Choral Music Education and Associate Dean for the College of Fine Arts and Communication at Texas State University and is a NAfME Past-President.

▷ Sing it again and have each group sing every other measure. Example: Group A sings measures, 1, 3, 5, etc. Group B sings measures 2, 4, 6, etc. ▷ Sing it a third time and trade parts (Group B sings first). ▷ Challenge the students to sing every other word or every other syllable. ▷ Instead of singing in two groups, have the choir audiate every other measure/word/syllable, etc. This can be a fun way to add interest to much needed repetition while reviewing texts the singers need to memorize. Many choral directors enjoy the privilege of working with middle school students. We get to mold their young minds and help them develop a love for singing. I sincerely hope you derive as much joy from

Resources Freer, P. K. (2009). Getting Started with Middle School Chorus. Freer, P. K. (2009). Tips: The First Weeks of Middle School Chorus. Freer, P. K. (1998). Getting Started with Middle-Level Choir. Gackle, L. (2011). Finding Ophelia’s Voice, Opening Ophelia’s Heart: Nurturing the Adolescent Female Voice: An Exploration of the Physiological, Psychological, and Musical Developments of Female Students. Leck, H. (2009). Creating Artistry Through Choral Excellence.

▷ Next, audiate a different pitch or two pitches in the song. ▷ Sing the words and snap or clap on all the syllables on G. • To enhance an understanding of tone, use Camille Blackburn’s (NAfME NW Division Past-President) idea to set singers up for learning and discovery. Invite them to speak the text of a song using the voice of Count Dracula. Change the voice to Minnie Mouse. Encourage them to offer other voices (opera singer, country singer, British accent, etc.). Following that exercise, guide the singers to share their observations with a neighbor regarding the changes in breath energy, vocal production for the adjustments for the various voices, space in the vocal cavity, and more. • Ask students to place their pointer finger under their nose like a mustache. Guide the singers to sing a short melody or phrase in front of the mustache, above the mustache, or behind the mustache. Discuss the different

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Southwestern Musician | December 2020 49

ELEMENTARY NOTES

B Y

A B I G A I L

H A W E S

Distanced, but not alone

hile it’s hard to believe, it’s December 2020. We’re five months into the 2020–2021 school year and nearing the end of a calendar year that, at times, has felt endless. As educators, however, the month of December is more of a midpoint of sorts. And what better time to regroup and check in—to take stock of the first half of this most unusual school year and turn our gaze to the months yet to come! In this month’s column, I am pleased to offer reflections from five TMEA members who responded to questions about their personal journey as an elementary music educator in the time of COVID-19. I hope their words inspire you to do a bit of reflection yourself as we prepare to enter the second half of this school year. Most importantly, I hope their responses bring with them the reminder that while we might be distanced, none of us is truly alone in our walk through this unconventional year. Please continue to reach out and support one another,

A long December and there’s reason to believe Maybe this year will be better than the last —from “A Long December,” by Counting Crows 50 Southwestern Musician | December 2020

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keep an eye on the TMEA Resources page, and look to next month’s magazine, where you’ll learn all the details about our 2021 Clinic/Convention. I look forward to connecting with you online during this event held February 11–13 (learn more at www. tmea.org/convention). My deepest gratitude goes to each of these contributors for their willingness to participate in this month’s column, and for so freely sharing their candid thoughts and perspectives:

• Ali Jackson, Lovett Elementary (Houston ISD) • Hannah Mize, Williams Elementary (Georgetown ISD) • Vicky Suarez, Shepard Elementary (Plano ISD) • Ashley Stouffer, Millsap Elementary (Cypress-Fairbanks ISD) • Matthew Trevino, Roan Forest Elementary (North East ISD) Describe something you changed, after you began teaching remotely or blended, that has improved your instruction or connection. Ali: Since teaching during the pandemic, I have come to use sound effects to enhance my classroom experience. Even when students offer an incorrect answer, they remain engaged in finding the right one! Hannah: Last spring when everything shut down, I was deeply saddened, as my students and I were days away from performing full grade-level shows. After initially thinking that I would have to cancel our programs completely, I refused to give in. I was able to successfully launch my musicals through the Zoom platform and for an hour, let my kids and their parents, our administration, and school board members forget all about the outside world and enjoy “normal.” Vicky: Making teaching videos has given me the chance to grow, by learning to be comfortable with technology I hadn’t used before. Ashley: My over-the-top personality is even more so with the added barrier of a mask. Students know that when they come to music, I’m going to deliver some instruction in a silly, comforting way. It allows them to relax and distract themselves from the stress of new regulations and procedures. Matthew: I feel like I did not integrate technology into my teaching as much as I could have. Now that we are living through virtual teaching, I believe I have a much better understanding of how I can utilize new technology after this is all over. What have you found effective for keeping students engaged and learning when they aren’t in their typical learning environment? Ali: I like to start by drawing their attention to my physical movements. I find

