May 2023 Southwestern Musician

Editor-in-Chief: Robert Floyd rfloyd@tmea.org | 512-452-0710, ext. 101

Managing Editor: Karen Cross kcross @tmea.org | 512-452-0710, ext. 107

TMEA Executive Board

President: Dana Pradervand-Sedatole, University of Houston president@tmea.org | 713-743-3627

3606 Glenwood Springs Drive, Kingwood, 77345

President-Elect: Jesse Cannon II, Fort Worth ISD presidentelect@tmea.org | 817-814-2635

1407 I.M. Terrell Circle South, Suite 2203-Room 02, Fort Worth, 76102

Past-President: Michael Stringer, Mesquite ISD pastpresident@tmea.org | 972-882-7300

3511 Lake Champlain Drive, Arlington, 76016

Band Vice-President: Shane Goforth, North Shore Senior HS bandvp@tmea.org | 713-516-7158

14122 Wadebridge Way, Houston, 77015

Orchestra Vice-President: Jennifer Martin, Fort Worth ISD orchestravp@tmea.org | 817-814-2640

4207 Crossgate Court, Arlington, 76016

Vocal Vice-President: Joshua McGuire, Rock Hill HS vocalvp@tmea.org | 429-219-2300 x 81201

16061 Coit Road, Frisco, 75035

Elementary Vice-President: Christopher Giles, Mireles Elementary elementaryvp@tmea.org | 210-394-0289

12260 Rockwall Mill, San Antonio, 78254

College Vice-President: Matthew McInturf, Sam Houston State University collegevp@tmea.org | 832-515-8724

17 Hornsilver Place, The Woodlands, 77381

TMEA Staff

Executive Director: Robert Floyd | rfloyd@tmea.org

Deputy Director: Frank Coachman | fcoachman@tmea.org

Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org

Advertising/Exhibits Manager: Zachary Gersch | zgersch@tmea.org

Membership Manager: Susan Daugherty | susand@tmea.org

Communications Manager: Karen Cross | kcross @tmea.org

Financial Manager: Cristin Gaffney | cgaffney@tmea.org

Information Technologist: Andrew Denman-Tidline | adenman@tmea.org

Administrative Assistant: Rita Ellinger | rellinger@tmea.org

TMEA Office

Mailing Address: P.O. Box 140465, Austin, 78714-0465

Physical Address: 7900 Centre Park Drive, Austin, 78754

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:

Sunday, May 21, 2023 | 1 - 3 p.m.

Individual audition dates may be requested if necessary.

SCHOOL OF MUSIC DEPARTMENT HEADS

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

Eric Daub Director of Piano Studies edaub@tlu.edu

Liliana Guerrero Director of Vocal Studies lguerrero@tlu.edu

Richard Herrera Interim Director of Bands riherrera@tlu.edu

Eliza Jeffords Director of Strings ejeffords@tlu.edu

FACULTY

Adam Bedell Instructor, Percussion

Carol Brittin Chambers

Composer in Residence & Composition

William Hayter

Asst. Professor, Clarinet & Music Education

Sean Holmes

For specific qualifications for each award, visit www.tlu.edu/music-scholarships.

BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION

BACHELOR OF MUSIC IN PERFORMANCE

BACHELOR OF ARTS IN MUSIC

Asst. Professor, Horn & Music History

Hilary Janysek

Asst. Professor, Flute & Music History

Michael Keplinger Instructor, Guitar

Elizabeth Lee

Asst. Professor, Cello

Ingram Lee, IV

Instructor, Trombone & Euphonium

Deborah Mayes

Choral Accompanist

Scott McDonald

Instructor, Saxophone, Jazz Band & Music Education

Carla McElhaney

Asst. Professor, General Music

David Milburn

Instructor, Double Bass

Angela Moretti

Instructor, Bassoon

Nicole Narboni

Asst. Professor, Piano

Daniel Orban

Instructor, Trumpet

Sung-Eun Park

Asst. Professor, Collaborative Pianist

Keith Robinson

Instructor, Tuba & Music Education

Jill Rodriguez

Instructor, General Music

Eric Siu

Asst. Professor, Violin

Yu-Hsin Teng

Asst. Professor, Collaborative Pianist

Shareen Vader Instructor, Piano & Music Education

Mika Allison Valenzuela Instructor, Oboe

Yvonne Vasquez

Instructor, Mariachi www.tlu.edu/music

President

DANA PRADERVAND-SEDATOLE

The More You Know

For over 100 years, our organization has been governed by its members, and it functions based on the direction of its members.

How much do you really know about TMEA? Are you aware of everything it has to offer you as a Texas music educator? How do you see your role in the administration of our association? These may seem like peculiar questions, and for many the answers might seem obvious. But are they, really?

As a young Texas band director, I thought TMEA was simply an organization that hosted an annual convention where I could get professional development. The longer I taught, the more I learned about the services and programs TMEA provides that support my teaching and my students. Each year, I became more involved in the organization, first at the Region level and next at the Area and state levels. I have come to realize that the most important thing to know about TMEA is that it is a member-driven organization and membership matters!

TMEA represents over 18,000 current and future music educators, and that includes you! Your membership matters. Your voice matters. Through your active participation, TMEA can continue to support the future of music education in Texas! Music educators and administrators know the importance and value of creating a sense of student ownership in our programs. The same can be said about having ownership in our professional organization. In fact, it is essential, because it is through your active participation that we, the membership, can ensure the vibrancy and sustainability of the organization.

So, if you haven’t been actively involved in TMEA yet, why not? Perhaps you believe you should leave the work to the elected Region

MARK YOUR CALENDAR

check www.tmea .org for updates

May—Attend your spring Region meeting (see page 2).

May 1 —TMEA 2023–2024 membership year opens for online and mail/email submission.

May 1 —Deadline to nominate students for a Texas Music Scholar award.

May 1–June 1 —2024 Clinic/Convention proposals accepted online.

June 30 —All 2022–2023 TMEA memberships expire.

July 20–22—TBA, TCDA, TODA conventions in San Antonio.

and state officers. Maybe you assume your opinions or ideas won’t be considered. Or perhaps adding one more thing to your to-do list seems impossible.

Whatever your rationale, it’s important to understand that for over 100 years, our organization has been governed by its members, and it functions based on the direction of its members. As you think more about TMEA and your importance as a member of this association, consider these five reasons why your participation matters:

#1: Each member’s voice matters. Your participation is not only about disseminat ing information. It is also about sharing information. Everyone has thoughts and opinions about what TMEA should be doing and about the priorities that drive our programming. Sharing your perspec tive about this with other Region members and your division Vice-Presidents is criti cal. TMEA Region officers elevate their Region’s concerns and suggestions to the State Board via their Region reports. In turn the State Board conveys this collec tive feedback to the Executive Board four times a year, where this information is used in policymaking and programming decisions.

