20 Emotionally Intelligent Leadership in the Music Program
by
alan zabriskie
Following a model of emotionally intelligent leadership can help us build a supportive community and foster growth among students.
32 Building Intrinsic Motivation to Practice
by
adrian kirtley
By removing extrinsic motivators and focusing on methods for building intrinsic motivation, we can help our students understand that the pursuit of excellence leads to personal fulfillment and the joy of continual improvement.
44 Connecting with Hispanic Students Through Active Music-Making
by
victor lozada and kay piña
By creating opportunities for all students to see their cultures, languages, and literacies valued and lovingly sustained, they not only will see themselves represented in the curriculum but also can envision a future as a music educator.
Photo by Karen Cross.
From the Editor
Shortly after receiving this issue of Southwestern Musician, over 30,000 people will begin to make their way to San Antonio for the annual TMEA Clinic/Convention. Educators, administrators, parents, students, and representatives from the diverse music industry around the world will create an indescribable energy as they descend on the Henry B. González Convention Center. This group will include over 1,800 All-State students who will demonstrate the incredible results of high-quality music education in Texas. The 438,000-square-foot exhibit hall will showcase over 500 companies and 144 colleges/universities, affording our convention goers access to the most current services and products in the music education industry.
This issue exemplifies the beneficial content offered at our convention. The feature articles focus on emotionally intelligent leadership in your music classroom, building intrinsic motivations for student practice, and supporting English language learners in the music classroom. These articles contain engaging content that can help your music program meet the needs of all students in your classrooms or rehearsal rooms.
Written by active music educators, the Sound Ideas short-form features continue to introduce division-specific strategies that align with the objectives in our feature articles. Our VicePresidents’ columns deliver division updates and final details related to the convention.
The TMEA News contains details about recognitions planned for our General Session, acknowledgement of our dedicated TMEA leaders, and information about how to be an essential part of our association’s future. You’ll also find an announcement about a new location for one of our Music Showcases.
If you are attending the TMEA Clinic/Convention, I encourage you to take a moment to stop and take in everything happening around you. Performances, collaboration, incredible planning and execution, volunteerism, friendship, family, and a whole lot of fun—all celebrating you, the music educator, and music education! If you cannot attend this year, know that resources like our TMEA website and Online Learning are available to support you all year. I hope you’ll be able to join us in 2026!
If you see someone involved in making our annual gathering a success, please take a moment and share your appreciation. Like you, I look forward to the memories made at this year’s TMEA Clinic/Convention.
Joe Muñoz Executive Director jmunoz@tmea.org
Editor-in-Chief: Joe Muñoz
Managing Editor: Karen Cross
Advertising Manager: Zachary Gersch
TMEA Executive Board
President: Jesse Cannon II, Fort Worth ISD president@tmea.org / 817-814-2635
President-Elect: Shane Goforth, North Shore Senior HS presidentelect@tmea.org / 713-516-7158
Immediate Past-President: Robert Horton, Conroe ISD pastpresident@tmea.org / 936-709-7806
Band Vice-President: Mike Howard, Leander ISD bandvp@tmea.org / 512-570-0161
Orchestra Vice-President: Jennifer Martin, Fort Worth ISD orchestravp@tmea.org / 817-814-2640
Vocal Vice-President: Joshua McGuire, Rock Hill HS vocalvp@tmea.org / 469-219-2300 x 81201
Elementary Vice-President: Christopher Giles, Mireles Elementary elementaryvp@tmea.org / 210-394-0289
College Vice-President: Carter Biggers, Texas Woman’s University collegevp@tmea.org / 940-898-2689
TMEA Staff
Executive Director: Joe Muñoz, jmunoz@tmea.org
Deputy Director: Frank Coachman, fcoachman@tmea.org
Administrative Director: Kay Vanlandingham, kvanlandingham@tmea.org
OFFICIAL PUBLICATION OF TEXAS MUSIC EDUCATORS ASSOCIATION
2025 TMEA Clinic/Convention
February 12–15 • Henry B. González Convention Center • San Antonio
Know Before You Go
REGISTRATION HOURS
Wednesday: 1:00 p.m.–9:00 p.m.
Thursday: 7:30 a.m.–5:00 p.m.
Friday: 7:30 a.m.–6:00 p.m.
Saturday: 7:30 a.m.–1:00 p.m.
REGISTRATION FEES
• Active music educators: $95
• Retired music educators: $20
• College student members: $0 (included in $30 membership)
• Out-of-state attendees: $170
• Badge replacements: $10 each
Badge Pickup Location
Enter from the North Lobby of the convention center into Hall 1, near the main entrance that faces Market Street.
• PREPAID BADGE PICKUP: You can still register online. If you register before arriving, go to the Prepaid line. Scan your registration barcode (emailed the week before) or look up your record by name. Your badge will print at the kiosk. Continue forward to pick up a program, prepaid family badges, exhibit hall cash giveaway tickets, and more.
• O NSITE REGISTRATION : If you haven’t registered when you arrive, go to the Registration line (to the left of the Prepaid line). Complete registration and payment (cash, check, or credit card [no POs]) to obtain your badge and more.
• TE CHNOLOGY PRECONFERENCE : Go directly to the second floor of the convention center (south side) to the foyer of CC 214 to get your badge. This is a separate $50 registration (no POs). If paying by check, it must be made out to TI:ME. Do not combine payment with a TMEA registration check.
Onsite Payment
Visa, MasterCard, Amex, Discover, cash, or personal or school check (checks run same day) are accepted for onsite registration. Split payments cannot include a credit card.
Family Badges
Registered attendee family member badges are $15 each. Children 11 and under are free. Family badges cannot be used by a music educator, music minister, musician, or college music student Badges purchased online by January 31 are provided when you get your convention badge. You can purchase family badges when you complete onsite registration or later at the visitors booth.
2025 President’s Concert
This concert, on Wednesday at 8 p.m. in Lila Cockrell Theatre, features the Jason Max Ferdinand Singers. Purchase or pick up will call tickets at the Information Booth inside Convention registration by 6:00 p.m. on Wednesday (after 6:30 p.m., tickets will move to the hallway beyond the theatre).
Get the 2025 App
Go to your app store and search for TMEA to download the official app. Then create your schedule, download handouts, favorite exhibitors, and more. Go to settings and set up Multi-Device Sync to ensure your schedule and favorites are saved.
$15 Daily Parking + Free Shuttle
Thursday–Saturday, park for $15 daily at the Alamodome Lot B (entry before 5 p.m.). TMEA provides free shuttle service from Lot B You can also use the walkway from the north side of the Alamodome under I -37 to the center.
TMEA NEWS
Convention Updates and Recognitions
By Joe Muñoz
February features the culmination of countless hours of dedicated work by thousands of students and educators who will play an integral part in the TMEA Clinic/ Convention. Clinics, performances, Program Spotlight sessions, and the exhibit hall will be the epicenter of our experience and the foundation for many celebrations. However, it’s essential to recognize that our annual meeting honors every student and music educator across our state. We also celebrate you for your devotion to your students and the profession. The convention’s featured performances exemplify the vital daily work of music educators across Texas—work we are all proud of.
The clinics, meetings, collaboration, networking, and reunions energize us all to return home and take our work and students to new levels of achievement. Like you, I look forward to the unmatched energy of the TMEA Clinic/Convention!
DISTINGUISHED SERVICE AWARD
During the General Session at 8:00 a.m. on Thursday, February 13, TMEA will present the Distinguished Service Award to Representative Brad Buckley, Chair of the House Public Education Committee, for his dedication to public and fine arts education. Elected to the Texas Legislature in 2018, Buckley values a comprehensive education that prioritizes fine arts education as part of the state’s Required Curriculum. I hope you will attend the General Session to give Chair Buckley a warm TMEA welcome and thank him for his continued support of fine arts education at the capitol.
GRATITUDE FOR TMEA MEMBER LEADERS
When you attend the convention in just a few days, you will experience the culmination of a year’s worth of dedicated service to our association. The student performances in All-State ensembles, the Program Spotlight clinic sessions, Invited and Honor ensembles, division meetings, and the clinics themselves represent countless
ELECT r ONIC VOTING
Voting for TMEA President-Elect and Vocal, Orchestra, and Elementary Vice-Presidents will be conducted electronically (for offices with multiple nominees). Eligible members are not required to attend the convention to vote. Learn about the candidates and prepare to vote February 13–14.
www.tmea.org/election
hours of work. TMEA member volunteers administer auditions, evaluate ensemble submissions, and review the approximately 1,000 clinics submitted for this annual event. This level of evaluation and review can happen only with you, the members, stepping up and volunteering to be the leaders who improve our experiences each year.
I recently heard a divisional Vice-President explain that it wasn’t until their initial meeting as a Board member—held the day after the convention—that they fully grasped the yearlong commitment of the All-State audition process. Just two weeks into their new role, they found themselves facing significant deadlines.
On behalf of our membership and staff, we thank our Region officers, Region and Area Chairs, State Board, and Executive Board for all they have invested in TMEA. The evidence of our leaders’ selfless service will be fully displayed at the convention!
OUR INTERNATIONAL GATHERING
Did you know that the TMEA Clinic/Convention has visitors from across the globe coming to San Antonio? Our annual event brings in attendees and exhibitors from around the world. If you see someone lost or looking confused, I hope you will offer a friendly Texas greeting to make them feel welcome and offer to help. Last year, we welcomed over 450 attendees and 330 exhibitors from 47 other states and these countries: Argentina, Australia, Austria, Brazil, Canada, China, France, Germany, Ireland, Italy, Mexico, Spain, Switzerland, Taiwan, and the United Kingdom.
Our students and educators are setting the standard for highquality music education, which is creating interest in our event from around the United States and abroad in all sectors of the music industry.
NEW MUSIC SHOWCASE LOCATION
New for this year, our fourth music showcase has been moved out of the convention registration hall to the Fountain View Lobby. This lobby area is on the second floor on the southwest end of the convention center. Be sure to note this new location. You can find it in the app on the second-floor map (or by tapping its name in the event details of the music showcases located there).
Music showcases are thirty-minute performances featuring a variety of ensembles and performers from middle school, high school, college, and professional groups representing our five divisions and the diversity of our state. Suppose you have a gap in your convention schedule, are enjoying lunch, or want to experience a group from another part of the state. In that case, I hope you will support one or more of our Music Showcase performances. Our thanks go to the sponsors of these events: MusicFirst, Southwest Strings, R&R Travel, and the Curtis Institute of Music. 0
2024–2025 TMEA EXECUTIVE BOARD
TMEA Executive board members devote numerous hours to leading our association and ensuring exceptional music education opportunities for every student. Their influence is evident in the amazing clinic programming and captivating concert performances that make our convention truly extraordinary. However, just as TMEA is much more than one convention, so is their service.
We invite you to join us in honoring the past officers who have played a pivotal role in shaping our association, as well as recognizing the current board members who continue to uphold their legacy of leadership.
Immediate Past-President
President-Elect
Division Vice-Presidents
President Jesse Cannon II
Orchestra
Jennifer Martin
Vocal
Joshua McGuire
Shane Goforth
Elementary Christopher Giles
College Carter biggers
Band
Mike Howard
Robert Horton
TMEA PRESIDENT JESSE CANNON II
It’s time to move beyond the idea that our programs are convenient or extra. What we do is critical.
Keep the Main Thing the Main Thing
As I conclude my time as TMEA President, I’ve been thinking about these words from Dr. Tony Evans, “Your legacy is not about you, it’s about the impact you have on others.” This resonates deeply as I believe it describes the heart of our work as educators and champions of music education. Our mission has always been about the transformative impact we have on the lives of our students and communities.
From my beginnings as a high school choir student to my time as an educator, administrator, and now a leader within TMEA, I have seen firsthand the indelible mark of those who have served our organization. Through the dedication of countless individuals across our state, TMEA has been a beacon of excellence, access, and advocacy. Together, we’ve achieved remarkable milestones that have shaped Texas into a national leader in music education.
However, as we celebrate these accomplishments, we must also address the critical challenges ahead. Chief among these priorities is the need to strengthen our advocacy efforts, emphasizing that music education is not merely supplementary but an essential component of a wellrounded education, supporting the development of the whole child.
MARK YOUR CALENDAR
February—Renew membership, purchase liability insurance, register for the convention.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 12, 8:00 p.m.— President’s Concert in Lila Cockrell Theatre.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 5:15 p.m.—TMEA division business meetings at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
March 1—Texas Music Scholar online application opens.
Summer 2025 Graduate Studies in Music Education
Intensive Music Education Courses as Brief as Two Weeks (plus online components)
Application & Class Registration Now Open for New Students
June 2 - June 27, 2025
Aural Learning Traditions - MUED 5327 - Dr. Elizabeth Chappell (O-A)
Foundations in Music Education - MUED 5340 - Dr. Jacqueline Henninger (O-A)
Graduate Choral Techniques I - MUSI 5216 - Dr. Corey Sullivan (TR) 1 - 3:50 PM (F2F)
Choral Conducting Techniques/Analysis - MUAP 5306 - Dr. Alan Zabriskie (M-F) 10 - 11:50 AM (F2F)
Choral Literature - MUAP 5302 - Dr. Alan Zabriskie (M-F) 8 - 9:50 AM (F2F)
June 2 – June 13, 2025
Styles in Wind Literature - MUTH 5305 - Dr. Peter Martens (M-F) 8 - 11:50 AM (F2F, O-S)
Culturally Responsive Teaching in Music - MUED 5344 - Dr. Jacqueline Henninger (M-F) 1 - 4:50 PM (F2F, O-S)
June 9 – June 20, 2025
Topics in Kodaly Pedagogy (M-F) 8 AM - 4:30 PM (F2F)
June 16 - June 27, 2025
Teaching Popular Music - MUED 5344 - Dr. Shauna Pickens (M-F) 8 -11:50 AM (F2F)
Learning and Music - MUED 5332 - Dr. Joel Pagán (M-F) 1 - 4:50 PM (F2F, O-S)
July 8 - August 6, 2025
Music for Students With Exceptionalities - MUSI 5306 - Prof. Jenny Dees (O-A)
Harmony/Voice Leading - MUTH 5300 - Dr. Peter Fischer (O-A)
Graduate Survey of Western Music - MUHL 5300 - TBD (O-A)
July 8 - July 22, 2025
Tests and Measurements - MUED 5333 - Dr. John Parsons (M-F) 8 - 11:50 AM (F2F, O-S)
Pedagogy of Music Theory - MUTH 5306 - (M-F) 8 - 11:50 AM (O-S)
July 23 - August 6, 2025
Middle School Band Techniques - MUED 5326 - Dr. Shauna Pickens (M-F) 1 - 4:50 PM (F2F, O-S)
Modalities
(F2F) = Face to Face, (O-S) = Online/Synchronous, (O-A) = Online/Asynchronous
Early enrollment is encouraged to ensure eligibility for anticipated summer scholarships.