52 Southwestern Musician | December 2020

that having students mirror my physical movements takes their minds off possible distractions and helps remind them to stay engaged. Hannah: It is important to offer easy ways for them to provide feedback and participate. Not everyone has access to the same level of Internet and technology. The easier the solution can be, the greater the participation. Ultimately, parents do not care if you have a Bitmoji classroom. They want their child to participate and have special experiences. Vicky: I’ve zeroed in on what’s important in my videos: making a connection with my students. Rather than using lots of flashy visuals, I focus on speaking to my students in a more personal way, and I look for ways they can interact with me on video. Ashley: Incentives, frequent brain breaks, and faster lesson pacing keep students engaged. Increased enthusiasm from me also pulls them in and helps students look forward to coming to music! Matthew: Making connections with the students really helps them buy in to what you are selling. I love to have little conversations with the students about things they love. If you use a technology solution that has made a difference in your efficiency or effectiveness, please describe it. Ali: I have employed the use of a digital camera and a video mixer for both virtual and face-to-face teaching. This has allowed me the opportunity to model the details of embouchure and hand position while remaining socially distanced. The video mixer also grants me the ability to be the “bouncing ball” for students when counting rhythms or naming notes. Hannah: Social media platforms like Facebook, TikTok, and Instagram have made us accessible to each other in ways we hadn’t before experienced. Engage with your fellow music teachers. We are our best resource. There is so much information and inspiration at our fingertips. Vicky: I’ve discovered that my bank of music teaching videos can also come in handy in my classroom with face-to-face classes. If I show them a short video of myself teaching, then I can watch them as they interact with the video me. I can confidently sing in the video, knowing I’m not spreading germs, and the video me

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doesn’t have to wear a mask, so students can clearly see my face. Ashley: Creating a Daily Tabs folder on my bookmark bar has made finding my frequently visited websites much easier. Using a landing page on Schoology has helped students navigate the activities a little more easily (e.g., brightly colored “Start Here!,” “Today’s Lesson,” and “Bonus Materials” buttons that link to the weekly materials). Matthew: My teaching partner and I plan together. We discuss what we want the online lessons to look like and then we get to work. While my partner creates the Seesaw templates, I do the fancy video editing. What do you do to ensure you can maintain good balance and selfcare during this time when work can be much more demanding? Ali: I would like to say I work out every morning, but I usually manage only a 10-minute session of stretching. I have started drinking one bottle of water between every class. Pausing for that has helped even out any stress roller coasters

caused by situations that can momentarily appear to have no logical solution. Hannah: While what we do is very important, it is not more important than our health, our families, and taking care of ourselves. Turning off the computer and stepping away allows for clear thought and a fresh perspective. Vicky: I’ve made a point to leave work at work and look for ways to relax and replenish so that I can be my teaching best when I’m at school. Exercising daily, eating a variety of foods that make me feel good, being out in nature, and making time for silence and reading are some ways I recharge and honor my health and spirit during this challenging time. Ashley: Does playing Animal Crossing count? I have forced myself to work only one day on the weekend; I devote an entire day to my family and keep my laptop closed. In addition, I have started leaving school within a half hour after my school day ends. There will always be something else to do, so I try to leave as much work as possible at school. I’m not always successful, but it’s important to have some balance right now.