#2: Fresh perspectives are vital. I’m sure you’ve heard the old saying that if we keep doing the same thing, we will get the same result. Progress and growth can hap pen only with fresh perspectives, expanding options that can enhance and influence the decisions affecting TMEA. The more that members express their viewpoints, the better we can meet the needs of all students and members.

#3: It’s a numbers game. The more people are involved ensures more voices are heard, and this gives elected leadership confidence that they are adequately representing and speaking on behalf of the membership.

#4: Opportunities for personal growth abound. Being an active participant yields opportunities to meet and work with other music educators not in your area or perhaps your TMEA division. The more you can learn from members from other divisions, the broader perspective you will have about the totality of TMEA.

#5: It feels good! Knowing that through your involvement, our Texas music students are being provided the best music education opportunities in the country is incredibly satisfying! While active partici-

pation is the right thing to do for others in the profession and for music students everywhere, it can be a personally fulfilling endeavor as well!

As you look toward the close of another school year and anticipate taking some much-needed time to rest and recharge, consider ways to get more actively involved in TMEA. Become more informed with all that TMEA has to offer you. These are some things you can do at any level and for any amount of time commitment:

• Learn more about the Texas

Music Scholar and Distinguished Administrators Award programs. These are fantastic opportunities to recognize your amazing students and outstanding administrators.

• Explore how TMEA’s scholarship opportunities could help you continue learning through a graduate degree program.

• Become a mentor for the new teachers in your Region through TMEA’s Mentoring Network.

Consider starting a Texas Future

SAM HOUSTON STATE UNIVERSITY | COLLEGE OF ARTS & MEDIA

Music Educators chapter at your school and then apply for TMEA grant funding to host a workshop for your chapter.

• Attend your Region meetings. Host a TMEA audition or the Region clinic/ concert. Volunteer to serve as an organizer for one of the Region ensembles. Help review, revise, and update your Region handbook, making sure it reflects the current policies and procedures in your Region.

• At the state level, consider running for a State Board position or volunteering

for the annual convention (there are many volunteer roles that take little time yet are vital to the overall success of the event).

What you know about TMEA will make you better positioned to influence the future of our association and of music education in Texas. What you do as a TMEA member will make you a better educator! Membership matters! Your voice matters! And through your active participation TMEA will continue to move forward and be the leader in supporting music students, music programs, and music education!

NORTHEAST CAMPUS MUSIC DEPARTMENT

828W.HarwoodRoad•Hurst,TX76054 www.tccd.edu•817-515-6105

ASSOCIATEOF ARTSIN MUSIC CHORAL

ALL-STATECHOIRMUSICCAMP

July 2 4 - July 27, 2023 • 10:30 A.M. - 5 P.M.

Hsinyi.Wang@tccd.edu - Strings

Philippe.Baugh@tccd.edu - Jazz

William.Waldroup@tccd.edu - Music Theory

Patricia.Schimpf@tccd.edu - Music Counselor

orders@rhythmbee.com

903-725-3304

Gerald.Ringe@tccd.edu - Woodwinds & Brass

Warren.Dewey@tccd.edu - Percussion

Jeff.Lankov@tccd.edu - Piano

2024 Convention Proposals

From May 1 to June 1, you can submit clinic and music showcase proposals for the 2024 Clinic/Convention at www.tmea. org/proposals. The Executive Board’s goal is to present a convention full of inspiring, relevant, useful, and immediately applicable clinics and concerts offered by a diverse representation of our members. This is possible only when many TMEA members at every level submit proposals for consideration. It is through a wealth of strong and relevant proposals that the Executive Board can ultimately build a diverse program of professional development that meets the needs of all attendees.

Understand that in our attendee surveys, TMEA members continue to comment on how important it is that clinics be presented by teachers who work in the same types of schools and at the same levels they do. The depth of knowledge and expertise that our members bring to our profession is always amazing! Take time now to create a thorough proposal about how you can help your colleagues. This is yet another example of how you can actively participate in TMEA!

Summer Learning

The summer conventions of Texas Bandmasters Association, Texas Choral Directors Association, and Texas Orchestra Directors Association are exciting times for rejuvenation, professional development, and inspiration heading into the new school year. I hope you will take advantage of all that these great conferences have to offer. They each take place July 20–22, 2023.

, Director of Bands at Keller MS

“We use the silent, eyes-up option that RhythmBee offers. I can be 100% sure that students are looking at the correct place in the music while engaged in their learning, and the click-free visual cues free up the teacher to observe and enhance the experience for every student.”

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Another fantastic learning opportunity this summer is the Center for Educator Development in the Fine Arts Summit. With all content offered online from June 15 to August 1, you can learn at your own pace. Summit 24—Fueling the Future through Fine Arts: How Fine Arts

Prepare Students to Become Innovators will include an online professional development cluster and will focus on employability skills, creativity, leadership, and innovation. Learn more and register at www.cedfa.org.

Have a wonderful end of this school year and a fantastic summer break! 0

•BRASS •WOODWIND •GUITAR •PIANO •PERCUSSION •S TRINGS •HARP •VOICE •JAZZ

TMEA values the opportunity to publish a magazine that informs members of association news, offers them sound pedagogical concepts, and results in an archival record of our history. Our sincere gratitude goes to the following companies and institutions that advertised with us in one or more of the issues in Volume 91, making this resource possible.

THANK YOU, ADVERTISERS!

Abilene Christian Univ

Amarillo Symphony

Austin Chamber Music Center

Austin College

Baylor Univ

Beauvoir Music Makers

Blast of Brass

Blinn College

Bocal Majority

Boston Conservatory at Berklee

Boston Univ Tanglewood Institute

Brazos Valley Chorale

Breezin’ Thru Inc.

Brigham Young Univ-Idaho

Brook Mays Music / H&H Music

Children’s Music Workshop

Clark W. Fobes

Del Mar College

East Texas Baptist Univ

Excelcia Music Publishing

Forrests Music, Inc.

Fort Worth Chorale

Fort Worth ISD

Foundation for Music Education

Fruhauf Uniforms, Inc.

Gator Cases

Hal Leonard

Hardin-Simmons Univ

Howard Payne Univ

Ithaca College

jj Babbitt

KAT Percussion

Keys to Imagination LLC

McLennan Community College

Mighty Music Publishing

MindaMusic School & Store

Music & Arts

Music Is Elementary

Música IMR727

MusicFirst

N-Tune Music and Sound

Note-Able Travel Experiences

Peabody Institute

Peripole, Inc.