Dr. Jacqueline Henninger
Dr. Andrew Stetson Director, School of Music
Mr. Clark Preston Lead Academic Advisor
II
Scan for More Information
THE CHANGING LANDSCAPE OF ADVOCACY
For too long, fine arts advocacy has relied heavily on emotional appeals: the joy of performance, the creative spark ignited in our students, and the sense of belonging music creates. While these narratives are compelling, they are often insufficient in the face of budgetary constraints, program cuts, or administrative scrutiny. Decisionmakers are increasingly focused on data and outcomes, and we must rise to meet this demand with a balanced narrative, one that pairs stories of transformation with hard evidence of success.
It’s time to move beyond the idea that our programs are convenient or extra. What we do is critical. Music heals. It builds community. It provides students with confidence, greater engagement in school, and a deeper sense of purpose in life.
Imagine if we tackled the music education divide as intensely as we’ve addressed the digital divide. What could be possible if every student, regardless of zip code, had equitable access to high-quality music education? This is the vision we must collectively embrace and advocate for.
THE EVIDENCE: WHY MUSIC EDUCATION MATTERS
To build a compelling case for music education, we must answer the tough questions of why our program matters and why it should stay.
Your Elevator Speech: If your administrator or central office leader asks why your program matters or if it should remain in your school, how would you respond? What is your elevator speech? Here’s a starting point to consider as you shape your message:
Music education transforms students’ lives. It fosters critical thinking, collaboration, and creativity. It’s not just about teaching music—it’s about equipping students with skills that will serve them in every aspect of their lives. Students in music programs have higher attendance rates, perform better academically, and contribute significantly to the culture and community of the school. Music builds confidence, teaches resilience, and provides a sense of belonging. Keeping this program means keeping an essential part of what makes our school thrive.
Prepare your own version of this speech, one that reflects the unique strengths and achievements of your program and your students. Here are the pillars of evidencebased advocacy that all music educators can use:
Academic Excellence: Research consistently shows that students in music programs outperform their peers academically. For example:
• Music students score significantly higher on standardized tests like the SAT, and they are more likely to enroll
in advanced coursework such as AP or dual-credit programs.
• Music fosters cognitive development, critical thinking, and problem-solving skills, all of which translate to success across disciplines.
Attendance and Retention: Music programs play a vital role in keeping students engaged with school. Fine arts students consistently have higher attendance rates than their peers. They are less likely to drop out, thanks to the sense of purpose and belonging that music fosters.
Social-Emotional Growth: Music education is a cornerstone of socialemotional learning. It teaches students resilience, empathy, and teamwork while providing a safe space for self-expression.
Workforce Readiness: In a recent report from Indiana University, employers highlighted the top transferable skills they seek in candidates. These skills are vital for workforce readiness and demonstrate the versatility needed to succeed in any industry. Participation in music education fosters these essential abilities:
• Communication Skills
• Problem-Solving Abilities
• Adaptability
• Teamwork and Collaboration
• Time Management
• Leadership
• Technical Proficiency
• Creativity
For more details, visit the full article at www.tmea.org/topskills.
Community and Culture: Music is often the heart of a school’s culture, bringing people together and creating pride in the community. Concerts, competitions, and performances showcase the talents of students and strengthen bonds between schools and their communities.
ADVOCACY IN ACTION
To advocate effectively, we must prepare ourselves with data and narratives that illustrate the value of music education. Here’s how we can take our efforts to the next level:
Collect and Share Data: Track metrics like attendance, grades, and standardized test scores for your students. Show how your program positively influences these outcomes. Decision-makers are increasingly driven by data, so be ready to present numbers that prove your program’s impact. (See this month’s Sound Ideas article by Michelle Bell on this topic on page 26.)
Showcase Success Stories: Celebrate the achievements of your students, within the arts and beyond. Share alumni stories that demonstrate the lifelong benefits of music education. TMEA’s advocacy videos are an invaluable resource in this regard (available at www.tmea.org/itstartswithmusic).
They showcase the transformative power of music education and provide compelling examples of why these programs are vital to our students and communities. Share these videos with your administrators and community stakeholders as they are powerful tools to build support for your program.
Engage Your Leadership: Invite principals, district administrators, and community leaders to experience your program firsthand. Performances, open rehearsals, and parent nights are powerful opportunities to build support. Seeing the joy and excellence of your students in action leaves a lasting impression.
Collaborate with Stakeholders: Work with colleagues across disciplines to show how music enhances learning in math, literacy, and other subjects. Cross-curricular collaboration strengthens the case for arts integration.
Stay Active at the Policy Level: Keep informed about legislative developments affecting arts education. Be ready to advocate at the local, state, and national levels when funding or policy decisions are on the table. The best way to ensure you act when there is a pending policy change that could impact music education is to register with the Texas Arts Education Campaign at www.txartsed.org.
THE CALL TO ELEVATE FINE ARTS
In a world still healing from unprecedented challenges, the arts provide an essential channel for emotion, connection, and community-building. Yet, too often, our programs are treated as ancillary services rather than integral components of education.
We can no longer allow this mindset to persist. It is time to position fine arts education as central to the mission of our schools. This means advocating not just to protect existing programs but to expand them. Every child deserves access to highquality music education, no matter their background or circumstances.
A FINAL REFLECTION
As I prepare to step away from the role of TMEA President, I do so with immense gratitude. Serving this incredible organization has been one of the greatest honors of my life. Together, we have championed the value of music education, and I have had the privilege of working along-
side some of the most remarkable leaders across our state.
While I hesitate to name individuals for fear of overlooking someone, I must express my heartfelt thanks to the colleagues who have been flexible, encouraging, and steadfast throughout this journey. To those who have gone above and beyond—offering their support, prayers, and time during my tenure on the board— I am deeply grateful. You have lifted me up and exemplified the true spirit of service. I urge each of you to continue lifting as you climb and to remain committed to doing what’s best for students across our state.
Each of you is a superstar in your own right. You come from diverse backgrounds, teach at varied levels, and face unique challenges, yet one thing unites us: a shared passion for making a positive impact on the lives of our students. Never forget that what you’re doing matters.
So let us press forward. Keep the main thing the main thing.
CREATE YOUR APP SCHEDULE
Go to www.tmea.org/2025app to learn more about downloading the convention app and to gain helpful guidance on using it. To create your personal schedule, you can start either from the full schedule or access a prefiltered schedule (via Tracks, Performances, All-State icons). Favorite the events you want to include in your personal schedule. In your schedule view, you can also add custom events. Be sure to favorite the exhibitors you want to visit so they are highlighted on the map for quick access.
PRESIDENT’S CONCERT TICKETS
The online purchase deadline for tickets to the President’s Concert, featuring the Jason Max Ferdinand Singers, is February 7. Regardless of your teaching area, I am certain you’ll walk away from this concert inspired, so don’t wait to purchase tickets. Then add a note to your schedule to pick up your tickets on Wednesday, 1–6 p.m. at the Information booth inside the registration hall. The concert doors will open by 7:00 p.m. and all seating is general admission. I’m looking forward to what I know will be an incredible musical kickoff to our convention!
Jesse Cannon II is Director of Visual & Performing Arts at Fort Worth ISD. president@tmea.org
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May 1 - 3, 2025 | Amarillo, TX
One of the largest and most recognized music festivals in the Southwest!
Over 8,000 students - elementary through high school programs
Receive expert critique and adjudication from top music directors
Trophies and recognition at every level
Enjoy Wonderland Amusement Park, Cinergy, Cadillac Ranch, and more!
CATEGORIES
HOW TO REGISTER
Registration for the 2025 GSWMF starts January 8, 2025.
Scan this code for more information on the GSWMF!
Large group registration fees range from $350 - $425. Scan the code above and click “Rules and Regulations” for more information on fees.
Amarillo Symphony Education Staff
Irma-Esther Borup - irma@amarillosymphony.org Luigi Bencomo - luigi@amarillosymphony.org
SPECIAL EVENTS
Amarillo College Concert Choirs Performance Friday, May 2 - 12:00pm
Dr. Tim Lautzenheiser Student Leadership Workshop Friday, May 2 - 3:00pm
WTAMU Showcase of Music Performance
Friday, May 2 - 7:30pm
SOUND IDEAS
BAND: INTENTIONAL PRACTICES IN MIDDLE SCHOOL BAND
By San Juanita rodriguez
Creating a successful middle school band program requires intentionality, consistency, and a clear purpose in every rehearsal. Our efforts should focus on fostering a culture of excellence and providing students with the tools they need to succeed, both individually and as part of an ensemble. At M.B. Lamar MS, we have implemented various strategies that have consistently yielded positive outcomes for our students and fostered a band culture that values hard work, teamwork, and high standards. This is an overview of those foundational practices:
Scale Patterns and Chromatic Exercises: Technique development begins with scale patterns and two-octave chromatic exercises. These routines strengthen finger dexterity and build foundational technical skills.
Chorales: Develop musicianship—musical style, phrasing, intonation, balance, and blend—through chorales.
Sightreading Exercises: Daily sight-reading practice, such as using a rhythm a day, prepares students to tackle new literature with precision and adaptability.
Practice Logs: Signed daily by parents and checked weekly for a grade, they encourage accountability and reinforce practice habits.
Region Auditions and Solo Performances: Promoting participation in Region auditions and solo performances helps develop students’ individual musicianship and confidence.
Vertical Alignment: Working with students from sixth through eighth grades and maintaining a vision for the future strengthens the continuity and progression of skills—from beginner to advanced levels. Your program curriculum is essential.
Mentors and Clinicians: Bringing in outside expertise enriches the program. As lifelong learners, we must seek opportunities to grow and learn from others.
A Clean and Organized Band Hall: A well-kept environment reflects professionalism and promotes efficiency. End-of-day organization ensures a positive and focused start the next day.
Clear Procedures and Rules: Consistency in daily protocols and expectations creates a structured and productive learning environment.
Campus Support: Strong communication and collaboration with school leadership and colleagues ensure the program is well-supported.
FOUNDATIONAL SKILLS AND CONCEPTS
The cornerstone of our success lies in developing a characteristic sound among individual players and the ensemble. At our Title I school, where no students take private lessons, we’ve implemented strategies to accelerate growth without sacrificing quality. Starting in beginner band, these practices are scaled to their level but are equally vital. Key exercises include the following:
Breathing Exercises: Using tools like breathing tubes (e.g., 1-inch PVC pipes cut to 1½ inches) consistently helps students develop open, resonant sounds.
Flexibility Drills: Slur exercises, sirens, buzzing, octave/register slurs, and harmonic series slurs for brass enhance range and flexibility.
Dynamic Exercises: Practicing crescendos and decrescendos in 4-, 8-, and 12-beat increments builds dynamic control and expressiveness.
Articulation Exercises: Focused practice on legato, staccato, accents, and marcato articulations ensures clarity and precision in performance.
Intonation, Balance, and Blend: Students use tuners daily and learn pitch tendencies. For balance, emphasize the pyramid of sound, starting with strong foundational tones from lower instruments. To develop ensemble blend, teach students to match tone quality and color to achieve a unified ensemble sound.
In The Effective Performance of Band Music by Francis McBeth, he offers the enduring wisdom that if a conductor cannot articulate their concept of balance and the means to achieve it, they risk leaving the ensemble’s sound to chance. He said, “Pitch is a direct result of balance, so to achieve good pitch, good balance is the vehicle.”
INSPIRING EXCELLENCE
Ultimately, the success of a band program goes beyond music. It’s about shaping lives through the transformative power of music education. By setting clear goals, employing consistent strategies, and maintaining a steadfast commitment to intentionality, we can cultivate programs that inspire excellence and leave a lasting impact on our students.
San Juanita “Janie” rodriguez is Director of Bands at M.B. Lamar MS (Laredo ISD).
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BAND DIVISION
MIKE HOWARD, STATE VICE-PRESIDENT
The importance of a leader staying calm in times of challenge cannot be overstated. Other staff members and students look to you to know that everything is okay.
Lessons from the Water Safari
Two weeks prior to my first June meeting as a member of the TMEA Executive Board, I found myself in an unusually precarious situation. It was about 3:00 a.m. on a cool June morning, after navigating through a maze of swampy cuts just off the Guadalupe River, 20 miles south of Victoria. Continuing, I plunged my paddle into the river, this time striking the top of an alligator gar that reacted by springing from the water and landing in the bow of my carbon fiber racing canoe! After quickly sending the fish back into the water, I kept paddling down the dark and desolate river, floating past the peering eyes of countless alligators. I was on my way to Seadrift, Texas—to the finish line of the Texas Water Safari (AKA, “The World’s Toughest Canoe Race”). This was my team’s eighth time competing in the race.
My story is a typical account from the most treacherous stretches of the annual Texas Water Safari, a 264-mile nonstop canoe race that begins in San Marcos and ends in the Gulf of Mexico. At this point you might be wondering what this has to do with music education and being a band director. The truth is that for the past eight years, preparing for and completing this race has profoundly impacted me as a band director and music administrator. So, what I offer here are four lessons I’ve learned from one of Texas’s most notorious adventure races!
February—Renew membership, purchase liability insurance, register for the convention.
February 1— Honor Band online entry opens.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 5:15 p.m.— Band Division business meeting at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
March 1—Texas Music Scholar online application opens.