Any final thoughts to share about the school year so far and the months to come? Ali: The importance of global empathy can’t be understated. To get through this year without developing a better sense of this would be missing an opportunity for spiritual growth and international citizenship. Hannah: I am proud of us as music educators. The collaboration from music educators, worldwide, has been inspiring. We are stretching ourselves beyond what we have ever had to do before, not because we were lazy, but because there wasn’t a need. The way that we deliver our expertise and exercise our craft has undergone a complete overhaul. It is being updated and brought into modern society. If not for this pandemic, when would this have happened? Meanwhile, the process of creating is not clean. It is messy and requires trial and error and lots of revisions. Even though we may feel exhaustion, there is also hope. We are going to make it. And we will be better for it. Vicky: Have any of you asked this same question—How on earth did I do all those things I used to do? Once the slowdown of everything began, I enjoyed the new simplicity of my life and wondered how I ever lived at such a frantic pace. The pandemic has given me a new perspective on slowing down and enjoying life at a gentler pace. Ashley: Despite all the increased demands and stress that come with remote or in-person learning, your students are so thankful to make music with you! Seeing your face (even if it’s only half of it), hearing your voice, and engaging in music absolutely brighten their day! Matthew: Everyone is going through a tough time. This is not easy or ideal for anyone, but we make a conscious effort every day to be the light for someone who may need it more than we do. At the end of the day we are in this together and we need to lift each other up. We are fortunate to do what we love every day, even if it doesn’t look as refined as it did before March. It is still something of which to be proud. Keep Sharing Our thanks again go to these contributors and to each of you for supporting each other during these challenging days. I look forward to seeing you online during the 2021 Clinic/Convention, where we can have more exchanges like this! 0

54 Southwestern Musician | December 2020

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Taking Your Digital Portfolio to the Next Level by Scott Pool

he seemingly endless variety of social media promotion has evolved more quickly than many could have imagined, and social media is increasingly being utilized as a means of audition, interview, and digital résumé, with undefined formats. For musicians, requirements like repertoire can be very precise, but when it comes to producing your audition materials, directions are often nonexistent. After completing an informal search on the websites of a few well-respected music institutions, I found that directions for audio/video submissions were limited to where to submit. None offered a word about how to produce them. Producing is not nearly as complex or complicated as one may think. It can range from a simple mobile phone recording in your home to using high quality equipment in a professional studio setup. What I offer here are a variety of considerations that fall somewhere in between the two. Your Digital Portfolio The concept of a portfolio that represents work, achievements, and career has been around for a long time. It can be as simple as a one-page application or as lengthy as a curriculum vitae with pictures, supplemental recordings, and more. Today, there are added elements that can be accessed with just a few clicks on the Internet. And what is especially important for those auditioning or applying to schools, festivals, or other jobs is to understand one’s digital presence is a part of that portfolio, whether we advertise it or not. When I’ve offered presentations on this topic and asked attendees who has a digital portfolio, most claim they don’t. But when I further inquire whether there are any videos of them performing on YouTube, many more hands are raised. The simple act of publishing a video of yourself online is the start of a basic digital presence. Employers or audition committees may conduct simple searches for an applicant’s digital fingerprint to discover more about the candidate. While the traditional elements of biography,

56 Southwestern Musician | December 2020

résumé, and references are often still part of the process, today’s musicians also provide media, including audio/video examples. This digital presence is a part of contemporary culture, and it will remain until future technologies come along to supplement or replace it. As many audition sites move from audio-only to video submissions, consideration should be given to all elements of the recorded frame. As a music professor, I’m accustomed to the experience of live auditions—a prospective student enters the room (a controlled space), performs their prepared music, and might be asked to answer some brief questions, all of which is completed within 10–15 minutes. Unless the audition is recorded, it is a very quick turnaround with no opportunity to rewind and review. However, it was in my role as the Academy Director of the Talis Music Festival & Academy that I noticed trends that set the good auditions apart from the others. As an international festival open to worldwide applicants, Talis uses an online platform for 90% of its auditions. Committees sift through hundreds of video applications with a wide range of production quality. From those auditions, I observed that applicants who may have been better players were losing positions to others whose videos looked more professional. Important to note is that professional doesn’t necessarily equate to more money spent. Instead, it reflects the care and attention to detail used in the production process. This can easily be attained with personal equipment at a low cost. Consider the standards of a live audition. The applicant who wears nice clothes, greets the panel, and conveys confidence will make a better impression than one of equal skill level who wears

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A little forethought and attention to detail can be the extra polish that sets one portfolio above another in an increasingly competitive digital world. flip-flops, says nothing, and stares at the ground. These are elements that create the total package, and they are equally vital when creating a successful electronic (digital) portfolio. Audio Considerations Selecting music: If a choice is available, there are important things to consider when preparing musical selections. Contrary to what one may think, shorter selections often audition better, as longer works offer greater opportunity for a listener to hear something unfavorable. Within about two minutes, a good judge or committee member can assess an applicant’s abilities—selections should reveal

the strengths of the performer without tiring the listener. Unless prescribed, large concerto movements are not necessarily essential. When creating a digital portfolio, choose collaborating musicians carefully and work to offer variety. While pianists may be able to create an entire portfolio of solo works, most others will need to perform with fellow musicians for their selections. Collaborating performers should be as good as or better than the one auditioning. A poor performance by another can distract from the individual who should be the primary focus. Featuring a variety of performances and settings can also be a good strategy.