QuaverEd

RhythmBee, Inc.

Sam Houston State Univ

Samford Univ

Schreiner Univ

Servant Leadership Association for Music

Southern Methodist Univ

Stephen F. Austin State Univ

Sweet Pipes

Tarrant County College Northeast

Texas A&M International Univ

Texas A&M Univ/Commerce

Texas A&M Univ/Corpus Christi

Texas A&M Univ/Kingsville

Texas Association for Symphony

Orchestras

Texas Bandmasters Association

Texas Christian Univ

Texas Horn Trader

Texas Jazz Educators Association

Texas Lutheran Univ

Texas State Univ

Texas Tech Univ

Texas Wesleyan Univ

Texas Woman’s Univ

The Mute Caddy

The Tuba Exchange

Trinity Univ

Tyler Junior College

U.S. Marine Music

Univ of Central Arkansas

Univ of Colorado Boulder

Univ of Houston

Univ of Louisiana at Lafayette

Univ of Mary Hardin-Baylor

Univ of Miami Frost School of Music

Univ of North Texas

Univ of Puget Sound

UT/Arlington

UT/Austin

UT/El Paso

UT/San Antonio

UT/Tyler

VanderCook College of Music

Villela Guitars / Frank ‘n’ Strings

Wayland Baptist Univ

Wenger Corp.

West Music

West Texas A&M Univ

William Carey Univ

Yamaha

TMEA Executive Director ROBERT

FLOYD

Relationships Are at the Heart of Success

A strong relationship is the most significant contributor to success, in our case, for helping students grow through meaningful music-making.

Ihave not always been an association administrator. In my first life I was a band director for 26 years, and I still miss it. My work at TMEA has been equally rewarding, but I will always regret that my now 25-year-old son and 22-year-old daughter never knew me as a music educator. Growing up, my son would often say, “Dad, all you do is talk on the phone and send emails.” There is much truth to that some days, but hopefully the outcomes have made such communication worth it.

When I taught, there were fewer distractions and competition for students’ time in the school day. While I worked for a large now 6A high school, during the last years of my teaching career, I also traveled to an elementary school three days a week to teach sixth-grade beginning band. I will always remember how after each recruiting concert, the gruff but loving principal would walk into each fifth-grade homeroom, pass around a yellow tablet, and tell each student to sign up for either orchestra or band—no discussion. That was that. How times have changed!

You know better than I the extent of the challenges today, with multiple elective options, pullout running rampant despite the law, tutoring, AVID, local remedial class requirements, career exploration courses, etc., and that’s only in middle school.

May—Attend your spring Region meeting (see page 2).

May 1 —TMEA 2023–2024 membership year opens for online and mail/email submission.

May 1 —Deadline to nominate students for a Texas Music Scholar award.

May 1–June 1 —2024 Clinic/Convention proposals accepted online.

June 30 —All 2022–2023 TMEA memberships expire.

July 20–22—TBA, TCDA, TODA conventions in San Antonio.

PIONEER ALL-STATE CHOIR CAMP

A 3-day immersive camp for singers in grades 9-12, focusing on the Texas All-State Choir music. Participate in group rehearsals, sectionals, individual coaching sessions, and more. Friends and family are invited to attend end-of-camp concerts on July 26 and July 29.

July 24-26 Small School Camp

July 26 Area Workshop

July 27-29 Large School Camp

A recent CBS Sunday Morning story shared how online learning during the pandemic has produced a much more significant slip in reading and math than originally projected, and as a result 50% of students are suffering from mental health issues brought on by the pressures of being behind academically. The solutions announced at the conclusion of the story: more physical activity, tutoring, and summer school. Unfortunately, the competition for time is not going to ease. In the last week I have read articles or watched stories about new activities getting our students’ attention, like esports, which are sweeping across the country like a tsunami, and there is speculation that UIL-sponsored esports competitions could be coming in the not-too-distant future.

My point, thus far, is that these obstacles are with us now, as you know, and we must meet the challenge.

I have been listening to a recent Brené Brown two-part podcast in which she interviews author Mike Erwin about his recent book

Leadership is a Relationship: How to Put People First in a Digital World

We know a positive relationship is a basic element in successful interactions with others. As the leader of your pro-

gram, what can you do to improve your relationship with your students and with those in leadership positions—superintendents, principals, administrators, and even parents—all who play a role in guiding and sustaining your program? Relationships are wildly complicated, but investing in them brings the highest return in terms of happiness and success, especially when we find ourselves in leadership roles.

In this podcast, Brown and Erwin discuss the major components of successful relationships—accountability, forgiveness, trust, resilience, humility, love, stability and how a strengthened relationship is the most significant contributor to success, in our case, to helping students grow through meaningful music-making.

Accountability, whether individual or as a group, works better when it happens within the context of a strong relationship. A culture of forgiveness evolves when students know they are loved and cared for, even if they fail or are not performing up to expectations. Forgiveness must be present before there can be a renewal.

Further, strong relationships give us resilience to face adversity when we need it the most. Resilience is something we build not on our own but rather through those

relationships with others, including our students.

We share in the successes of our program when we first show mutual respect for every student and trust in each other throughout our efforts, demonstrating humility in our accomplishments.

Paraphrasing Erwin, stability is about creating a culture and an environment in which to grow during a time when uncertainty is chronic, instability is permanent, and disruption is common in our lives and those of our students. And above all, you must have affection and love for those you lead. Love shared between people is a powerful stabilizing force in these difficult and challenging times.

As the summer nears, I encourage you to listen to the podcast, available on Spotify. As I have listened multiple times, it has become clearer that relationshipbuilding is already what sets our school experiences apart from most others. Take time to think about your relationships with your students and those with whom you work and how those relationships may be further strengthened.

Secondly, tell us what you believe TMEA can do to help you face the challenges I’ve mentioned. Let us know what you need. Email me at rfloyd@tmea.org. As an organization, TMEA is striving to do our part. We have begun a project to update our online advocacy materials, telling the story of the value of a meaningful fine arts experience in every facet of a student’s life, well beyond elementary and secondary schooling.

The Center for Educator Development presents the Summit to support fine arts educators in providing a rich, rigorous, and meaningful programs. Through integrated, asynchronous online sessions, open from June 15 to August 1, 2023, Summit 24 participants will explore, engage, and enrich strategies aligned to the following big ideas:

• Student readiness through fine arts

• Creativity as a competency

• Dissolving academic silos

• Community engagement

• Cross-disciplinary collaboration

• Fine arts leadership

• Innovation within and outside fine arts

Learn more and present this opportunity to your administrator today!