Leadership,
Drum Major & Color Guard Camp
SUNDAYWEDNESDAY, JUNE 1518
East Texas A&M University
Frank Troyka
Leadership Camp, Conn Selmer Institute
Willie Veenstra
Drum Major Camp, Bridgeland High School, Bluecoats DCI
Daniel Riley
Color Guard Camp, Bowie High School & Santa Clara Vanguard DCI
Marching Band Director Symposium
SUNDAYTUESDAY, JUNE 1517
East Texas A&M University
Reagan Brumley
Walnut Grove High School
Garth Gundersen
East Texas A&M University
BLAST
OF BRASS Chamber Music Camp
SUNDAYFRIDAY, JUNE 2227
East Texas A&M University
Caleb Hudson (Trumpet)
Achilles Liarmakopoulos (Trombone)
Ahmed Alom (Piano)
Reese Farnell, (Horn)
Dallas Symphony / Atlanta Symphony
Texas Summer Flute Symposium
TUESDAYFRIDAY, JUNE 1013
East Texas A&M University-Dallas Campus
Dr. Julee Kim Walker
East Texas A&M University
Leone Buyse
Rice University (retired)
Dr. Conor Nelson University of Wisconsin-Madison
Helen Blackburn
The
Dallas
Opera Percussion Director Symposium
MONDAYTUESDAY, JUNE 910
East Texas A&M University-Dallas Campus AND MONDAYTUESDAY, JULY 78
Houston Edition-Bridgeland High School
Dr. Brian Zator
East Texas A&M University
Jeff Ausdemore
East Texas A&M University, Blue Knights DCI
HOW WE HANDLE ADVERSITY
INFLUENCES OUR SUCCESS
One thing that you can count on when paddling a canoe nonstop for 264 miles is that something will go wrong. Actually, many things will go wrong! Whether it’s a busted boat that needs to be patched, dangerous summer heat, or getting lost in the middle of the night, overcoming adversity is part of the process. Handling these moments calmly, thoughtfully, and positively is one of the keys to a successful finish.
As teachers, we are no strangers to adversity. Whether it is within our control or not, adversity can come when we least (or most) expect it. What is within our control is how we choose to confront obstacles and challenges. Just like in the race, calmly, thoughtfully, and positively should be the approach. The importance of a leader staying calm in times of challenge cannot be overstated. Other staff members and students look to you to know that everything is okay.
When we remain calm, we can more thoughtfully respond to a situation, rather
than being paralyzed by emotional stress or concern. Instead of just reacting to an obstacle, great leaders think first and then make calculated decisions on the best path forward.
Realizing that this is easier said than done, whatever the situation, do your best to stay positive. Current obstacles we’re dealing with around the state include budget constraints, inventory shortages, recruiting concerns, and canceled rehearsals due to weather (just to name a few). While none are positive situations, you can be the positive force responding to them. We ultimately want to impact students through inspiring a love of music. Adversity will come and go. Stay calm and keep positively inspiring others.
LEAN ON YOUR TEAM
The unsung heroes of the Texas Water Safari are the team captains. Every boat has two of them and they are responsible for providing food, water, and nutrients, as well as ensuring the safety of the team. The team depends on their captains, who spend their time getting little to no sleep, hustling from checkpoint to checkpoint, and assessing the overall health of the team. Like a boxing coach, if a team captain decides to “throw in the towel,” they can have their team disqualified from the race at any point if they believe their paddlers’ health and safety are in jeopardy.
As a band director, who is your team captain? Hopefully, we all have other band staff members, mentors, or other teachers we lean and depend on as we navigate our year. Whether you are a staff of one or a staff of many, you do not have to do this alone. While peer assistance looks different in each situation, leaning on others for the delegating of tasks, engaging in problem-solving dialogue, and planning instruction will be a key to survival as you continue throughout your year. Even if you are the one running the race, find a team to depend on and allow them to
TAKING CARE OF OTHERS REQUIRES SELF-CARE
One of the most important lessons learned on this crazy race is the importance of selfcare. The Water Safari boasts about a 60% finishing rate, with chief causes of dropout being dehydration and struggles with nutrition. To succeed requires constant
attention to self-care, whether it be significant water and electrolyte intake, high calorie/protein regimen, or maintaining a positive mindset.
This has direct application to the daily routine of a band director. At times, we are so fixated on our students’ needs that we neglect to keep ourselves in a healthy working order. Hydration, sleep, nutrition, fitness, and positivity are all points of individual focus that can help us have more energy and be better contributors to the students and our team.
To effectively take care of hundreds of students, we must start by taking care of ourselves. Reflecting on this race, my most significant takeaway is my increased understanding of how disciplined self-care can contribute to the productivity of any group or ensemble.
IT’S A MARATHON—SET SUCCESS CHECKPOINTS
The Water Safari begins in the pristine waters of Aquarena Springs in San Marcos. The final seven miles are spent paddling through the choppy bay system of the gulf. It’s a physical, mental, and emotional marathon. Sound familiar? Rather than starting the race thinking about 264 miles, we think only about the first 16 miles—the distance to the first checkpoint. We continue this mindset from checkpoint to checkpoint, of which there are 10.
We can navigate our journey in music education with the same outlook. Invest all your planning and mental energy in smaller checkpoints that will, over time, build into a long and gratifying experience for you and your students. What is your next checkpoint? What planning needs to happen to successfully arrive there? Racing toward short-term goals will help you and your students continue to feel a sense of accomplishment as you incrementally complete your school year marathon. And yes, the end is always wonderfully rewarding and exciting.
FIND YOUR WATER SAFARI
Reflecting on this race and our work in music education, I realize that not only has this race taught me how to be a better teacher, but it has also given me a goal and activity outside my workplace. It’s hard to think about school when I’m on the river trying to dodge rocks and stay upright in a
School of Music
2025 SUMMER MUSIC TCU School of Music
Camps & Workshops
TEXAS CHAMBER MUSIC INSTITUTE • MAY 30-JUNE 8
JULIETTE HERLIN, LIZ LEE AND MICHAEL BUKHMAN
TCU BAND CAMPS • JUNE 8-12 BOBBY FRANCIS, BRIAN YOUNGBLOOD
PERCUSSION CAMP • JUNE 17&18 BRIAN WEST, JEFF HODGE
FLUTE WORKSHOP • JUNE 24&25 SHAUNA THOMPSON
CLARINET WORKSHOP • JUNE 24&25 COREY MACKEY
SAXOPHONE WORKSHOP • JUNE 26&27, ALLEN CORDINGLEY
HARP WORKSHOP • JUNE 30-JULY 2 KELA WALTON
ALL-STATE CHOIR CAMP • JULY 13-19 CHRISTOPHER ASPAAS, MARLA RINGEL FOR REGISTRATION INFO, PLEASE VISIT OUR WEBSITE AT WWW.MUSIC.TCU.EDU/SMI.ASP
canoe. I encourage you to find an activity you love outside of your work. It doesn’t need to be a treacherous canoe race, but finding a meaningful outlet will help you stay refreshed, engaged, and ready to inspire students!
TMEA CONVENTION UPDATE
As you prepare to make your trip to San Antonio, I encourage you to download the TMEA app. The clinic and concert information provided is indispensable, and when combined with the creation of a personal schedule, it can help you get the most out of your convention experience. You can quickly locate events relevant for Band Division members by selecting the Tracks icon and choosing Band. Then, favorite the items of interest to build your schedule.
BAND DIVISION BUSINESS MEETING AND REGION MEETINGS
Be sure to include our Division Meeting on Thursday at 5:15 p.m. and your Region Meeting on Friday at 5:15 p.m. in your personal schedule to ensure you attend.
As a division, we meet only once annually, so this is a great opportunity to get updated on Band Division business and connect with our colleagues. Additionally, we will enjoy a special presentation by the U.S. Army Herald Trumpets!
The Region Meetings event in the app lists the location of the 33 meetings in its description (and it will be listed in the printed convention program). Ensure that
you attend this and the Division Business Meeting.
ATTEND THE PRESIDENT’S CONCERT
Be sure to purchase general admission tickets to the Wednesday, 8 p.m. President’s Concert, featuring the extraordinary Jason Max Ferdinand Singers. Tickets are available at www.tmea.org/presidentsconcert until February 7. If any remain for purchase after that date, they will be at the Information Booth inside Convention
Registration on Wednesday from 1 p.m. to 6 p.m. If you don’t arrive by then, tickets will be down the hall from Lila Cockrell Theatre at 6:30 p.m.
I look forward to seeing you all soon in San Antonio! 0
Mike Howard is the Director of Fine Arts, Music, and Performing Arts at Leander ISD. bandvp@tmea.org
Clark W Fobes
EMOTIONALLY INTELLIGENT LEADERSHIP IN THE MUSIC PROGRAM Building Community and Human Connection
By Alan Zabriskie
In the realm of music education, leadership plays a pivotal role in shaping the environment, culture, and success of the music program. However, few of us received formal training in this area. Following a model of emotionally intelligent leadership can help us build a supportive community and foster growth among students. What follows are the key elements of emotionally intelligent leadership and strategies for music educators to cultivate a positive and effective music program.
ENVIRONMENT AND CULTURE
Creating a positive environment and culture is fundamental to the success of any music program. In my studies with renowned music educator Clifford Madsen, he frequently commented that you control the environment that in turn controls you. If we deliberately control aspects of our classroom environment, our activities will be impacted positively. For example, carefully establishing procedures for students to enter the classroom and begin work independently creates an environment where good behavior is quickly established, leading to fewer behavior problems. Author Simon Sinek’s ideas reinforce this: “So goes the culture, so goes the company [classroom/program]. So goes the leader, so goes the culture.”1 You have likely heard the concept that the ensemble’s personality follows the personality of the teacher. A teacher who is consistent in their positive demeanor and who works effectively throughout the rehearsal develops a culture where the ensemble does the same. Therefore, the leader’s mindset and behavior are crucial in shaping the culture of the music program.
MINDSET: INWARD VS. OUTWARD
One of the critical aspects of emotionally intelligent leadership
is the distinction between an inward and an outward mindset. An inward mindset focuses on what the leader needs from others to achieve their objectives (seeing others as objects). In contrast, an outward mindset considers the needs, objectives, desires, and humanity of others (seeing others as people). Recognizing others as people with unique perspectives and needs is fundamental to fostering a supportive and collaborative environment that creates lasting change.
By adopting an outward mindset, teachers can build stronger, more meaningful relationships with their students. In my first years of teaching, I frequently had an inward mindset; I would approach students who presented behavior problems in a way that served my needs, rather than theirs. This frequently resulted in conflicts with individuals who sometimes fixed the problem in the moment but rarely created lasting change. As I shifted to an outward mindset, I approached behavior and other problems in a way that considered the individual circumstance. As a result, I felt differently about them, they felt differently about me, and we were able to more effectively work together to create a productive classroom environment.
Through an outward mindset, behavior can be adjusted through two approaches:
Teacher-Led Approach: This approach relies on these steps for behavior adjustment:
1. Identify the Behavior: Clearly define the behavior that needs to change without labeling the student negatively.
2. Understand the Underlying Causes: Engage with the student to understand what might be causing the behavior. This could
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involve personal struggles, academic pressures, or social issues.
3. Develop a Compassionate Plan: Create a plan that addresses these underlying causes and supports the student in making positive changes. This might involve setting achievable goals, providing additional resources, or adjusting expectations to better align with the student’s current capabilities.
Student-Led Approach: In a student-led approach, the director presents the problem to the students and involves them in creating a solution. This not only empowers students but also fosters a sense of ownership and responsibility for their behavior and the overall success of the program:
1. Present the Issue: Clearly and calmly present the behavior that needs to change and identify its impact on the group.
2. Facilitate Discussion: Encourage students to share their perspectives and feelings about the issue. This can help uncover root causes and generate empathy among peers.
3. Collaborative Solution-Building: Work together to brainstorm and agree on potential solutions. This collaborative process helps students feel invested in the outcomes and more committed to implementing the agreed-upon changes.
LEADING FROM OUTSIDE THE BOX
Understanding how one views oneself in relation to others is crucial for effective leadership. The Arbinger Institute 2 describes one way of approaching interpersonal relationships as either being inside the box (negative) or outside the box
(positive). The “box” refers to a distorted view of reality that arises when individuals begin to see others as obstacles or objects. When an educator sees students as obstacles or objects, they interact with the students from inside the box. This leads to a self-justifying view of reality, distorting the educator’s perception and interactions with students. Over time, these distorted views become characteristic of the individual, perpetuating a cycle of negative interactions. To effectively take oneself out of the box, it is important to examine the motivations for being there in the first place. This is most effectively accomplished by labeling the thought or feeling mechanism that led the educator to see their students as objects. For example, if I see myself as “worse than” other teachers, I may approach teaching through a feeling that the students are there to help me feel better about myself and my skills as a teacher (seeing them as objects). By working to remove myself from the box, I realize that I am there to enable the students to reach their potential. I identify their individual needs to accomplish this (seeing them as people). As a result, I see them differently and they see me differently; we work together to achieve collective success.
To lead effectively, teachers must strive to see their students as people, not objects or obstacles. This involves acting on thoughts and feelings that promote genuine human connections and addressing issues directly and empathetically.
THE POWER OF VULNERABILITY
Vulnerability is a key component of emotionally intelligent leadership. Brené Brown emphasizes that “our ability to be leaders will never be greater than our
capacity for vulnerability.”3 By being authentic and open about their self-doubts and challenges, teachers can create a safe environment where students feel comfortable expressing themselves as well.
The purpose of exposing one’s vulnerability is to build healthy relationships. Vulnerability involves the courage to confront problems when the outcome is uncertain and to engage in difficult conversations. Sharing personal stories and experiences can help build trust and relatability, fostering a deeper connection between the director and the students. This area of relationship-building is one that I regularly struggle with. However, I have found that during a rehearsal, class, or a one-on-one conversation, as I am willing to open up (generally through sharing a story or experience), my students respond positively. They become more willing to be vulnerable and connected throughout the rehearsal process.
PRACTICAL APPLICATIONS OF VULNERABILITY
Admit mistakes: Openly acknowledge when you make mistakes and model how to learn from them. This shows students that it is okay to be imperfect and encourages a growth mindset. For example, if you make an error in conducting or choose a piece of music that doesn’t work out, discuss what went wrong and what can be learned from the experience.