When an evaluator sees recordings from separate performances, it reveals consistency over time. The timespan does not have to be years (or even months), but a diverse portfolio is more impressive than one that comes from a single concert or day of recording. Audio Quality: Good audio quality for the portfolio does not need to excessively expensive. Attention to a few important details can support a very decent representation of a performer’s talents on any instrument or voice. One of the biggest mistakes in this area is the recording location. The space should have a good acoustic with some natural reverberation. Try to find a proper performing space to use, but if this is not possible, know that a school cafeteria stage will have better acoustics than a carpeted bedroom or school practice room. When recording, try to control the presence of external sounds. Noises from an adjoining room may not be apparent when recording but will be obvious when listening to the finished product. Once a few recordings have been collected, try to equalize the volume levels across all selections so evaluators aren’t distracted

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by continually having to adjust volume while listening. While the use of an external microphone isn’t required, it is probably the single element that has the most influence over the sound quality of recordings. Fortunately, in today’s market, there are many choices that will improve the quality of audio without breaking the bank. Investing in a microphone that plugs directly into a smartphone or laptop is a great first step toward better recordings. When considering audio editing or enhancements, a little goes a long way; it is easy to overdo and make your recording sound unnatural. If you start by selecting a good recording space, there may be little or no editing needed. Keep the recording sounding as live as possible. Video Considerations Since so much time is spent to prepare the music, it deserves a good visual presentation. Here is where attention to detail matters as much visually as it does aurally. In my experience, it seems that many musicians preparing video audition applications don’t fully understand how their audience sees them. Thought and preparation need to be administered to bring the video audition as close to the live audition experience as possible. Clothing: While most musicians would never present a live performance in a T-shirt and shorts, I’ve seen plenty of audition videos where the clothing choice was that casual. Attire should represent what one would choose to wear when performing on stage. Tuxedos and long black dresses are not necessary for portfolio videos, but musicians should wear something that does not distract from the performance. Black or other dark colors tend to be safer so the observer can focus on the music. Conservative clothing choices are always best; you never know who will be watching or judging your video. Some music performances are enhanced by certain costume clothing or fashion statements, but as a rule, think of the portfolio video as an interview, and dress as if it were a live audition. Think Cinematically: Though the videos for the digital portfolio are not likely to win an Oscar, musicians should still think about how their “film” is viewed. The camera should be placed where you will look your best. Try many test shots before settling on a distance where the subject

looks good and the microphone still picks up the musical elements. If using a music stand, consider its placement so that you aren’t hidden behind it, and use a solid good-quality stand (not a portable wire stand). This conveys a subtle difference of professionalism. Good video quality can be attained by one of many smartphones on the market, and most digital cameras now can capture video. Check the settings and save video files at as high quality resolution as possible while remaining within the parameters of the site where the video will be located. YouTube is excellent for uploading large files, and you can choose the Unlisted setting to restrict availability to those who have the link. Once uploaded, your video will be much easier to share compared with emailing a very large movie file. Video editing is daunting for many. However, basic editing is not only an easy task, it is a necessary one. Many times, recording a portfolio video is a solo project, where the performer is also the videographer. Be sure to edit out the beginning and end segments with the performer walking back and forth to the camera. It’s a small step and makes the video look much

more professional. Like audio editing, it is best to stay simple to preserve the feeling of a live performance throughout. The decision to record multiple takes with the goal of an error-free performance is a personal one; however, know it can become a frustrating and time-intensive process. A rule of thumb when building digital portfolios is to record three good takes of each selection and then choose the best. A few errors are actually acceptable; they show humanity and the realism of live performance. As you work on creating a digital portfolio or help your students in this undertaking, remember that a little forethought and attention to detail can be the extra polish that sets one portfolio above another in an increasingly competitive digital world. 0 Scott Pool teaches bassoon, chamber music, and music appreciation at Texas A&M University Corpus Christi. He is also the Academy Director of the Talis Music Festival & Academy in Europe.