Finally, know that we monitor daily activity at the capitol to make sure we do not get caught in the backwash of any legislation that could limit students’ access to our classrooms by taking away electives. As I write this, we now have 31,000 fine arts supporters registered in our Texas Arts Education Campaign (TAEC), headed by TMEA and TFAA (Texas Fine Arts Administrators), poised to respond to such threats, if necessary.

The good news is the filing deadline for new bills has passed, and we have not identified any such legislation, though amendments have been known to appear in the waning hours of the session. Our biggest challenges currently are not driven by law or rule but by local requirements, and this underscores the importance of strong relationships with your leadership at the campus and district levels.

School of Music

2023 SUMMER MUSIC TCU School of Music

Camps & Workshops*

TCU STRINGS FESTIVAL • MAY 30 - JUNE 4 JULIETTE HERLIN, LIZ LEE

PERCUSSION CAMP • JUNE 6&7 BRIAN WEST, JEFF HODGE

TCU BAND CAMPS • JUNE 11-17 BOBBY FRANCIS, BRIAN YOUNGBLOOD

FLUTE WORKSHOP • JUNE 21&22 SHAUNA THOMPSON

SAXOPHONE WORKSHOP • JUNE 21&22 TBA

HARP WORKSHOP • JULY 5-7 KELA WALTON

ALL-STATE CHOIR CAMP • JULY 9-15 CHRISTOPHER ASPAAS, MARLA RINGEL

CLARINET WORKSHOP • JULY 18&19 COREY MACKEY

STAR WARS AND THE MUSIC OF JOHN WILLIAMS • JULY 17-20 PAUL CORTESE

FOR REGISTRATION INFO*, PLEASE VISIT OUR WEBSITE AT WWW.MUSIC.TCU.EDU/SMI.ASP

*ALL EVENTS SUBJECT TO CHANGE IN RESPONSE TO COVID-19

Hopefully you have been aware of the efforts of TAEC during the legislative session to secure state funding for arts education. As I write this column, our bills, HB 3829 and SB 2084, have been filed in the House and Senate and referred to the respective education committees for hearings. These hearings, if granted, will allow us to discuss the importance of the arts for every Texas student and the responsibility of the state not to place that funding solely on the backs of the local districts and parents. Separate and apart, there are arts education dollars already included in the $5 billion omnibus public education bill, HB 100, which is moving through the process and will ultimately pass, though it will be amended and revised many times along the way.

Given the complexity of finance legislation, keeping arts education funding alive in any bill will be a challenge. Regardless, it is a start, and a historic event for fine arts education funding to be deliberated and considered at our state capitol.

TMEA is also monitoring the four bills that are currently working their way through the legislative process that include Extra & Co-Curricular (ECC) participation as a part of the accountability system. While that is a good thing for music, since extracurricular activities are embedded in our curricular music classes through UIL participation, marching, All-Region, etc., it would be five years of pilots and data gathering before such a program could be vetted and implemented.

When we tell our story at the capitol, the message is anchored in the value of rigorous music study for music’s sake. But the self-discipline involved in learning music skills and the student collaboration required to prepare for musical performance are two of the most valued takeaways from music participation, learning outcomes critical to highly prioritized workplace training for the future. That message resonates with certain lawmakers.

Another of Brown’s podcasts I have recently listened to is her interview with Paul Leonardi and Steal Neeley on their new book, The Digital Mindset. This podcast is also available on Spotify. The digital revolution continues to yield many new ways to work with and relate to each other, including with our students. To meet today’s students (digital natives) where they are, we are compelled to make technology integration an everyday part of our

programs. Whether in lesson planning and delivery, program administration, social connection, or other applications, technology tools abound.

As I am sure you are already aware, the role of artificial intelligence in the digital transformation is significant and is beginning to touch every facet of our lives. With the availability of tools like ChatGPT, the time-saving potential as we carry out the responsibilities of our jobs is evolving.

Below are links to recent blogs about ChatGPT and how it might be utilized in your music classroom. These music education technology experts are not fearful of ChatGPT negatively impacting their work, but rather are intrigued by how it could impact current music education technology in positive ways:

• ChatGPT & AI: An optimistic outlook for music education: tmea.org/ chatgpt1

• 5 time-saving hacks for music teachers using ChatGPT and AI: tmea.org/ chatgpt2

• Elementary Music Technology and Integration: ChatGPT: tmea.org/ chatgpt3

I encourage you to spend some time this summer creatively evaluating how ChatGPT can be an effective teaching tool for you. In the words of elementary educator Amy Burns, “I could look away from this technology, but the fact is, children will most likely flock to it. Knowing as much as I can about it and learning ways to effectively use it could bring a positive impact to my classroom.”

In closing, any related technology, such as ChatGPT, was never intended to replace human interaction that is the heart and soul of music-making nor can it replace its creative and collaborative component. Performing music in and of itself is an incredibly rewarding and fulfilling experience that must transcend any other tool or technology we utilize in our programs to encourage continued participation. In the end, the joy of music-making must be at the forefront of any decision we make as we plan for a new school year.

I hope you have a wonderful, relaxing summer. Never hesitate to call if any of the staff can be of assistance in any way. 0

Anthem Inspires Administrator Audience

Each January, I have the privilege of securing student music performances for the three general sessions of the Texas Association of School Administrators (TASA) Midwinter Conference. Unfortunately, this year the late-January ice storm that hit Texas triggered the cancellation of the appearance of all three invited ensembles plus the All-State soloist who was to sing the National Anthem on the opening day. In a last-minute desperate attempt to secure student participation in the first general session, I reached out to Leander ISD, and All-State Vandegrift choir student Varsha Kumar traveled directly from choir rehearsal to the Austin Convention Center to sing the national anthem, arriving just in time for a sound check before performing before 5,000 superintendents and upper-level administrators from across the state. Also in the audience was conference keynote speaker Brené Brown.

In her school clothes and choir T-shirt, Varsha captured the hearts of all in attendance with her stunning a cappella performance. Brown praised her for her bravery, courage, and ability to overcome the vulnerability of the moment, playfully chiding Varsha for ruining her makeup as the tears flowed.

More than the beauty of the performance, Varsha shared with me that she was singing in the choir and taking dance all four years at Vandegrift HS because the arts were more important in her life than taking additional AP courses to raise her GPA. What a wonderful testimony to the power of the arts!

Image by Marco De La Cueva Texas Association of School Administrators

Arts Education Day at the Capitol

On April 6, the Texas Arts Education Campaign hosted Arts Education Day at the Capitol, featuring students from music, theatre, dance, and art education programs.