Share personal stories: Occasionally sharing relevant personal experiences can humanize the director and create a more relatable and supportive environment. These stories can illustrate that everyone faces challenges and that it’s okay to ask for help or admit when things are tough.
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Widely known to audiences for his 1980s Lord of the Rings symphony, De Meij now presents CASANOVA, the complete recording of his compositions for cello and wind orchestra. Like the majority of De Meij’s oeuvre, the works on CASANOVA are committed to a late Romantic aesthetic: frequently citing Rachmaninoff, Debussy, or Puccini, and intended to conjure specific imagery. The resulting music is soothing, colorful, and pleasing to the ear.
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Encourage open dialogue: Foster an atmosphere where students feel safe to share their thoughts, struggles, and successes without fear of judgment. This can be achieved through regular check-ins, anonymous feedback opportunities, and designated times for open discussion. Encouraging students to voice their opinions and concerns openly can prevent misunderstandings and build a stronger, more united program.
BENEFITS OF VULNERABILITY
Building trust and relatability: When directors share their own experiences, they create a bridge of empathy between
themselves and their students. This shared understanding can dissolve barriers and foster a sense of unity. Students are more likely to feel comfortable approaching a director who has demonstrated that they, too, face challenges and uncertainties.
Enhancing creativity and risk-taking: A culture that embraces vulnerability encourages students to take creative risks without fear of harsh judgment. This can lead to more innovative performances and a willingness to explore new musical ideas. When students see their director take risks, they are inspired to do the same, leading to a more dynamic and engaging music program.
Promoting resilience: Facing and discussing vulnerabilities can build resilience among students. They learn that setbacks are a natural part of growth and that it’s possible to overcome difficulties with support and perseverance. This resilience can extend beyond the music room, helping students handle challenges in other areas of their lives.
STRATEGIES FOR ENHANCING RELATIONAL SKILLS
One-on-one communication: Engaging in one-on-one conversations with students helps build trust and understanding. Making eye contact, focusing attention, and actively listening are crucial components of effective communication. By making ourselves available as students enter the classroom, we can engage in multiple short conversations with students. At times, these conversations need to be longer and in a more private environment. In these situations, it is important to eliminate or ignore distractions (e.g., phones, computers, smart watches) to give the student our undivided attention. Even these simple actions help students feel valued and heard.
Seeking understanding: Stephen Covey’s principle “Seek first to understand, then to be understood” underscores the importance of empathy in leadership. By prioritizing understanding others, teachers can address concerns more effectively and build stronger relationships.
Follow-up and gratitude: Consistently following up on conversations and demonstrating gratitude for students’ efforts and contributions can reinforce positive behavior and strengthen the sense of com-
munity within the music program. Here are some examples of simple yet meaningful phrases of gratitude that can be shared with an individual, a group of students, or an entire class: thank you for working hard throughout the entire class period today; I am grateful for you and for the leadership you demonstrated today; thank you for coming into the classroom quietly today
Simple, short, repeated, positive interactions with students helps them understand that you see them as people, thus encouraging them to see you as a person as well, rather than an object.
Emotionally intelligent leadership is vital for building a thriving music program. By fostering a positive environment and culture, adopting an outward mindset, embracing vulnerability, and building strong relationships, music teachers can create a supportive community where students feel valued and motivated to achieve their best. Through continual self-reflec-
tion and adaptation, teachers can lead their programs to new heights of success and fulfillment. Additionally, teachers can profoundly impact their students’ lives, not just as musicians but as individuals growing into emotionally intelligent and compassionate human beings. 0
Alan Zabriskie is Director of Choral Studies at Texas Tech University.
REFERENCES
1. Sinek, S. (2017). Leaders Eat Last. London, Portfolio Penguin.
2. Arbinger Institute (2006). The Anatomy of Peace: Resolving the Heart of Conflict. San Francisco, Berrett-Koehler Publishers, Inc.
3. Brown, B. (2018). Dare to Lead: Brave Work, Tough Conversations, Whole Hearts. New York, Random House.
For a reading list of additional resources on emotionally intelligent leadership and building successful teams, go to www.tmea.org/2025zabriskie.
SOUND IDEAS
ORCHESTRA: DEFINING SUCCESS BEYOND A UIL TROPHY
By Michelle Bell
Just like a STAAR score doesn’t define a student’s educational success, a UIL rating shouldn’t define the success of a music program. If we define a successful year solely by the ratings earned at UIL, we are doing a disservice to our profession and the students in our classrooms. However, that is not to say those ratings are meaningless or worthless. The UIL evaluation is one facet in how a program can be assessed. It tells a piece of the story—but not the whole story.
The reason many of us rely on UIL evaluations to help define success is because they provide consistent and measurable data, collected annually. A concrete rubric is utilized in a standardized statewide assessment administered primarily by trained and experienced members of TMAA. However, many other factors contribute to a successful year. Through data tracking, we can define our successes in terms not only that we can understand but also that our administrators, T-TESS evaluators, fine arts offices, community, orchestra families, and students can relate to.
For example, I make sure our stakeholders know we have an 85% retention rate from sixth to seventh grade, or that 98% of the violin class can identify note names at a 95% accuracy rate or higher. I want the fine arts office to understand that my request for 10 more cellos is based on data predicting future needs derived from past trends. For example, I noticed higher viola retention compared to violins, so equipped with the collected data, I requested an additional beginner violin class, and my request was granted!
My journey with data tracking began years ago during a T-TESS post-conference when my non-musician administrator lamented the lack of data on my non-STAAR-tested class. “It’s just too bad you don’t have any real, actual data,” he said. “It’s just feelings, right?” In that moment, I realized I could in fact collect data from my classes. While we do get those feelings of success when students have an aha moment, also having real data to support our work makes our feelings more concrete and easier for others to relate to.
I had always kept some data, because I am the three-est of threes on the Enneagram scale and I’m pretty competitive. It was mostly my general recruiting and retention numbers, as well as Region success numbers. After that T-TESS conference, I started to track data more thoughtfully and diligently, collecting both short-term and long-term data annually. My short-term data is tracked by class period and used for my SLO on my annual T-TESS. It’s often
focused on note reading—a crucial area for future success in orchestra and one where I’ve found students can hide their lack of progress pretty well.
I use formatting and color-coding to help identify patterns in proficiency, and I adjust my teaching methods to address these gaps. The long-term data I track is categorized into these areas:
• Retention and Recruiting: Enrollment numbers are tracked by year, level, class, and grade, helping to spot trends and adjust recruitment strategies.
• All-District and All-Region: I compare the percentages of my students qualifying to these groups with other schools in the district and Region.
• Solo Contest: Participation and performance in solo contests are tracked to assess how well basic fundamentals are being taught. Students must learn a solo; most opt to participate in solo contest rather than just perform for the class.
• Ribbon Masters: In beginner classes, students who complete a pass-off chart are called Ribbon Masters. This data shows the motivation levels of top-tier students and the influence of private lessons.
All this information forms a comprehensive picture of the overall health of the orchestra program, independent of my feelings.
I use this data to inform my daily teaching and provide a clearer picture of growth and success than UIL scores alone. Tracking this data allows me to spot trends, identify and address weak spots in my teaching and program, guide conversations with co-teachers and assistant directors, advocate for resources with administrators, celebrate victories with students and stakeholders, and grow as an educator.
You can review my data at www.tmea.org/2025bell. This is the data I collected at Wilson MS from 2012 to 2023 before leaving to open Worthington MS. I hope it inspires you to start tracking the data points that are important to you and your program and do a deep dive into the data to make you the most effective teacher possible! Please don’t hesitate to reach out if you need help or have any questions! 0
Michelle Bell is the Worthington MS Orchestra Director (Northwest ISD).
ORCHESTRA DIVISION
JENNIFER MARTIN, STATE VICE-PRESIDENT
No leader can accomplish everything alone; having a dedicated team is essential for the success and health of any organization.
Stronger Together
As I sat down to write my final column as Orchestra Division Vice-President, my head was full of ideas. The past two years have been the busiest and the most rewarding of my career. I greatly appreciate everyone who pitched in to help—I am forever indebted and grateful! Some of us were friends when my term started, and now I am blessed to have made new friends along the way.
As we prepare to come together for our annual convention, where we celebrate music and music education, I’d like to offer my encouragement for you to serve your association and music education in general.
WHY SERVE?
One of the many valuable experiences our students gain in orchestra and mariachi is being a part of something bigger than themselves. In music, the whole is greater than the sum of the parts. You’ll see this in action at the General Session when All-State winds, percussion, strings, and vocalists join forces to perform. We are stronger together, and the group synergy of live performance is like nothing else! These experiences shape our young adults as they embark on their journeys, equipping them with greater understanding, grace, and compassion—qualities that are increasingly needed in the world today.
In Memoriam
David Sloan 1937–2025 Vice-President, 1991–1993
MARK YOUR CALENDAR
check www.tmea .org for updates
February—Renew membership, purchase liability insurance, register for the convention.
February 1—Honor Orchestra online entry opens.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 5:15 p.m.— Orchestra Division business meeting at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
March 1—Texas Music Scholar online application opens.
SCHOLARSHIP AUDITIONS
Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music.
SCHOLARSHIP AUDITION DATES:
Friday, February 21, 2025 1 - 3 p.m.
Saturday, March 29, 2025 1 - 3 p.m.
Saturday, April 12, 2025 1 - 3 p.m.
Individual audition dates may be requested if necessary.
For specific qualifications for each award, visit www.tlu.edu/music-scholarships.
TLU SCHOOL OF MUSIC
When you serve, you grow through this experience of being a part of something bigger than yourself.
Serving gives you a better understanding of how processes work, helps you learn new skills, and opens doors to meet people and gain new insights. As I mentioned, I have developed new relationships and friendships that will live on long past my time on the Executive Board. The same happened through the many judging panels and Region weekends over the past 20 years. These relationships can lead to new professional opportunities down the road and supportive friendships that keep us thriving. Teaching is a marathon, not a sprint. After many years of work, we risk our efforts becoming stale, our lives feeling isolated, and our mindset turning to discontent. Don’t sit and sour—jump in and serve!
Serving enhances communication and connections across your cluster, district, Region, and state. Better communication builds better relationships and tends to create more ideas, solutions, and plans to improve and grow.
Serving may not always be glamorous, but
the demand is ever-present, and we need people to answer that call. There are different seasons of life and seasons of your career. You may not have the capacity today to take on one of the longer-term or time intensive roles, and that’s okay. There are so many other ways to serve. Reach out to those in leadership roles and see how you can pitch in. No leader can accomplish everything alone; having a dedicated team is essential for the success and health of any organization. When leaders communicate needs, I hope you will say yes whenever possible!
If the service or leadership role you wanted to fill isn’t available, please don’t be discouraged. There are times when we get to serve in the way we envisioned, and that feeds us as much as we feed it; however, there are also times when we serve simply where we are most needed. Often those are the roles that open doors and prepare you for something different down the road.
Finally, don’t count yourself out! I hear too many great educators express how they could never serve in a particular way. Jump in, support, serve, and be open to what the future may hold!
HONOR ORCHESTRA FINALS UPDATE
This year’s Honor Orchestra competition utilized a new process in the final round. The new procedure is set up so that each judge listens to groups in a different order in the finals to reduce any unintentional bias inherent in the order groups are heard. This process was recommended by the Honor Orchestra Review Committee and was subsequently approved by the Executive Board. Thanks go to the committee members for their extensive work on defining this new process and to TMEA staff for their feedback and guidance on the technological implementation. For details on the process, go to www.tmea.org/ honororchestra and scroll down to the Adjudication/Finals section.
The judging ran smoothly from the logistical and technological perspective. After each finals adjudication, I asked the judges for their perspective on this revised process. Most anecdotal feedback I received was positive. I also surveyed them to receive more quantifiable data on the revised process.
Of the 20 judges who served in the four
finals rounds, 18 completed the survey. Those 18 responses were submitted by 14 who had listened on headphones and 4 who had listened via the traditional playback system.
What follows are the survey prompts and answer choices about the listening device used and the order of listening, followed by the number of judges who selected each answer:
Which is most true about the listening device used?
• I can judge with equal accuracy on either setup. [10 judges]
• I can judge more accurately on the headphone setup. [6 judges]
• I can judge more accurately on a traditional playback setup. [2 judges]
On a scale of 1 to 5, rate how valuable it is for judges to listen to finalists in different orders (with 1 = not valuable at all to 5 = very valuable):
• 5 [14 judges]
• 4 [1 judge]
• 3 [3 judges]
To support this process, directors were required to submit five scores to ensure one was available for each judge. Some directors reached out with concerns that providing two more scores than in previous years was challenging. Further study is needed to determine if the flow of the contest can be achieved with three scores
rather than five to reduce the financial impact. We also have an initial set of results to analyze in that continued study.
CONVENTION UPDATES
I have attended our convention since I was 16 years old. On the rare occasion when I had to miss (like when my children were very young), I really missed the camaraderie, energy, and learning that come with the experience. Regardless of how many conventions you have attended, I hope you’re anticipating an amazing time in San Antonio. I’m looking forward to seeing you there!
While early registration has ended, if possible, you should still register online before you arrive, so you have the easiest badge pickup process (see page 3 for details).
Take in the amazing clinics and concerts and take advantage of being surrounded by so many fellow music educators. The spring semester is relentlessly busy and it’s important to invest in yourself! The TMEA Clinic/Convention offers the perfect change of pace and boost of encouragement to finish out the year strong!
Thursday at 5:15 p.m. to your personal schedule in the app. At this important meeting, you’ll get association updates, help recognize Orchestra Division members for their service, and more.
Also be sure to attend your Region meeting on Friday at 5:15 p.m. Locations are on that event record in the convention program and in the app. 0
Jennifer Martin is the Orchestra/ Mariachi Specialist at Fort Worth ISD. orchestravp@tmea.org
Be sure to download the convention app now, build your schedule, download handouts while on Wi-Fi at home (available in the app February 1). For details and to download, go to www.tmea.org/2025app.