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COLLEGE NOTES

B Y

P A U L

S I K E S

Helping each other

s we wrap up the fall semester, I want to take time to thank you for supporting TMEA and music education in Texas. As you know, the staff, the Executive Board, Region officers, and countless others have worked extremely hard to ensure our members and students have the best experience possible despite the challenges of this year. As an organization, we moved all TMEA auditions to a virtual environment, which in normal times would have taken a couple of years. We have lobbied state agencies and organizations to maintain their support for the arts, moved our convention to a virtual format, updated our website, created a resources page for teachers and students, and started our Connections events to help our members and students have opportunities to share and learn. This all transpired while maintaining our other services, including publications, awards and scholarships, supporting local professional development, and planning our legislative action for the 87th legislative session. Despite the challenges, I am proud of the work you have done to ensure Texas students continue to receive the best music education possible. All of this has happened because you and your colleagues are willing to stay up late,

Just as we learn from our colleagues here, let’s remember that we are each other’s best resource. 60 Southwestern Musician | December 2020

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work on the weekends, and take on more. On behalf of the music students and professionals in Texas, I say thank you. I am humbled by your commitment to helping others. In thinking about how all educators around Texas have done so much, we decided to reach out and ask a few to share some of the ways they adjusted their teaching to give their students the best experience possible. We also wanted to know how they are taking care of themselves while taking care of others. During our College Division Fall Conference, we took time to share how we were working

through our challenges. Below are some of the thoughts our members had to share. Describe something you changed, after you began teaching remotely or blended, that has improved your instruction or connection. Amy Simmons from the University of Texas in Austin said, “I stole something from Bob (Robert Duke), one of my colleagues at UT, that I think has been really helpful. To build community online, we let the students go into breakout rooms. I just do a random assignment and, for a couple of minutes at the beginning of class, they

2021 TMEA Clinic/Convention • Online • February 11–13 W W W. T M E A . O R G / C O N V E N T I O N

Don’t Just Play. PERFORM AT YOUR HIGHEST LEVEL.

connect with each other. This mimics the way they would gather if they were milling around in the hallway before classes begin or if they were coming into the classroom and waiting on us to get going. It helps just to keep them connected with each other.” Julie Scott at Southern Methodist University added that her colleagues told her about Gather, a virtual space used to help create community and encourage conversations. “Everybody has their avatar. And then the professor assigns groups, just like with a breakout room, but what you see is a virtual room. There can be whiteboards around the room and seating areas, and the students move their avatar to the group they’re going to be working with. What’s fascinating about it is if you move around ‘rooms’ you can listen in on different groups. When you get close to that group, you hear their discussion, but you don’t hear the discussions in the other parts of the room.” John Denis at Texas State University provides his students with short videos prior to class where he gives the important topics and points of the day’s lesson. “I got a high-definition camera, and I recorded a bunch of two- to five-minute blurbs that

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the students can refer to. They can get the same content in multiple ways or a second time, but in small chunks so they can get to it on their phones without overloading the data.” Casey L. Carter of Collin College also told us how he uses technology in his lessons. “We’re having great success with my opera workshop. We are having live, remote rehearsals with students and a collaborative pianist using Cleanfeed and Zoom. We have weekly rehearsals with five singers, our pianist, and me conducting, all remote. They’re all able to sing and hear one another without lag and it works in real time quite nicely. It’s really wonderful to have rehearsal.” What have you found to be most effective for keeping students engaged and learning in these times? Carter Biggers from Texas Woman’s University said, “One of the things that we have noticed is that we went through such a strange time in the spring semester where we were all just disconnected. And even now, with the face-to-face classes that I’m able to teach this semester, the con-

nections between the students is no longer there. Beforehand, they would come in and talk before class. Now they come in, they sit down, and it’s like nothing.” To help create a more open and welcoming environment, Carter starts each class with icebreaker conversations. I asked him if it helps. He said, “It has helped. We still do it almost every class, but now instead of me bringing up the conversation, they bring it up. And so now they’re more engaged.” Amy Simmons talked about adjusting assignments for her classes. “I can tell you that I have thought carefully about which assignments to continue to have them do and which I could cut back on, given the additional emotional stress that students feel being in this environment. I’ve thought about making less work rather than more and tried to think about how to make fewer things more meaningful. My students also know that we are going to be flexible.” If someone gets behind, “I have an individual conversation with that person about how I can still make sure they’re learning what they need to learn.” Sarah Allen from SMU spoke about differentiating her assignments. “I have been giving a lot more options for my students