Students performed in the rotunda and extension auditorium, capturing the attention of capitol staff and visitors. The House and Senate each adopted resolutions honoring our state’s two Grammy Music Educator Award winners, Pamela Dawson (2023) and Stephen Cox (2022), and celebrating all fine arts educators and students.

A panel discussion on advocacy centered on an interview of legislative staffers. They articulated how visits and communications from citizens in their district are the most valued and gain the highest attention. They encouraged all in attendance to voice their concerns directly to their legislators.

At the close of the day, students visited each legislator’s office, sharing their stories on why fine arts education is important to them and providing several pieces of advocacy material, including information about the House and Senate bills that would provide weighted funding for fine arts education.

April 6, 2023

Be a part of the Largest Summer

July 20-22, 2023 • Combined Exhibit Hall

Register for the 68th Annual Convention

MARSHA CARLISLE LEGACY SERIES

presents:

HEADLINERS:

DON’T MISS! • Two Auditioned Honor Choirs! sponsored in part by HEB

Starlight Soirée, our Annual Member Reception

Reading Sessions curated and conducted by TCDA Members

Worship Service in the historic Travis Park Church

Publisher Reader Sessions

PERFORMING GROUPS:

• Directors Chorus, Dr. Gary Packwood

• Awaken Ensemble, Sean Hale

• Bay Area Chorus, Milton Pullen

AGAIN THIS YEAR!

Selected video performances from diverse genres and choral programs across Texas.

HIGH SCHOOL STUDENT LEADERSHIP DAYS:

July 14, 2023 El Paso (West TX)

July 25, 2023 Irving (DFW)

July 25, 2023 Round Rock (Central TX)

July 25, 2023 Houston

July 25, 2023 Canyon (Panhandle)

July 25, 2023 McAllen (Upper Valley)

July 27, 2023 Odessa (Permian Basin)

CONVENTION HIGHLIGHTS:

In addition to our wonderful headliners, clinicians include Keith Dye, Evan Farmer, Joanna DeVoto, Miguel Harth-Bedoya, Clif Evans and many others!

DON’T MISS!

• TODA Welcome party

• TODA Friday night Fiesta and Silent Auction

• String Orchestra Reading Sessions

• Celebrations and Awards

• David DeVoto, featured Past President

NEW THIS YEAR

• Selected MS/HS or community/youth small ensembles to perform

• Featured luncheons for Retired Directors and Young Directors

HIGH SCHOOL STUDENT LEADERSHIP DAYS:

August 5, 2023

August 5, 2023

August 5, 2023

Newman Smith HS, Carrollton

Kinder HSPVA, Houston

Churchill HS, San Antonio

Dr. Liz Shepley Elementary Honor Choir Conductor

Dr. Charlotte Botha MS/JH All-State Conductor

Mike Block Composer/Educator Sponsored by Yamaha & D’Addario

Terry Shade String Specialist/Educator Sponsored by Kjos

Tammy Yi Asst. Prof. Music Ed Chapman University Sponsored by Fdn for Music Ed

Dr. Gary Packwood Directors Chorus Conductor

Music Conventions

San Antonio, Texas

TBA WELCOME BBQ

Wednesday, July 19, 6-9:00 pm

Families invited too!

65+ CLINICS

TBA ACADEMY FOR NEW BAND DIRECTORS

Thursday, July 20, 7:30 am - 5 pm For first-year band directors. Attendees receive CPE credit plus TBA Active Membership and convention entrance for FREE.

TBA STUDENT DAY

Friday, July 21, 8 am - 5 pm

STRATEGIC BOOSTER INSTITUTE

Friday, July 21, 8:30 am - 5 pm

Complete list of clinics on TBA website (over 30 additional clinics designed for ALL DIRECTORS

Middle School Clinics:

• Beginner Clinics for Oboe, Bassoon, Flute, Horn, Euphonium, Tuba, and Percussion

•“Tiny Instrument”, Big Impact: Using Mouthpieces and “Small Instruments” to Address Fundamental Skills-Darcy Vogt Williams, Jenna Yee

• Band Together! Enlisting, Enriching and Engaging Your StudentsRachael Davis, Katie Lewis

• Being the New Band Directors-Lisa Manson, Ryan Straten

• Creating Habits of Success in the Young Band-Scott Rush

• Creating Self-Directed Learning in Beginning Band-Rob Chilton, Claire Pittman

• Effective MS Warm-up and Rehearsal Procedures, Strategies and Techniques (Bush & Lopez MS Band demo)-John Benzer

• From Beginning to End: The MS Band Experience-Robert Herrings, Cynthia Lansford, Taylor Williamson

• Get Excited! Motivate and Remediate Your MS Non-Varsity Band Eduardo Garcia Jr., Nicki Neugent, Emmy Stabach

• Implementing the New MS UIL Sightreading Process (Canyon Ridge & Leander MS demo)-Amy Allison-Rivera, Liz Love

• Kickstarting Your MS Jazz Band (Clint Small MS Jazz demo)-Tonia Mathews

• Success with Your MS Band-Stetson Begin, Kim Cooley, Robert Herrings

• Teaching Musicianship from Day One and Beyond-Lynne Jackson

• The Band’s ALL Here: Successful Strategies for Teaching Heterogeneous

Beginner Classes-Lynne Jackson, Chris Pineda, Andrew Weak

PERFORMANCES:

U.S. Navy Concert Band

Capt. Kenneth C. Collins, Commanding Officer/Leader

U.S. Air Force Band of the West

Major Dustin M. Doyle, Commander and Conductor

High School Clinics:

• MARCHING BAND CLINICS with Demonstration Groups including Phantom Regiment, Waxahachie HS, J.M. Hanks HS, Shiner HS, Johnson HS Guard (Hays ISD), and Dripping Springs HS Percussion

• Creative Choreographic Clinics- Michael Rosales

• Be Our Guest-Creating Recruiting/Retention Events and Activities-Todd Dixon, Aaron Snipes

• Creating Superior HS Non-Varsity Bands-Michael Lehmann, Shane Lemanski, Dexx Moore

• Don’t Let Your GUARD Down-Aaron Collins, Tykeem Rainey

• Grow Your Trombone Section Using the Trombone Choir (Coppell Trombones demo)-Jon Bohls, Kim Shuttlesworth

• Marching Design for Small Schools-Rustin Honeycutt, Eric Rath

• Military Drill Charting Made Easy with Software-John Gaertner

• Shape the Future of Your Marching Season-Alicia DeSoto, Kendall Santos, Justin Wallis