ORCHESTRA DIVISION
BUSINESS MEETING
Be sure you add our annual meeting on
Building Intrinsic Motivation to Practice
By Adrian Kirtley
It’s so easy for teachers to tell their students practice at home! It’s just as easy for students to say they will. What’s challenging is for our students to meet our expectations of legitimate and measurable progress through effective home practice. We shouldn’t expect consistent and deliberate progress at home without taking into consideration the perspectives of our students, especially teenagers. While there are infinite ways to create a culture of effective practice at home, I’ve found the most success by zeroing in on three key considerations:
• Unlocking intrinsic motivation
• Simulating the rehearsal room at home
• Mapping out a plan for guided practice
While all three are essential, given space limitations, the details provided here focus on what I have found to be the highest priority of the three—unlocking your students’ intrinsic motivation. While my context here is from my choral experience, these principles are equally applicable to other performance genres.
There is no better way to ensure students practice than if their motivation arises from their deepest desires. When their drive aligns with fundamental needs, much like food and water, it creates a more profound commitment to learning. They must really want progress intrinsically to give the consistency and rigor needed for it. It’s not something a teacher can force or beg; it requires trust and patience when waiting for that light bulb to turn on in your students.
What follows are the methods I have found that successfully motivated the teens I teach, most of whom learned choral fundamentals in their middle school choir. Critically, we each must fully understand the students we teach and their skill levels. Some methods may not be effective, depending on where your students are in their development.
DEVELOPING INTRINSIC MOTIVATION
Intrinsic motivation to practice can be boosted by eliminating what I consider to be extrinsic limiters—anything that is not music-related that you either give to or take away from a student in reaction to whether they met your expectations. Here are some examples of extrinsic limiters to consider removing from your process:
Practice today and get candy! Candy might seem harmless, fun, and at first very effective. But if they’re working for anything like candy, what happens when you run out of it? What if you don’t have the type of candy your top students prefer? And since they can get candy from the store regardless of their practice progress, that extrinsic foundation for their motivation crumbles.
Contests and awards: If the only reason for practicing is to get first chair at a contest, you’ll have no idea how great the students can become. Similarly, if you praise students only if they succeed at a contest, what happens the day after that contest? Those who didn’t win may lose the desire to practice, feeling that they have already failed. Conversely, those who win might also lose motivation to practice as they may believe they already achieved the goal. This
cycle can diminish enthusiasm for continued improvement in both groups. Instead focus constantly on the endless pursuit of excellence , without any finite definition of how good excellent is or any marker for when it’s achieved. With excellence as the goal, by the time a contest arrives, we often discover that we had achieved the level of excellence needed for first place well before the event. Awards and trophies are byproducts of progress, not its purpose.
Grades that reflect accountability and consistency are valuable, but “receiving a good grade” does not necessarily indicate progress in skill development; it means you did the assignment. A significant issue with using grades to motivate student improvement is that earning grades is often perceived as a mandatory task. Teenagers, however, are typically not intrinsically motivated by things that feel forced upon them. If you want them to want progress, consider removing the reward and consequence system from the equation. Instead, offer them a true choice with no strings attached. Give them the real choice to practice or not so that they take pride and ownership over their personal commitment to self-improvement.
What we’re striving for is to fuel their desire to practice as their potential is limitless through dedicated practice. In contrast, extrinsic rewards impose limits. These limits create a finish line on what should be an endless journey of growth and progress. Since teens love accomplishing goals and meeting expectations, simple extrinsic limiters inevitably create a comfort zone where students will happily remain for the rest of the year. Instead of trying to motivate students using extrinsic limiters, try implementing processes that make sure there are no lines drawn across their path.
IMPLEMENTING INTRINSIC MOTIVATORS
The teens in our program have demonstrated they are overwhelmingly motivated by the following. Consider how you might improve in these areas and notice the long-term difference in your program:
Rehearse music they love to sing. Teenagers intrinsically want to practice music they want to sing. You will find that your musical selection has an incredible power to motivate. If the students love the music, you’ll hear them say yes with excite -
ment each time you ask to take the piece out in rehearsal—this is a piece students will do anything to help improve. If it’s an extremely challenging or unforgiving piece and the finished product is perceived as boring or unimpressive, you’ll hear their groans and sighs when you ask them to take the piece out. Listen to students’ reactions, because they matter more than any specific piece of music. With so many stunning pieces available that will consume their minds with excitement and anticipation, there’s no reason to fight that battle. We need to understand the power that our music selection has on their individual progress and use it to motivate them to practice as much as possible.
Measurable Progress: Teenagers are excited intrinsically when they can see measurable progress. When Pokémon was the #1 game, teens weren’t staying up all night to win, they were staying up all night leveling up their Pokémon—they crave measurable progress. The practice strategy is that you must find ways to quantify their progress at home and allow them to visualize how much they improved over the course of their practice session. Students often don’t practice because there’s no satisfaction in practicing when, at the end of the day, they can’t tell how much they improved. They will choose practicing over video games if they can tell that they have leveled up in some way.
ACCESSIBLE and B EAUTIFUL
Compiled and edited by Marques L. A. Garrett and Edryn J. Coleman repertoire for mixed voices to encourage connection and growth
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Find out more
Peer Collaboration and Comparison: Students are intrinsically motivated to participate in activities where they can see their friends’ progress. When someone who hasn’t been practicing as much sees the success of their peers and notices their practice habits, they get the urge to go home to fix that disparity. Better still, if you can make the process a group activity, you’ve added double motivation given their desire to be a part of a community.
TOOLS TO FUEL INTRINSIC MOTIVATION
The following ideas include technology tools to track individual and ensemble progress. Before requiring your students to interact with technology at home, ensure that all students have reliable access and the opportunity to use it successfully. Some students may not have reliable internet access or the needed devices at home. If that’s the case, ensure you provide support for these students to complete the
A wide variety of scholarships are available. Contact Todd Ehle at tehle@delmar.edu for more information.
A wide variety of scholarships are available. Contact Todd Ehle at tehle@delmar.edu for more information.
assignments at school or in another way. Alternatively, you might read the following and determine how you can implement the ideas without the use of technology:
We utilize a video submission platform to assign a song, or a segment of a song, as frequently as you want, with tracks and sheet music to sing along. Students can then record a video of them singing and post it to their class’s page. We use these weekly in our department, and the students quickly get used to singing at home with public accountability. Because class peers can see who has submitted, if you assign a section of a piece they need to learn by the next class, students will make sure they get that section learned, knowing their video will be seen by the choir. We utilize a comments function (teacher-approved to ensure supportive and constructive commentary) that allows students to hype up each other’s recordings and make personal accountability a source of public praise.
We have also experienced success with online sightreading apps for at-home practice. Some allow you to create levels, with your desired intervals and rhythms that support your standards. Students can practice on any device at home, in the car, or at the park, with endless exercises that auto populate for them. With our use of Sight Reading Factory, it hasn’t just been an assessment tool to monitor accuracy.
It can be useful in setting expectations in time spent, or the number of melodies sung each day. You can see how long someone spent singing melodies and how many melodies they sang. So, for a daily expectation, you could request to see them complete either half an hour of practice or 20 exercises. This puts the attention on time and effort rather than a summative assessment of accuracy.
To reinforce the students’ commitment to practice, we display a time and effort log in our classroom that tracks at-home practice. It serves as a continually growing record of each student’s practice time, allowing them to see how they compare to their peers within their voice part. While this public display of practice effort may not be suitable for every level or choir (you know your choir), this transparency has encouraged accountability in our classroom, emphasizing effort, not success. It fosters intrinsic motivation because they can see their progress every day while col-
laborating with and comparing their effort to that of their peers. This has worked wonders in getting students to practice and is so simple to execute.
These strategies that help build intrinsic motivation—eliminating extrinsic limiters, selecting music they love, and leveraging technology—can be powerful tools for cultivating a culture of self-driven practice. If you choose to incorporate any or all these methods, do so consistently over time. Just like with music learning, there are no short cuts to this success.
It will take time to shift motivational styles, but the effort will be worthwhile. With the right focus, we can help our students understand that the pursuit of excellence in music is not solely about accolades; it’s about personal fulfillment and the joy of continual improvement. 0
Adrian Kirtley is the Head Choir Director at Timber Creek HS (Keller ISD).
Segment from a time and effort log displayed in the classroom
SOUND IDEAS
VOCAL: EMOTIONAL INTELLIGENCE IN TENOR-BASS CHOIRS
By Jeremy Brown
The following comment by world-renowned composer John Rutter sums up the choral experience impact on those who participate: “Choral music is not one of life’s frills. It’s something that goes to the very heart of our humanity, our sense of community, and our souls. You express, when you sing, your soul in song.” Every day, choral educators strive to provide this type of experience for their students.
Over the past four years, I have had the privilege of teaching high school choral ensembles. Some of my most rewarding experiences were teaching the developing (non-varsity) tenor-bass ensemble. Success became evident when I found accessible repertoire that was emotionally resonant for the tenor-bass voice. This is essential because the developing ensemble serves as a springboard for many students’ paths to musical success, within the choral program. Various sources suggest that tenor-bass ensembles require a unique approach compared to other choral ensembles. Choral educator Patrick Freer (2007) advocates for males to be in a specific ensemble to help address their unique needs. For decades, research has been conducted to show how the developmental stages of the adolescent brain contribute to the challenges tenor-bass singers face, especially in navigating the changing voice (Barham & Nelson, 1991; Cooksey, 1999). One essential need for this ensemble is supporting those singers through that transition. Therefore, it is important to cultivate a community of empathy, encouragement, vulnerability, and inclusivity within the rehearsal space.
This can be achieved by thoughtfully selecting repertoire that fosters both musical and personal growth. When selecting repertoire for developing tenor-bass ensembles, consider its accessibility and emotional resonance.
ACCESSIBILITY
Tom T. Shelton’s 2016 Choral Journal article “Repertoire and the Compositional Process” highlights some of the advice on making repertoire accessible for tenor-bass ensembles offered by Terry Barham in his book The Boys’ Changing Voice. Barham’s advice for selecting music is that we should “go with the ‘vocal majority’ and adapt for the ‘vocal minority.’ ”
Barham’s approach to accessibility is invaluable. It ensures that every singer can fully participate and succeed during rehearsals, which is achieved by thoroughly understanding their capabilities and challenges, particularly the changing voice. That is why it is crucial to be familiar with the singers’ vocal ranges, as that knowledge will determine what is accessible for the “vocal majority” within the ensemble.
EMOTIONAL RESONANCE
Selecting emotionally resonant pieces deepens each singer’s musical journey by encouraging them to reflect on their experiences through the music. In the Choral Journal article mentioned above, Laura Farnell shared, “I look for texts with which I connect and that I believe will speak to the singer’s soul.” As educators, we can adopt this compositional lens when choosing repertoire for our ensembles. This perspective can open opportunities to create activities that deepen connection to the text, such as having students journal or having group discussions about its meaning.
REPERTOIRE OPTIONS
I select unison, TB, or TBB pieces for the ensemble. For example, Stray Birds from Craig Hella Johnson’s Considering Matthew Shepard brings all the components discussed to life. It features an accessible unison melody while offering a modern take on the plainchant style. The text encourages students to reflect on the communal aspects of life. Joseph M. Martin’s The Journey is a TB piece with a suitable vocal range for singers. Martin creatively merges melodies from Dvořák’s New World Symphony and the Shaker hymn “Simple Gifts.” The repeated phrase “going home” invites students to reflect on what home means to them. I have witnessed each piece having a profound impact on our tenor-bass singers. For more repertoire selections and other resources, go to www.tmea.org/2025brown.
By intentionally selecting repertoire that speaks to their emotions, we can empower tenor-bass singers to develop their emotional intelligence, leading to a richer musical experience and stronger connections with themselves and their peers. Let us embrace this opportunity to cultivate not only skilled musicians but also compassionate individuals who can express their voices with confidence for years to come. 0
Jeremy Brown is Associate Director of Choirs at McKinney Boyd HS (McKinney ISD).
REFERENCES
Freer, P. K. (2007). Between Research and Practice: How Choral Music Loses Boys In the “Middle.” Music Educators Journal, 94 (2), 28-34.
Barham, Terry J., and Nelson, Darolyne L. (1991). The Boy’s Changing Voice. Alfred Music.
Cooksey, J. M. (1999) Working with Adolescent Voices. Concordia Publishing
VOCAL DIVISION
JOSHUA MCGUIRE, STATE VICE-PRESIDENT
The quality of your relationships is ultimately what determines the quality of your life.
—Esther Perel
Life Is Like a Rollercoaster
Most people reading this likely don’t know what a rollercoaster enthusiast I am. Growing up, my father would take his science classes from the western Chicago suburbs on an annual field trip to Six Flags Great America. The trip was a fun way for his students to witness science in action while enjoying a day socializing with their classmates. He would always take my sister and me along so we could have a day of fun at the end of the school year.
When people lightheartedly say life is like a roller coaster, I’m not sure they are considering the reality of the line in which we often must wait prior to boarding the ride. At times, that line might move quickly, but it more often seems incredibly slow. As you arrive at different turns in the queue, you might see a sign telling you how close you are to the end or perhaps enjoy a mister that makes the wait more comfortable.
If you’re lucky, you end up in line with people you enjoy spending long periods of time with as you wait to arrive at the point of boarding the coaster. Sometimes you even connect with strangers and join them to be on a faster path than a single rider. In a large group, you may have to decide who you pair up with to share the ride. Ultimately, you want to be with a community that shares your excitement and thrill level. And don’t forget your picture will be taken just as you make
MARK YOUR CALENDAR
check www.tmea .org for updates
February—Renew membership, purchase liability insurance, register for the convention.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 5:15 p.m.—Vocal Division business meeting at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
March 1— Invited Choir online application opens.
March 1—Texas Music Scholar online application opens.
March 18–22—National ACDA conference in Dallas.
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Large School Camp
Section Leaders
Tara Sikon
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Dawn Sheridan-Reinhuber
San Marcos HS
Christian DeLa Cruz
Tompkins HS
John Sikon
Byron Nelson HS
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Fall/Spring Enrollment
• Substantial podium time with 5 ensembles
• Annual engagement with guest choral conductors and composers – Elaine Hagenberg, April 2025 and Jake Runestad, November 2025 (ppremiere of new work)
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• Application deadline –January 15
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that initial drop—be sure that moment includes the people you want to be part of that memory.