to turn in work. Where I would normally have them complete an essay, I now tell them, ‘You can record a video, or you can do some bullet points.’ I’m just being a lot more flexible with how they give me the information.” If you use a technology solution that has made a difference in your efficiency or effectiveness, please explain. Denise Brown from Palo Alto College in San Antonio said, “We’ve been using Flipgrid (info.flipgrid.com) and that’s been really useful. I love it because I immediately get videos. We’ve been using it for our MAP vocal master classes. We can just pull it up into a giant playlist, and from there students can leave video comments on each other’s performances or they can leave a text comment. It’s simplified the act of getting videos from everybody.” Casey L. Carter talked about using Mentimeter (mentimeter.com). “It’s kind of like a visual space note board that you put virtual sticky notes on for each group project or discussion. It’s great for collaborative events, even when you send them into breakout sessions because, as their teacher,

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you can see what they’re doing. Students can also create project boards and things like that. I’ve begun using Mentimeter for quizzes, dictation, and ear training. It’s a great tool you can use across the board, from faculty meetings, to committee work, to the classroom.”

2020 College Fall Conference While we weren’t together in Austin, attendees still enjoyed the opportunity to learn and share during our annual gathering.

What do you do to ensure you can maintain good balance and self-care during this time when work can be much more demanding? Russ Teweleit, from West Texas A&M University, and Carter Biggers both said they have been running to help relieve stress. Even though races have been canceled, they have been participating in virtual runs. Carter said, “My wife and I started running this spring and we ran our first half marathon this summer. That was a big stress relief for us just to get out of the house.” Nyadia Thorpe from Navarro College listens to audiobooks on her way to work and home each day. “I drive 35 to 40 minutes to work every day. So, I took up listening to audiobooks, and it’s been great. It puts me in the right headspace.” Michele Henry from Baylor University explained how her family has been spending time together. “I have a 14-year-old who is intensely into Legos. We put a bunch of topics into a hat and then we pull one out. Everybody (in the family) then had one hour to create their own Lego structure that fit the topic pulled from the hat. We took pictures and put them on Facebook. People voted on which one they liked, we crowned a winner, and moved on to the next theme.” Stephen Crawford from the University of Mary Hardin-Baylor talked about getting to know professional colleagues apart from music. “So, I’m a foodie. I love eating. I love cooking. So, what I ended up doing was joining Facebook groups. One was groups of band directors who grill and smoke and another was percussion pit masters. It was really kind of cool to 64 Southwestern Musician | December 2020

connect with professional colleagues in a way that had nothing to do with music. It had everything to do with smoking brisket and pork chops. It was a lot of fun to see people in a whole different light.” Russ Teweleit spoke some of the most important words for us all to consider: “Right now, a big thing for me has been self-forgiveness. Especially in the spring, I just gradually kept building and building up the work and not being able to keep up with it. It was really rough. I had a hard time keeping up with all that—working all day, reading emails too late at night, and not turning things off.” Russ believes it’s important for us to realize we can’t do it all. We need to work hard for our students, our families, and ourselves but when it doesn’t all get done, we need to remind ourselves that it’s okay.

College Division Fall Conference The virtual Fall Conference was a great success this year. It was wonderful to see everyone and hear about the amazing things going on in our Texas schools of music (see the screenshots of our attendees on this page). Minutes from the meeting can be found at www.tmea.org/2020collegeminutes. 2021 Clinic/Convention Because the Fall Conference was such a success, I’m even more excited about our TMEA Clinic/Convention that will be held virtually February 11–13. It will be an outstanding event that you and your students will not want to miss. If you have not done so, you may register now by visiting www.tmea.org/convention. 0

Award Winning Ensembles Symphony Orchestra – Jacob Harrison

Choral Ensembles – Jonathan Babcock Athletic & Concert Bands – Caroline Beatty Jazz Ensembles & Combos – Utah Hamrick Latin Music Ensembles – John Lopez

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Opera – Marc Reynolds

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SOUTHWESTERN MUSICIAN

DECEMBER 2020