• Steps to Sightreading Success (Churchill HS demo)-Amanda Stevenson, Roxanne Vickers, Gary Williams

Spring Alumni Band

Trent Cooper, conductor

Kasetsart Winds

Bangkok, Thailand

Nipat Kanchanahud, conductor

Phi Beta Mu Directors

Reading Band

San Antonio Jazz Orchestra

Reading Band

LARRY LIVINGSTON 2023 Featured Clinician

JULIE GIROUX 2023 Featured Composer

MUSIC CAMP SERIES

Texas Summer Flute Symposium

June 11-17

Leadership, Drum Major & Color Guard Camp June 18-22

Marching Arts Director Symposium

June 19-21

Summer Percussion Camps & Director Symposium June 25-29

All State Choir Camp

July 5-8

Blast of Brass July 10-15

Camp Granada - Elementary Music Day Camp July 10-14

Online registration now open: tamuc.edu/music

A Member of the Texas A&M University System

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

• Student retention in our band program benefits from looking forward. Seasons should dovetail. As one is ending, the next is gaining traction. Focus forward by communicating upcoming goals, activities, and events, introducing new literature, and organizing and energizing incoming leadership. Students will know they are a part of what’s next, and their interest will remain high. —Dr. Kenn McSperitt, Fort Stockton HS

• Most humans cherish being valued, encouraged, and praised when appropriate. We see through false praise or flattery. My best advice for retention is to give the students value in their efforts and lift them up. They will thrive. I borrow some praise techniques from athletics. We high-five, cheer, applaud, and chant for each other as much as possible. This has helped improve retention. —Anonymous

• We take all eighth graders to fish camp at the end of May and tell them they are performing at graduation. Then once we get there, we also let them know when our summer parade prep and summer band start. Almost all of them show up, even those who might not have signed up for band initially. We just have to fix a few schedules when school starts. Give it a try!

—Brittany McCulloch, Crockett MS/Pecos HS

• Utilize communication technology such as Band app, Remind, Schoology, etc. Share recordings and online polls to gather ideas for the competition show, stand tunes, or other performances. —Anonymous

• Have students make music selections for the final performance. This gives them a chance to collaborate and reflect on the skills they have honed over the year. Fun mini-projects like creating class playlists, whether themed or based on students’ musical tastes, also keep them excited and allow the teacher to meet students where they are, further strengthening connections and rapport. My students also enjoy projects where they learn about sampling in popular music. They choose a sample of their own to write lyrics over. Students choose their genre, write lyrics, and learn how to pace as they speak or sing over their samples. —Brittany

DeLaVergne, Uplift Ascend Preparatory

• We teach junior high to play a few high school songs and then have a couple of days where the groups play together. We take 5th–12th grade bands to a band festival. The bands play separately, but we eat and do an activity together (movie, putt-putt golf, etc.). We schedule a few community events throughout the end of the year for anyone who can help (e.g., park or swimming pool openings). Throughout the spring, our directors help drive buses for the other groups our students are involved in, showing them that we support everything they do.

—Ray Ridens, Quanah ISD

• If there is a line of progression to the next ensemble, I include a graduation performance song. Graduating seniors exit the performance and the upcoming age group steps in. At its conclusion, introduce the high school band for the following school year and officially welcome your newest players to the ensemble. This gives students and their families a sense of pride at their entry to the next stage of their music education and performance. This can also be done between your beginning ensemble and your middle school group. —Anonymous

What end-of-year or summer activities have contributed the most to retaining students in your program and keeping them connected and engaged?

While this does require a year-round approach, these are a few of the things we do at the close of the year, aimed at keeping students in band: celebrate after UIL evaluation (cupcakes, or go somewhere fun); seniors send personalized letters to eighth graders (sharing their band experience and encouraging them to stay in band); display yard signs for eighth graders (“Future Member of the CHS Big Red Machine”); have eighth graders spend a morning in the high school band hall (perform fun music for them, visit, do team-building games, tour the facility, answer questions); invite eighth graders to sit in with your high school graduation band. Always keep things positive and share praise. Help them be proud of their past and present band experience and to be excited about the future.

—Kevin Knight, Crosby ISD

• I take advantage of the summer months to work primarily on theory, sight-singing, and ear training. Some students work in groups while others prefer to work individually. This is particularly helpful as they set their sights on UIL activities for the coming year.

—Esequiel Meza, UTEP/EPCC

• During the summer, I organize weekly practice sessions. During those sessions, students practice, enjoy snacks, and play games. This builds closer unity in the group and encourages students to continue to practice through the summer.

—Breanna Parker, Amarillo HS

• End-of-year talent shows are a great way to build excitement and draw in students who have not been involved in choir.

—Kip White, Dumas Intermediate

• After UIL evaluation, I audition every incoming eighth graders and all current students in grades 9–11. The process has been vital to the planning and growth of our programs. When I taught alone, my principal allowed me to get a sub for a couple of days so I could conduct the auditions. I check range, melody memory, sightreading, and participation and enter a score for work ethic/value-add. The audition gives every student 3–5 minutes with me to ask questions and have my full attention. With the form data in a spreadsheet, I can more easily review the results and share information with the counselors. While it may not be feasible for everyone, I have found it so beneficial to have this time with students and document their development.

—Lauren Davis, MacArthur HS

• In middle school, we go to Six Flags for the students to celebrate their year’s accomplishments. Students with good behavior throughout the year are given the privilege to join. This helps boost participation and good habits in class throughout the year. Initially, many students join choir simply for the endof-year trip. We also do exit interviews at the middle and high schools to place students next year for choir. We test individual skills as well as talk one-on-one with students about their desires, goals, and expectations for choir. This is when we can communicate and help sway some students to stay, encourage students who want to go on in choir to achieve more, and connect with the students who will not be returning the next year to say goodbye and get their feedback about the program.

—Anonymous

At the end of the year we have a fine arts showcase to feature all students at their varied levels of accomplishment. During the summer we host a three-day summer choir camp that is geared for students to experience choir before committing for the year. We play games, learn music, make new friends, eat pizza, have dress-up days and contests, and then perform for friends and family at the end of the camp. We invite all incoming students and the grade level below to help build our feeder. We utilize previous campers as interns to help keep the vertical feeder growing strong. It is a marvelous way to start our teaching year and it gets the students pumped up for choir!

—Julie Stobbe, Mitchell Intermediate

• At the end of the 2022 school year, we invited students to put a back-to-school snow cone party at a local snow cone shop on their calendar. Several students who were unsure of staying in fine arts attended. We connected them with students who would be in their choir class, and we were able to make them feel more confident about joining. Our incoming sixth graders were nervous about joining choir, and it was a great opportunity to meet them before the year started. I also try to stay connected on social media during the summer, posting at least once a week a memory from the past year or something conveying how we can’t wait for school to start.