The ride lasts only a few minutes, and then it’s time to unload, walk away, and line up for the next roller coaster. As teachers, this analogy works for about every event, audition process, or concert we present throughout the school year. For the past two years, this has also been my experience serving on the TMEA Executive Board. I’ve spent countless hours winding through the details of the annual convention, procuring programs for All-State ensembles, stewarding the AllState audition process, overseeing selection of invited choir and clinic proposals, and preparing committee meetings, and I’ve started most mornings by exchanging texts and phone calls related to it all. All these duties culminate in three and a half days of professional development and inspirational performances. The line is long, and sometimes uncomfortable, but it is always worth it in the end. It’s a lifechanging event I get to experience with a community who all chose to enjoy the same thrill ride!
The most important part is the relationships. As I wrap up my time serving as the Vocal Vice-President of TMEA, I’m confident in saying the people I’ve met and learned from in the process have been the reward of the experience. Like any new venture, event, or position in education, I didn’t know what I didn’t know until I starting doing it. What I’ve learned is that our relationships and connections are the most important aspects of our profession, especially in an education system that continues to be plagued by challenges. As relationship expert Esther Perel states, “The quality of your relationships is ultimately what determines the quality of your life.”
My thanks go to everyone who has waited in this roller coaster line with me the past two years. I’m in debt to the leadership of the TMEA Executive Board I’ve served alongside, as well as the incredible professional TMEA staff. It has been an honor to serve with Robert Floyd and Joe Muñoz through their transition period. Special thanks go to all who have served the Vocal Division to ensure our students and educators are provided the best experience through the many auditions across our
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state and our annual convention. Lastly, I offer gratitude to my close colleagues and co-teachers who have picked up the slack, served as a sounding board, and lifted me up to serve the needs of others. I’m humbled to have been “in line” with them and look forward to the next thrill ride we share together.
OUR CONVENTION HAS SOMETHING FOR EVERYONE
Take advantage of the opportunity to fill your schedule with many of the clinics and performances offered at this year’s convention. While the early registration deadline has passed, it’s not too late to register online to attend the convention. Doing so before you leave for San Antonio will mean a much easier badge pickup.
Much detailed planning has gone into ensuring you can attend clinics that fit your needs. If rehearsal techniques or inspiration on the podium are what you are looking for, don’t forget to observe open rehearsals of our four All-State Choirs and watch world-class conductors transform lives. Consider attending as many concerts as your schedule will allow.
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JASON MAX FERDINAND SINGERS
Be sure you purchase your tickets to the President’s Concert on Wednesday at 8 p.m. in Lila Cockrell Theatre, which features this extraordinary group led by their renowned conductor. This event is sure to kick of our convention in the most inspiring way! You can purchase tickets online through February 7 at www.tmea.org/presidentsconcert. Ticket pickup and purchase (if any remain) will be at the Information Booth inside convention registration on Wednesday from 1 p.m. to 6 p.m. and then starting at 6:30 p.m. in the hallway down from the theatre.
ATTEND THE VOCAL DIVISION BUSINESS MEETING
Join me at 5:15 p.m. on Thursday night for the Vocal Division business meeting as we celebrate and honor fellow directors, acknowledge the large team of volunteers responsible for another great convention, and hear news about all the upcoming opportunities in the Vocal Division.
Following the meeting, current TMEA members in the Vocal Division will receive an emailed ballot to elect our next Vice-President. If you’ll be at the convention, be sure you can access your primary email to receive that ballot and complete your online vote before 6 p.m. on Friday, February 14. For more details, go to www.tmea.org/election.
2026 INVITED PERFORMING CHOIRS
It’s time to begin thinking about applying for your ensemble to perform for the 2026 Clinic/Convention. Dates, supplemental materials requested, and updated requirements can be found at www.tmea.org/ invitedchoir. If you’re interested, consider adding the Friday, 2:30 p.m. clinic on the topic of TMEA’s invited ensemble process to your personal schedule.
TEXAS CHOIRS AT THE NATIONAL ACDA CONFERENCE
Congratulations to our colleagues and their ensembles selected to represent Texas at the National ACDA Conference in Dallas next month.
Buy tickets online until February 7: www.tmea.org/presidentsconcert
Don’t miss this concert, featuring the Jason Max Ferdinand Singers. This diverse group of professionals, ranging from award-winning artists to lawyers and professors, performs a wide range of choral literature that speaks to the soul. All tickets are general admission seating. Doors open by 7 p.m.
Pick up prepurchased tickets or buy tickets on Wednesday from 1 p.m. to 6 p.m. at the Information Booth inside Convention Registration.
Connecting with Hispanic Students through active music-making
By Victor Lozada and Kay Piña
Maestra, no sé hablar inglés. Many music teachers may have heard a student express this; the student wants to musically engage but senses they cannot because of language. As Hispanic teachers who have taught in predominantly Hispanic elementary schools, we strive to support students in music education and English acquisition.
Kay’s teaching took place in majority Hispanic schools in the San Antonio area with multilingual learners, while Victor’s experience was in a majority-minority, two-way dual-language school in DFW. We found that when multilingual students feel supported, engagement and participation among multilingual and monolingual learners increases. These experiences led to communitybuilding not only on campus but also in secondary performing ensemble programs.
As reported by TEA, the majority of students in Texas public schools are from Hispanic backgrounds; however, music educators continue to come largely from white backgrounds.1,2 To increase participation and persistence in high school music offerings, Elpus and Abril (2024) demonstrated that shared parent/student attendance at arts events and their out-of-school arts engagement were significant factors among others.3 Knowing this, music educators should connect their students with arts events that reflect their cultural heritage to increase participation rates (see Lozada et al., 2022 for an example).⁴
With Texas school demographics, it is important for music educators to understand how to connect with Hispanic students. In this article, we frame an understanding of who Hispanic students are
within a culturally sustaining pedagogy alongside tangible pedagogical tools to engage them in active music-making. While our examples are related to the elementary classroom, they can inform educators at every level.
WHAT’S IN A NAME?
State and federal data label many students as Hispanic; however, the terminology for referencing people of this heritage is deeply debated. People from Hispanic heritage refer to themselves in many ways, so the important tenet to support is that each person should be able to make their choice. We use the term Hispanic because we refer to the linguistic heritage of people from Spanishspeaking backgrounds. Texas Education Code refers to another aspect of some Hispanic people as Limited English Proficient, English Language Learner, or Emergent Bilingual. We prefer the term Emergent Bi/multilingual because it centers the true linguistic abilities of a person, decenters the idea that one needs to know English, and addresses the developmental nature of language learning.⁵ We must know who our students are so that we can understand how to best reach them.
TEACHING THROUGH CULTURE
Knowing our students’ culture remains an important part of music education, which is especially important for Hispanic students. Many music educators embrace culturally responsive teaching, which advocates for a validating, comprehensive, multidimensional, empowering, transformative, and emancipatory education.⁶ These ideals benefit Hispanic students because they provide an opportunity for students to integrate into current
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music education systems by providing the appropriate music and academic literacies for success. While this does give students the opportunity to assimilate into the current structures of music education, it often does not leave space for students to adapt their music cultures into the current music education system.
One possibility for including not only the dominant music cultures in performance programs but also the music of our students is through culturally sustaining pedagogy. Culturally sustaining pedagogy is an approach that lovingly sustains students’ culture(s) while teaching the appropriate academic literacies to work within the systems in place.⁷ This includes cultural, linguistic, and literate pluralism. Even though culturally sustaining pedagogy remains a new educational idea in music education, many have found success.⁸,⁹ While there are examples in instrumental and choral music respectively, applications to general music, specifically with Hispanic students, remains largely under articulated.⁹,1⁰
As music educators who each identify as Hispanic and who have worked with Hispanic children within elementary music programs, we offer the following instructional strategies that worked in our contexts. However, because the Hispanic community is diverse, with a variety of races, linguistic backgrounds, and immigration statuses, the first step is to get to know your students. We must understand our students’ backgrounds to best tailor musical experiences that lovingly sustain their cultures while simultaneously offering possibilities for new musical futures.
The following strategies embrace the ideals of culturally sustaining pedagogy. Additionally, they stem from our backgrounds in teaching in two-way dual-language schools with the goals of high academic standards, bilingualism/biliteracy/ biculturalism, sociocultural competence, and critical consciousness.11 We believe active music-making experiences, rather than passive listening, should be the focus of most lessons. With that, these strategies
Creating a music education ecosystem in which students see themselves as performers remains of utmost importance. Without it, we only perpetuate the exclusion of many Hispanic students in secondary performing ensemble programs and, by extension, the possibility of those students becoming music educators.
TEACHING HISPANIC STUDENTS IN GENERAL MUSIC
Texas music education has a deep history of high-quality performance ensembles. This has led to teachers advocating for more culturally relevant ensembles such as the conjuntos in South Texas or the mariachi statewide. While these types of ensembles are necessary and appropriate for including Hispanic students in music education, creating a music education ecosystem in which students see themselves as performers remains of utmost importance. Without it, we only perpetuate the exclusion of many Hispanic students in secondary performing ensemble programs and, by extension, the possibility of those students becoming music educators. A way to support performing ensembles is through strong elementary music programs.
focus on those activities, including using children’s literature, dance (movement), and multimodal composition as essential components of music education.
CHILDREN’S LITERATURE AS MUSIC EDUCATION
There are many folktales, fairy tales, and stories from various world cultures, so we should incorporate those stories that reflect the cultural backgrounds of our students. One famous Caribbean folktale is that of Martina the Cockroach. This story, popularized in the United States by librarian Pura Belpré, was retold by Carmen Agra
Deedy in Martina the Beautiful Cockroach: A Cuban Folktale. This text not only reflects the cultural identity of Hispanic students but also helps to sustain their linguistic heritage using Spanish throughout the text.
Martina the Beautiful Cockroach lends itself to composing a score that can augment the story. Students could create leitmotifs that represent each character and are played when the story is read. Additionally, they might be asked to create incidental music played when each new character is introduced. We encourage you to take risks with your students and have them lead the music-making by deciding how music should be created to amplify the story. Once they have composed their music, have them perform for each other. Children should have numerous opportunities to create music both to perform publicly and for each other.
Another possibility for ensuring culturally sustaining pedagogy is Alexandra Alessandri’s Isabel and Her Colores Go to School. Like Martina, this book offers a story that may reflect some Hispanic students’ experience in attending U.S. schools. Instead of using a book as a basis for performance, students could create rhythmic refrains from which musical concepts can be drawn. One possibility is to have the children chant, “Sad and worried, mala hora, al mal tiempo, buena cara” (see example below). When the book has the refrain of “al mal tiempo, buena cara ,” invite students to recite the chant. This chant can then be used either as a point of musical improvisation, composition, or as an extractable pattern to learn the eighth note. Creating pentatonic melodies with the refrain that then develop into compositions could be a successful
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multilingual opportunity while reading the book.
DANCE AS MUSIC EDUCATION
Stories can provide an entry point to other cultural touchstones such as dance and Latin American animals. The coquí is a Puerto Rican tree frog with which many Puerto Rican people are familiar, and it is the inspiration for music including Carlos Pizzaro’s Coquí. This merengue, a style of dance originating from the Dominican Republic, is one way to adapt a culturally sustaining pedagogy to general music education through folk dance. Although not necessarily the traditional folk dances taught in general music classes, this dance comes from the culture of the children that you teach. Being sung in Spanish allows for the adoption of not only cultural pluralism but also linguistic pluralism. Dance as a pathway to musical understanding models literate pluralism. Music educators who teach merengue may have students travel through the room using the merengue step. Teachers may have students find “smile partners” to dance with (partners you smile at but do not touch) or decide not to have students find partners at all. The Kennedy Center offers a basic tutorial on how to merengue, linked from www.tmea.org/merengue.
MULTIMODAL COMPOSITION AS MUSIC EDUCATION
While many view books as text, many literacy experts believe that a text can be many different things, including a comic book, poem, dance, or even a song. Music is multimodal in many respects in that it communicates via multiple means, including sound, gesture, and visual information. One possibility is inviting students to use poetry in multimodal ways to create and respond to music. Federico García Lorca’s poem Mariposa can be a starting point for children to create and respond to music.
Students might be invited to create the movement of the butterfly from the poem, which could be read either in English or Spanish. Then, the students might listen to a song such as Chavela Vargas’s La Llorona and see how the butterfly’s movement changes. Next, the students could make visual representations or write a poem based on their movements. Lastly, students might take portions of the poem to create rhythmic or melodic ostinati from which they could compose a piece
We must create opportunities for all students to see their cultures, languages, and literacies valued and lovingly sustained.
of music to go with their movement creations. These kinds of activities would foster cultural pluralism, linguistic pluralism, and literate pluralism and create a future in which Hispanic students could not only see themselves but also see their cultures, languages, and literacies represented, affirmed, and lovingly sustained throughout music education.
SUSTAINING POSSIBLE FUTURES
Ensuring that Hispanic students participate in all levels of music education is essential for the sustainable future of both their cultures and music education in Texas. This participation can be achieved through general music education, allowing our performing ensembles to reflect the diversity of our society.
We must create opportunities for all students to see their cultures, languages, and literacies valued and lovingly sustained. By doing so, they will not only see themselves represented in the curriculum but also envision a future as a music educator who values their cultures, languages, and literacies. 0
Victor Lozada is Assistant Professor of Bilingual Education at University of North Texas at Dallas.
Kay Piña is Lecturer of Music Education at Texas State University.