—Courtney Munsart, Bonnette JH

• Invite non-choir students to participate in an in-house talent show in the choir room. Sometimes a schoolwide talent show can be intimidating for students who have never performed before an audience. This can be minimized by a more inti-

students. Invite their favorite teachers, and have a show for about an hour or during select class periods. —Sharnelle

Jones, Marshall Kendrick MS

• After UIL is over, we travel to the middle and intermediate schools to recruit and to give our graduating seniors an opportunity to have special moments looking back on their choir career! We try to balance out the intensity of UIL prep with a lot of fun and camaraderie at the end of the semester. Often, students who were on the fence about staying in choir commit for another year after these trips. It helps our seniors stay excited about coming to rehearsal and it helps our younger students get excited about their own senior year in choir!

—Rachel Davis, Bastrop HS

• Gimkit.com for the win! I make a Gimkit that asks questions from class all through the year, I even upload audio for listening examples and decoding short rhythmic and melodic examples. Blooket is a similar online quiz tool. —Jenny Todd, Nitsch Elementary

• I offer keyboard, ukulele, and guitar group lessons in the summer, sometimes daily for a couple of weeks or once weekly for the two months. In either case, the lessons culminate in an “informance.” I have also held a weeklong drumline camp for older elementary students to get ready for house battles, pep rallies, and such, and to start the school year off with a bang!

—Stacy Redding, Mary McLeod Bethune Elementary

• My district has allowed me to host camps the past few summers. I have complete freedom to choose the timing, number of students, grade levels, content, etc. So far I’ve held camps for

Baylor University's Annual Music & Worship Leadership Conference

ukuleles, music theatre, PreK music, and Zumba. It’s a lot of fun and gets the students involved in music activities during the summer. —Cara Coffey Hall, Lackland Elementary

• We replay most of our games, all of which are used because of their literacy content (rhythmic and melodic). Students love playing, so the song sticks in their heads, and in the process, they review the concepts learned from the songs and chants. This procedure has helped them retain what they learned to the following year. —Anne Summitt, Club Hill Elementary

• At the end of the year, I love doing a glow in the dark day, a schoolwide campfire classroom transformation, and a talent show. Each of these activities impacts the kids in different ways, allowing them to show off their skills individually or safely participate in a group. Glow-in-the-dark day includes dancing and rhythm activities as a fun year-in-review activity. Campfire day is a time to sit around the “campfire” and sing songs and play camp games. This is a great activity during testing, as it is a change in scenery from the usual classroom. Elementary music is the most fun place to be at the end of the year! —Kelsey Helton, Silbernagel Elementary

games outside, especially for your athletes who will sacrifice all to tag someone! End the year with lots of fun to be remembered. —Sharon Higgins, Cesar Chavez Elementary

• I love to do different bucket drumming routines or instrument routines to their favorite songs. It’s a great way to review rhythms, form, and treble clef. I also enjoy doing composing projects in Chrome Music Lab. The students love creating original music as well as playing and listening to their favorite songs. —Heather McDonald, Wylie East Elementary 0

Thanks go to TMEA members who have answered questions through the Q&A for Music Teachers platform. Your ideas and experience are incredibly valuable to your colleagues across the state!

• I don’t work on teaching a lot of new content with elementary students at the end of the year. Instead we review and engage with all the games! We do staff games, rhythm cup games, singing, passing, chase games, and hand-clapping games. Adding in folk dancing with contemporary music, we focus on teamwork, partnership, and positive interactions with classmates. This is a chance for the big kids to request their K–1st games that I usually don’t let them play. Tip: take those chase www.fortworthchorale.org/scholacantorumproject

is the perfect time to prepare. Are your current resources serving your needs, or do you wish you could get more from your music technology?

Say hello to the Performance Ensemble Solution from MusicFirst!

Our platform is packed with everything you need to take your ensemble to the next level, including tools for: Performance Ensemble Solution $11 per user, per year

TMEA Band Vice-President

Developing Our Personal Musicianship

We are the only ones who have developed the necessary relationships and have the time to deliver the information our students needed in an authentic, organic, and systematic way that can motivate their sustained improvement.

In Memoriam

William Claude Everitt 1923–2023

May—Attend your spring Region meeting (see page 2).

May 1 —TMEA 2023–2024 membership year opens for online and mail/email submission.

May 1 —Deadline to nominate students for a Texas Music Scholar award.

May 1–June 1 —2024 Clinic/Convention proposals accepted online.

June 1 —Invited MS/HS Jazz and HS Percussion application deadline.

June 30 —All 2022–2023 TMEA memberships expire.

July 20–22—TBA convention in San Antonio.

Igrew up in a singlewide trailer, in a tiny trailer park, in the middle of nowhere. We were lucky to be surrounded by some of the best people on the planet and it seemed like every trailer in the park was full of kids to play with. As kids did in those days, we stayed outside every minute we could, finding adventure, friendship, and competition and learning myriad life lessons in every nook and cranny of our neighborhood. Unfortunately, the sun went down every evening, and on occasion the weather would turn bad, forcing me and my fellow pirates, ballerinas, future professional athletes, and movie stars inside.

While I never relished the idea of being confined in the house, my negativity was quickly assuaged by the music of my father’s record collection. Now there are people who love music, there are people who really love music, and then there is my father. My dad had filled the largest wall of our living room from floor to ceiling with bookshelves, and the entire bottom half was packed with hundreds of LPs. All it took for me to become lost in an incredible musical journey was to allow the words on a thin record cover spine to pique my curiosity. The incredible art on the front and the awesome prose on the back provided motivation and context for the musical gifts inside. And what a journey it was.

I regularly traveled through Wagnerian operas, Ray Charles’s soul, Stravinski’s ballets, Willie Nelson’s Austin country, BB King’s blues, Pete Seeger’s folk tunes, Creedence Clearwater Revival’s rock, Carlos Montoya’s flamenco guitar, Beethoven’s symphonies, Count Basie’s big band, Lightnin’ Hopkins’s Delta blues, John Coltrane’s transcendent tenor saxophone, and more. Seriously, I could go on forever.

Then Daryl Trent walked into my fifth-grade classroom asking who

wanted to be in band and learn how to play music. Nobody answered the call faster than I did. With all 80 of us in the same room, Mr. Trent taught each fifth grader how to play their instrument during our 50-minute classes. Each year I was in band, Mr. Trent would ask us to line up at his office door with our instrument, our solo, and a cassette tape. He would proceed to sightread them, recording our solos, one after the other, for us to listen to and practice with. He also played guitar and could sing every tune I knew and many I didn’t. In addition to being a consummate musician, Mr. Trent also had all the wind band albums missing from my father’s collection. He drove me to multiple DCI finals, and he took me to many Dallas Winds concerts from their inaugural season forward.