REFERENCES
1. Texas Education Agency. (2023). Enrollment in Texas public schools. https://tea.texas.gov/reports-and-data/ school-performance/accountabilityresearch/enroll-2022-23.pdf
2. Elpus, K. (2015). Music teacher licensure candidates in the United States: A demographic profile and analysis of licensure examination scores. Journal of Research in Music Education , 63(3), 314–335. https://doi .org/10.1177/0022429415602470
3. Elpus, K., & Abril, C. (2024). Participation and persistence in high school elective music ensembles. Journal of Research in Music Education. https:// doi.org/10.1177/00224294241247267
4. Lozada, V. A., Ríos-Jiménez, E., Hansen-Thomas, H., Richins, L. G., & South, S. (2022). Una noche de música: Sustaining our students’ culture. Journal of General Music Education , 35(2), 13–19. https://doi .org/10.1177/10483713211032311
5. Lozada, V. (2024). Advocating for emergent bi/multilingual students. The Orff Echo, 56(3), 10–14.
6. McKoy, C. L., & Lind, V. R. (2022). Culturally responsive teaching in music education: From understanding to application (2nd ed.). Routledge.
7. Paris, D., Alim, H. S. (Eds.). (2017). Culturally sustaining pedagogies: Teaching and learning for justice in a changing world. Teachers College Press.
8. Good-Perkins, E. (2021). Culturally sustaining pedagogies in music education: Expanding culturally responsive teaching to sustain diverse music cultures and identities. Routledge.
9. Usenza, C. (2022). Sustaining sounds in North America: Models for culturally sustaining pedagogy in music education [Doctoral dissertation, The Pennsylvania State University]. https://etda.libraries.psu.edu/files/ final_submissions/26792
10. Shaw, J. T. (2022). Culturally responsive, relevant, and sustaining pedagogies. The Choral Journal , 63(3), 51–60. https://www.jstor.org/ stable/10.2307/27190641
11. Palmer, D. K., Cervantes-Soon, C., Dorner, L., & Heiman, D. (2019). Bilingualism, biliteracy, biculturalism, and critical consciousness: Proposing a fourth fundamental goal for two-way dual language education. Theory Into Practice, 58(2), 121–133. https://doi.org /10.1080/00405841.2019.1569376
SOUND IDEAS
ELEMENTARY: BETTER TOGETHER—BLENDING THE APPROACHES
By Darla Meek
Orff Schulwerk and the Kodály Method are two widely used approaches in Texas elementary music classrooms. The Kodály Method, created by Hungarian composer Zoltán Kodály, is a comprehensive approach to music education that emphasizes musical literacy while focusing on active student engagement and a sequential learning process. Orff Schulwerk, developed by German composer Carl Orff and composer-educator Gunild Keetman, draws on children’s natural musical instincts, like singing, chanting rhymes, and moving to help them explore and create music in a more structured way.
Although these approaches are distinct, they share several commonalities:
• Both are experience-based. These holistic approaches are based on the Pestalozzian philosophy of learning by doing. Students are provided a substantial foundation of music skill by engaging in music-making before they are taught standard notation.
• Both employ constructivist strategies, including multiple modes of representation, discovery learning, instructional scaffolding, and the spiral curriculum.
• The music concepts are introduced in essentially the same order.
• Practitioners of each believe the voice and body should be the first instrument to be trained. Instruments are considered merely extensions of the body and voice.
• Both place high importance on the use of authentic folk music.
• Both Kodály and Orff practitioners believe that only the very best materials should be used with children.
• The teacher training course content is similar, beginning with the pentatonic modes, moving to diatonic modes, and finally to functional harmony.
Additionally, the teaching process lines up perfectly:
KODÁLY LESSON STRUCTURE
• Preparation (students manipulate a new musical element aurally, orally, visually, physically, and verbally)
• Presentation (the musical element is isolated, identified, and named)
• Practice (students manipulate the new musical element, with knowledge and intention, aurally, orally, visually, physically, and verbally)
• Assessment
ORFF SCHULWERK LESSON STRUCTURE
• Imitation and Exploration (students are challenged to first mimic the teacher and then to develop or alter ideas, focusing on a particular musical element)
• Labeling (the musical element is isolated, identified, and named)
• Creation (improvisation, composition, or choreography: students incorporate the element into newly invented material)
• Assessment
A PROPOSED BLENDED LESSON STRUCTURE
As you think on the value of each instructional approach and about their similarities, consider implementing a blended approach. It is easy to see how the two approaches can enrich and support each other:
• Preparation through Imitation and Exploration
• Presentation/Labeling
• Practice
• Creation
• Assessment
To access an example lesson that blends Orff Schulwerk and Kodály strategies, go to www.tmea.org/2025meek. I hope this will give you some ideas of how you can do the same with your own lessons!
Consider that out of all the things that teachers should be—patient, organized, firm, and loving—teachers should always be lifelong learners. Children deserve to be taught by educators who are constantly growing, questioning, and adapting—continually trying to determine how to best meet the students where they are and help them advance to the next level. Engaging in rigorous, in-depth preparation in both approaches will give us a broader knowledge of effective teaching techniques for our students.
If we want to reach children of various levels, possessing their unique abilities, desires, gifts, and preferred modes of expression, shouldn’t we do our best to diversify our teaching styles so we can reach them? 0
Darla Meek is Lecturer and Music Education Coordinator at East Texas A&M.
AT TWU 2025 TMEA
WEDNESDAY, FEBRUARY 12
(TI:ME Technology Pre-Conference)
Increasing Confidence in Incorporating Music Technology
Time: 3-4 pm
Location: CC 214B
Clinician: Rebecca WestAssistant Professor of Music Therapy
THURSDAY, FEBRUARY 13
Collaborating with Your School District's Music Therapist
Time: 1-2 pm
Location: CC 205
Clinician: Della Molloy-DaughertyAssistant Professor of Music Therapy
College Night Time: 5-8 pm
Location: Exhibit Hall
Texas Woman's University Alumni Reunion
In Collaboration: Elizabeth Chappell (Texas Tech University)
FRIDAY, FEBRUARY 14
Showcase: Minerva Trio
Time: 11-11:30 am
Location: CC Fountain View Lobby
Performers: Danielle Woolery - Associate Professor of Clarinet; Shannon McDonald - TWU Clarinet Faculty
In Collaboration: Sara May (MA Music Therapy 2019, BA Music Liberal Arts 2016)
Showcase: Solstice Duo
Time: 12:30-1 pm
Location: CC Fountain View Lobby
Performer: Shannon McDonald - TWU Clarinet Faculty; In Collaboration: Jacob Wright (MA Pedagogy - 2019)
Instrumentalists: Add Singing to Your Teaching Toolbelt
Time: 9:30-10:30 am
Location: CC 207
Clinicians: Vicki Baker - Professor of Music Education; Jeffrey Tarr - Assistant Professor of Voice
Dallas Winds Saxes: What We've Learned in 32 Years
Time: 11 am-12 pm
Location: CC 217
Clinician: Roy Allen - TWU Saxophone Faculty
In Collaboration: David Lovrien (Dallas Winds), Donald Fabian (SMU), John Sweeden (Dallas Winds)
Sound Mind, Sound Music: Mental Health for Music Majors
Time: 11 am-12 pm
Location: CC 207
Clinician: Danielle WooleryAssociate Professor of Clarinet
In Collaboration: Sarah Hamilton (MA Music Education2017, BA Music Liberal Arts - 2015)
Featured Composer: TMEA All-State Treble Choir
Time: 3:30-4:20 pm
Location: Stars at Night Ballroom
Work: I'll Never Study
Composer: Paul David ThomasAssociate Professor of Music Theory
ELEMENTARY DIVISION
CHRISTOPHER GILES, STATE VICE-PRESIDENT
It’s important to remember that innovation doesn’t have to come at the expense of tradition, and new ideas don’t need to be implemented all at once.
Tradition and Innovation
As I step out of the role of Elementary Division VicePresident, I find myself reflecting on the privilege of serving this incredible community of educators. It has been an honor to represent such a passionate, dedicated, and skilled group of professionals who strive every day to bring the joy and power of music into our students’ lives. Throughout my tenure I have used this platform to share thoughts and advice on a variety of topics that I hope have inspired and supported you in your work. From fostering a lifelong love of music in students to balancing tradition with innovation, these reflections have been guided by the collective spirit and dedication I’ve seen from music educators across Texas.
My thanks go to the membership for trusting me in this role. Your unwavering commitment to your students and to the craft of teaching has been a constant source of motivation and encouragement. I also want to extend my deepest gratitude to the TMEA staff for their tireless efforts behind the scenes. The work they do each day ensures that we as educators have the resources, support, and infrastructure to help our students succeed. Their contributions are often unseen but are invaluable to the growth of music education across our state.
One of the themes I’ve emphasized during my time in this role is the transformative power of music education. Music is so much more
check www.tmea .org for updates
February—Renew membership, purchase liability insurance, register for the convention.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 5:15 p.m.— Elementary Division business meeting at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
than notes, rhythms, and techniques. It is a means of connection, expression, and growth. In our classrooms we provide our students with opportunities to develop not only as musicians but also as individuals. Singing, movement, instrument exploration, and improvisation are more than activities—they are tools students use to connect with themselves, their peers, and the world around them. These moments in our classrooms, while seemingly small, often become significant memories and experiences that shape a student’s relationship with music for a lifetime.
Another area of focus has been the importance of creating alignment opportunities between elementary, middle, and high school programs. These connections are powerful in building a seamless musical journey for our students. Collaborative performances such as alignment concerts offer students the chance to see themselves as part of a larger musical community.
Younger students gain inspiration by seeing what lies ahead, while older students find joy and purpose in serving as role models. These events not only are valuable for students but also serve as opportunities for teachers to collaborate, share ideas, and strengthen the musical ecosystem within their feeder patterns. As you continue to explore alignment opportunities, remember that meaningful connections can begin with small, manageable steps. A shared concert, an observation
day, or even a casual conversation between teachers can plant the seeds for deeper collaboration.
Balancing tradition and innovation were recurring themes in my reflections. Traditional teaching methods such as Orff Schulwerk, Kodály, and Dalcroze remain timeless because of their emphasis on creativity, improvisation, and active learning. These approaches engage students in a hands-on, joyful exploration of music that builds a strong foundation for their growth. At the same time, we live in a world where technology plays an increasingly significant role in how students create and experience music. By integrating tools like music apps, composition software, and digital audio workstations, we can expand our students’ creative possibilities and prepare them for a modern musical landscape.
It’s important to remember that innovation doesn’t have to come at the expense of tradition, and new ideas don’t need to be implemented all at once. Change is most effective when it happens gradually and intentionally. Focus on one new idea, tool, or technique at a time, and allow yourself the space to learn and adapt alongside your students. By taking a thoughtful and manageable approach, you can create a classroom environment where tradition and innovation coexist harmoniously.
Strong relationships are another cornerstone of effective music education. Building
connections with parents, colleagues, and community members strengthens the support system for your program and helps ensure its longevity. Involving families in performances, inviting classroom teachers to observe or participate in lessons, and reaching out to local sponsors are all ways to expand your program’s reach and impact. These relationships benefit students and create a sense of shared ownership and pride in the success of your program.
At the same time, creativity and flexibility are essential to keeping students engaged and excited about learning. Think creatively when designing lessons, activities, and performances. Incorporate humor, interactive elements, and cross-curricular connections to make music a highlight of your students’ day. When you approach teaching with energy and enthusiasm, it’s contagious—your students will respond with the same joy and curiosity that you bring to the classroom.
As I step away from my seat on the Executive Board and this monthly opportunity to share my thoughts, I want to leave you with an important reminder— take care of yourself. Teaching music is a rewarding but demanding profession, and your energy and passion are the heart of your classroom. Maintaining a healthy work-life balance is not only vital for your well-being but also for the quality of your teaching. Give yourself permission to rest and recharge and set boundaries when needed.
It has been an honor and a privilege to serve as your Elementary Vice-President. I hope the ideas I’ve shared through these columns have given you encouragement, inspiration, and practical tools to enhance your teaching. I am excited to see where the next chapter of leadership takes us and how we will all continue to shape the future of music education in Texas. Keep inspiring, keep innovating, and above all, keep sharing the love of making music!
TMEA CONVENTION UPDATE
If you haven’t yet registered to attend our annual convention in just a few days, I encourage you to register online before you get to the convention center. While our early registration deadline passed on January 16, doing this before you arrive ensures you have the best badge pickup
experience and that you can more quickly get to the sessions and networking that you’re looking forward to.
Wednesday Technology Preconference:
If you miss the January 31 online registration deadline for Wednesday’s TI:ME Technology Preconference, you can register onsite at their location (CC 214) starting at 8 a.m. for $50, payable by check or credit card (this is separate from TMEA convention registration, and you cannot use the same check to pay for both). Go directly to CC 214 to pick up that badge and attend. Clinics begin at 10 a.m.
After the preconference, you can go to TMEA Registration to pick up your TMEA convention badge (open until 9 p.m. on Wednesday).
ELEMENTARY CLINICS AND CONCERTS
Clinics hosted by the Elementary Division are held in the Grand Hyatt, adjacent to the convention center. If you are coming from the convention center, the best route is to exit the center from the North Lobby and then enter the Grand Hyatt through their east doors, just after the entrances to
their parking garage. Otherwise, enter the north doors (facing Market Street).
Our Invited Elementary ensembles perform in the Stars at Night Ballroom 2–4. This is on the third floor above the convention center North Lobby, which you’ll walk through when you arrive to pick up your badge.
ELEMENTARY DIVISION BUSINESS MEETING
Don’t miss our annual Division Business Meeting on Thursday, February 13, at 5:15 p.m. in the Grand Hyatt Texas Ballroom on the fourth floor. In addition to TMEA updates and a performance by Central Elementary School Treble Makers
Orff Ensemble (Carrollton-Farmers Branch ISD), Kaitlin Troutman, Director, you’ll be eligible for door prizes! It’s always a great time!
Following the meeting, current TMEA members in the Elementary Division will receive an emailed ballot to elect the next Vice-President. Be sure you can access your primary email before voting closes on February 14, at 6 p.m. For more details, go to www.tmea.org/election. 0
Christopher Giles is a K–5 music specialist at Mireles Elementary (Northside ISD, San Antonio). elementaryvp@tmea.org
Convention CPE Records
Almost every clinic and concert qualifies for continuing professional education credit (CPE). Credit is available only to TMEA Active members, Honorary Life members, and out-of-state attendees who register and attend the convention. College Student and Retired members will not have access to create CPE records. After the convention, go to www.tmea.org/cpe to access your record, claim the sessions you attended, and print your CPE form.
explore.
■ Faculty who focus on undergraduates
■ 16 ensembles, with national and international ensemble touring opportunities
■ Degrees in music education, performance, and composition
■ Master of Arts in Teaching, a 5th year program with a full year of student teaching and 100% job placement (25 consecutive years)
■ Located in culturally vibrant San Antonio
■ Study Abroad opportunities
SOUND IDEAS
COLLEGE: BUILDING COMMUNITY IN A STUDIO AND BEYOND
By Oscar Diaz Jr.
Creating a strong and connected studio community requires intentional efforts to foster relationships, collaboration, and mutual growth. Achieving this involves thoughtful planning, clear organization, and a defined vision. Drawing from my 18 years of experience as a full-time college professor, I’ve outlined key strategies to establish and nurture a vibrant studio community. While my perspective is rooted in higher education, these approaches are adaptable to studios at any level.
Start with Care and Passion: The foundation of a thriving studio is your genuine care for your students and a deep passion for your work. This commitment is essential, as building a meaningful and impactful studio demands considerable time, energy, and dedication. When students sense your investment in their success, it inspires trust and fosters a sense of belonging.
Define Your Vision and Mission: A clear vision provides direction and purpose for your studio. Consider what you aim to achieve and how you will guide your students toward their goals. A strong vision serves as a compass, guiding your efforts and reinforcing a shared sense of purpose within the community.
Set Clear and Achievable Goals: Establish goals that focus on creating a supportive yet challenging environment where students can thrive. While some may aspire to professional performance careers or teaching roles, the broader goal should be to develop well-rounded musicians who excel in all aspects of their craft.
Focus on Individualized Growth: Work closely with each student to help them identify and pursue their personal goals. Through this individualized approach, students gain clarity about their direction while maintaining alignment with the studio’s mission. Providing tailored guidance ensures every student feels supported on their unique journey. This is achieved during their private lessons.
Cultivate Core Values: Instill core studio values of musical excellence, teamwork, and personal growth to foster high standards, collaboration, and resilience. These principles elevate musicianship and prepare students to contribute to the broader music community. Pairing experienced students with younger ones provides valuable guidance, easing their musical journey. Always encourage kindness and mutual respect among everyone.
Create a Supportive Online Presence: Utilizing social media platforms such as Facebook, Instagram, and YouTube to showcase students’ hard work and successes not only instills pride in their accomplishments but also inspires them to continue striving for excellence. Additionally, this fosters opportunities for collaboration with other musicians and educators, promotes events
and initiatives to attract a wider audience, and creates a legacy by documenting and sharing the studio’s journey. This digital presence serves as a valuable record of the studio’s achievements and contributions to the broader music community.
Provide Meaningful Activities for Growth: Establishing an organization to strengthen relationships between students and the university will provide a valuable platform for personal and professional growth. Within this organization, officers are elected by the students, fostering leadership and a sense of responsibility among studio members. The organization establishes fundraisers to support activities such as attending and performing at festivals and conducting outreach tours to area schools, creating opportunities for community engagement and broader musical impact.
Foster a Collaborative Community: Support connections among students through group activities, such as ensemble performances, workshops, and peer mentorship opportunities. Collaboration builds camaraderie, allows students to learn from one another, and strengthens the studio’s collective identity. Create an open and inclusive space where students of all levels can thrive together, ensuring everyone is valued and respected.
Encourage shared experiences by attending festivals and going on tours to showcase their talents—events that not only create incredible memories but also deepen bonds within the group. Teach students to critique each other’s performances constructively and positively, promoting growth while maintaining a supportive environment. Beyond the music, offer opportunities for life skills development and collaboration. Outside the studio, my students have enjoyed barbecuing, deep frying turkeys, and other fun, hands-on activities that foster camaraderie and lasting memories.
Prioritizing care, belonging, and collaboration creates a studio where students thrive, grow, and contribute to their craft and community.
I have always focused on creating a studio driven by the collective efforts of its members rather than being their sole guide. Students learn that individuals are stronger together, and that together, we thrive as a team. Focus on the students’ well-being and success will naturally follow as they are drawn to your studio.
I often say this is the best worst job in the world—it’s so rewarding to witness their growth and achievements, and it’s bittersweet when they eventually move on to make their mark in the world. 0
Dr. Oscar Diaz Jr. is the Professor of Trombone at Texas A&M University-Kingsville.
COLLEGE DIVISION
CARTER BIGGERS, STATE VICE-PRESIDENT
By taking concrete steps to address both financial and academic challenges, we can help our students focus on what matters most: their development as musicians and professionals.
The Silent Struggles
We work in what I would argue is the best profession in the world. The students in our collegiate music programs are the future of our field. From classes to the recital hall, to the practice room, to the performance stage, to the library stacks and beyond, our collegiate music students are some of the, if not the, hardest working students on our campuses. But, unlike in generations past, the landscape of higher education in music has become increasingly challenging for students to navigate. Astronomically rising tuition costs, coupled with the increasing intensive demands of music programs create unique pressures on today’s music students. These challenges require thoughtful and practical solutions from us as music faculty to ensure not only the academic success but also the well-being of our students. Through strategic intervention and support, we can help them thrive in their educational journey.
UNDERSTANDING AND ADDRESSING FINANCIAL BARRIERS
Financial strain often manifests in subtle ways that affect students’ academic performance. A highly skilled performance major might be missing crucial practice time because they’re working multiple jobs to
MARK YOUR CALENDAR check www.tmea .org for updates
February—Renew membership, purchase liability insurance, register for the convention.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 8:00 a.m.—TMEA General Session in Lila Cockrell Theatre.
February 13–14, 6 p.m. CT— Electronic voting for TMEA Executive Board positions.
February 13, 3:30 p.m.— College Division Research Poster Session.
February 13, 5:15 p.m.— College Division business meeting at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
BAYLOR UNIVERSITY SCHOOL OF MUSIC
Where heart, mind and soul coalesce.
Baylor Presentations/Performances at TMEA 2025
Thursday, February 13
MICHELE HENRY, Ph.D.
Professor of Music Education College Division Research Committee: “Conversations on Research and Higher Education”
10–11 a.m., Marriott RW Salon D
KIMBERLY MONZÓN, D.M.A.
Assistant Professor of Voice with graduate student Alissa Ruth Suver (M.M. ’25) “Crossing Octaves: Empowering Trebles to Teach Tenors/ Basses”
10–11 a.m., CC Stars at Night Ballroom 1
REGINAL WRIGHT, M.M.
Lecturer of Choral Music Ensembles
Composition world premiere of “We are Infinity” performed by Shadow Creek High School Tenor Bass Choir; Jennifer Gallagher and Frankie Espinoza, directors
7-7:30 p.m., Stars at Night Ballroom
Friday, February 14
REGINAL WRIGHT, M.M.
Lecturer of Choral Music Ensembles
Composition world premiere of “I’ll Be in Your Heart” performed by Smithfield Middle School Tenor Bass Choir; Jennie Crawford, director
10–10:30 a.m., Stars at Night Ballroom
For more information: music.baylor.edu or Music_Admissions@baylor.edu
with Amy Simmons and John Denis “New Requirements for Cooperating Teachers/Field Supervisors”
4–5 p.m., CC 206
REGINAL WRIGHT, M.M.
Lecturer of Choral Music Ensembles
Composition/arrangement of “Mai” by Mereion Williams arranged for SSA Choir. Performed by the Benbrook High School Treble Choir; Emily Saenz, director
7–7:30 p.m., Stars at Night Ballroom
BAYLOR ALUMNI RECEPTION
9:30–11:30 p.m.
The Briscoe Western Art Museum, River View Room
Saturday, February 15
ERIC WILSON, D.M.A.
Professor of Conducting, Director of Bands
Conductor, ATSSB All-State Symphonic Band
10:15–11:05 a.m., Lila Cockrell Theatre
To learn more about the audition process, scan the QR code, then choose your instrument/area of study.
If music is your passion,
School of Music
TCU is your school.
Congratulations to the TCU Symphony Orchestra!
Spring Events 2025
TCU Jazz Festival, February 27-March 1
TCU Trombone Summit, March 8
The American Prize, National Winner Dr. Germán Gutiérrez, Music Director
National Trumpet Competition, March 13-16
CBDNA at TCU, March 27-29
TCU Percussion Festival, April 4&5
TCU HornFest, April 6
TCU Clarinet Festival, April12
make ends meet. To address this, departments can implement several practical solutions within their existing structures.
Consider a Practice Room Monitor program, where students earn hourly wages for managing practice room schedules while using those quiet periods for their study time. Music departments could establish student-run recording services staffed by music technology students, providing both income and practical experience in their field. Additional opportunities might include hiring students as studio accompanists, theory tutors, or ensemble librarians.
CREATING FLEXIBLE ACADEMIC STRUCTURES
Traditional rigid scheduling can create unnecessary barriers for working students. Departments could implement a hybrid lesson structure where students alternate between in-person and virtual lessons based on their work schedules. Performance classes could be restructured to include both daytime and evening sessions, allowing students to attend whichever fits their schedule that week.
A modular approach to large ensemble requirements could allow students to fulfill their ensemble credits through a combination of traditional large ensembles, chamber groups, and gigging experiences, with flexible rehearsal schedules that accommodate working students.
BUILDING CAREER SKILLS THROUGH COURSEWORK
Rather than treating career preparation as an add-on, programs can integrate practical skills directly into existing coursework. In a junior-level theory course, students might analyze a piece they’re currently performing while also creating teaching videos explaining key concepts. This serves multiple purposes: deepening their theoretical understanding, developing teaching skills, and creating content for their professional portfolio.
Pedagogy classes could partner with local schools or community music programs, allowing students to teach real lessons under faculty supervision, earning both course credit and income. This approach can lead to higher employment rates while providing valuable teaching experience during their studies.
LEVERAGING TECHNOLOGY FOR COST REDUCTION
Technology can significantly reduce student expenses when implemented thoughtfully. Music departments might create a shared inventory of professional recording equipment that students can check out for freelance work. Departments might also negotiate group rates for essential software and digital tools. Faculty can research and implement open educational resources and develop digital alternatives to expensive textbooks (see the September Sound Ideas article by Tanya Allen on this topic, available online at www.tmea.org/ emagazine).
CREATING SUPPORTIVE COMMUNITY NETWORKS
Building strong community networks is crucial for student success. A Musical Mentor program could pair each incoming student with both a peer mentor in their junior or senior year and a working professional mentor in their field of interest. This structure can improve retention rates while providing valuable networking opportunities for students at all levels.
PRACTICAL IMPLEMENTATION STEPS
Begin with a needs assessment of your student population through surveys about
work schedules, financial challenges, and career goals. Use this data to prioritize initiatives that will have the most immediate impact.
Create a database of local performance opportunities, teaching positions, and other music-related jobs. Develop relationships with music retailers, schools, and religious institutions that frequently hire musicians. Make these opportunities easily accessible to students through a central resource hub.
Consider partnerships with other academic departments and community organizations. Business school collaborations could provide workshops on financial management and entrepreneurship specifically for musicians. Local arts organizations might offer internship opportunities that could lead to future employment.
MEASURING SUCCESS
Track both quantitative and qualitative metrics to assess the effectiveness of these initiatives. Beyond traditional measures like retention rates and graduation rates, collect data on student employment during and after graduation, average student debt, and time to degree completion. Regular surveys can help gauge student well-being and program satisfaction.
Visit the Exhibits
Thursday: 9:00 a.m. – 5:00 p.m.
Friday: 9:00 a.m. – 6:00 p.m.
College Night: 5:00 p.m.–8:00 p.m.
Saturday: 9:00 a.m. – 1:00 p.m.
MOVING FORWARD
The key to successful implementation lies in maintaining flexibility and responsiveness to student needs. Regular communication with students, faculty, and community partners ensures that support strategies remain relevant and effective. By taking concrete steps to address both financial and academic challenges, we can help our students focus on what matters most: their development as musicians and professionals.
Remember that small changes can have significant impact. Starting with even one or two of these initiatives can create meaningful improvements in students’ educational experience. The goal is to create a supportive environment where talented musicians can thrive regardless of their financial circumstances.
TMEA CONVENTION UPDATE
As you read this, I hope you are gearing up to soon head to San Antonio for the 2025 TMEA Clinic/Convention. This year’s event will be another great one for everyone in attendance. If you had the opportunity
to look through the Convention Preview in the December issue of this magazine, you no doubt discovered a cornucopia of amazing sessions and performances from which to choose to create your personal convention schedule. The TMEA Executive Board has worked tirelessly to put together another amazing convention, and I’m sure you won’t be disappointed!
I want to bring special attention to our division’s Featured Clinicians, Ann Marie Stanley (Penn State University) and Kamile Geist (Louisiana State University). Each outstanding scholar will present four sessions of incredible variety. Look for them in the program on Thursday and Friday. In addition to the Research Poster Session (an annual highlight) and our Featured Clinicians, the College Division is hosting over 50 sessions across two and a half days, encompassing topics as varied as our division membership. There truly will be something for everyone. I am especially excited to have many sessions geared for our College Student membership.
Speaking of our college students, now is
ADVERTISER INDEX
the time to encourage your students to attend the convention. Remind them that while registration is free for current TMEA College Student members, they need to register to attend. This will expedite their badge pickup. Last year we had over 4,400 College Student members in attendance. I fondly remember my days attending our convention as a college student, looking forward to that week in February when I would experience the best of music education in Texas. Now, many years later and on the other side of the desk, I cannot emphasize enough to our college students the value of making TMEA convention attendance a priority. The opportunity to learn, grow, network, and witness the incredible passion of so many dedicated music educators is beyond measure. 0
Carter Biggers, DMA, is Director of Bands and Associate Professor of Music at Texas Woman’s University. collegevp@tmea.org
June 7-8 TXST Alumni Choir
June 8-13 TXST Band Camp
June 15-21 TXST String Camp
June 22-27 TXST Percussion Marching Arts Camp
June 24-July 6 Texas State International Piano Festival in Seoul, South Korea
June 29-July 2 TXST Choir Camp (large school and small school camps)
July 16-19 TXST/Conspirare Choral Conducting Symposium