I write this not just to reminisce, but to show my appreciation for the training these two men gave me that proved so valuable in my career. When I arrived at the University of North Texas and my fellow music education students and I felt like our training seemed particularly rigorous, professor Dennis Fisher often reminded us that “the best musician in the room should always be the one on the podium.” Maestro Fisher not only talked about the concept of outstanding musicianship, but also demonstrated it daily with his outstanding leadership and direction from the podium.

It was only then that I truly began to realize what incredible gifts my father and Mr. Trent had given me on my journey toward musicianship. My father taught me there is beautiful, valuable music in every genre, and through his records, ingrained in me what great performances of that music sounded like. Mr. Trent started me on the road to experiencing that music on an instrument. He gave me an incredible example of what real musicianship looks like and taught me the importance and value of live performance.

In the modern educational landscape, we have more resources than ever. You can attend countless clinics on every imaginable music education topic, access numerous print and digital resources, videos, and podcasts, and tap into the ever-growing list of expert clinicians available to attend your rehearsals. In this exciting time, I have been surprised to find a growing number of colleagues struggling to find answers. They utilize the resources previously

mentioned and have many master teachers in their band halls to provide teaching, advice, and mentorship, but they are still frustrated by their ensemble’s progress. They are often surprised when my advice for them is to look inward to their personal musicianship for the answers they seek.

One of my early mentors once told me that at the end of the day, no one can teach your band but you. He wasn’t trying to discourage me from seeking help. He meant I was the only person who had developed the necessary relationships and had the time to deliver the information my students needed in an authentic, organic, and systematic way that would motivate sustained improvement. My mentor was trying to help me realize that sometimes no one would have an answer for my questions and that I wouldn’t always have time to ask. I needed to look to my personal musicianship, use the tools therein, and formulate solutions to my problems.

If you are at all like me, I know you can recall times where you faced a musical dilemma, retreated to your personal musicianship, and formulated a solution that you later discovered (likely at a TMEA clinic) was the way that master pedagogues

also address the issue. You also realized that the specific vocabulary you chose resonated and spoke to your audience more effectively than the master pedagogue’s would have.

As we come to the end of the school year, I encourage you to take some time this summer to enrich and grow your personal musicianship by focusing on these three macro categories:

1. Theory and aural skills: These words might evoke bad undergraduate memories for some, but these skills are crucial to our teaching. My ensemble played a Romantic-era orchestral transcription this spring, and my knowledge of harmonic analysis and augmented 6th chords allowed me to lead my students to a resonant and balanced performance of some of the most difficult sections.

yourself some questions: Am I using the same practice techniques I teach my students? Should I be? Do I need to teach them better techniques? Do I need to learn some better techniques? It’s a sobering process that keeps us humble and grounded and allows us to relate to our students and what they experience. Second, learn a new instrument or practice a secondary instrument. It’s fun and incredibly educational on so many levels.

3. Listening and Repertoire Knowledge: There are so many ways to work in this area, but perhaps you could survey the specific grade level of the UIL PML that you play from most or the one you are least familiar with. Find multiple recordings of the pieces and analyze the musical decisions made by the conductor or note the technical proficiencies demonstrated by the players. Go to concerts! There will be many Honor Band recording concerts given by outstanding bands around the state this month. Please go and listen to these musicians’ artistry. There are fantastic regional symphony orchestras and community bands in 49TH

2. Instrumental Performance: Please don’t stop playing musical instruments. This summer get out your primary instrument and work seriously on something as difficult for you to master as the All-State etudes are for an incoming freshman. Then ask

Registration opens March 1, 2023

Cost: $420 per full-time camper or $300 per commuter, $300 – All State Band Member (Current Year), $375 – Band Director/Sponsor, $275 – Band Director/Sponsor with 10 or attending students For complete information, please visit www.hputx.edu/bandleadershipcamp

every area of the state. I encourage you to attend their concerts (and perhaps even play in some). Go see a live performance of a musical genre you are not familiar with.

As band directors we have high expectations for students and regularly evaluate their practice, or lack thereof. As directors we practice by working on our personal musicianship, honing our skills so that we can better communicate the beauty and intricacies of music to our students. So do some work this summer to make sure that when you step back on the podium in the fall, you aren’t only the best musician in the room but also a better musician than the one your students experienced this year. You and your students will be rewarded with a more satisfying and successful experience, I promise.

Invited Program Spotlight

We are excited about our inaugural Invited Program Spotlight program and the outstanding applications that we will receive. If you began the application pro cess, please upload your recordings by the June 1 deadline. I know we are all looking forward to the featured clinics our Invited Programs will deliver.

a direct impact on your students. Please attend, voice your opinion, and consider volunteering for one of the many rewarding opportunities available each year. You can find information regarding Region meeting dates, times and locations on page 2 of this issue and at www.tmea.org/ regionmeeting.

2024 Convention Proposals

Now is the perfect time to consider applying to present a clinic or music showcase during the 2024 Clinic/Convention (February 7–10, in San Antonio). You can find information about how to share your favorite pedagogical technique, educational strategy, or small ensemble performance with your peers at www.tmea.org/ proposals.

Proposals are accepted online May 1–June 1. Take time to ensure you submit a thorough and detailed proposal to guarantee reviewers can easily discern exactly

As you consider applying (or encouraging a colleague to apply), know that in the 2023 convention survey, those in the Band Division chose these as the top 10 topics they want to learn about in 2024:

• Rehearsal techniques

• Instrument methods

• Recruiting/retention

• Repertoire selection

• Classroom management

• Small school strategies

• Technology integration

• Mental health and wellness

• Advocacy/administrative support

• Teaching methods

Membership Renewal

Starting this month, you can renew your TMEA membership for next school year. Take a moment now to ensure your membership remains current so you don’t have to make this part of your long to-do list when you return to school. Have a wonderful summer break! I hope to see you at the TBA Convention/Clinic in San Antonio, July 20–22! 0

The deadline to apply for your middle school jazz band, high school jazz band, or high school percussion ensemble to perform at the 2024 TMEA convention is May 15. Go to www.tmea.org/invitedjazz and www.tmea.org/invitedpercussion to learn more and apply.

Our updated Honor Band judging pro cess worked well last year and delivered outstanding results. I know we all look for ward to hearing the recordings played at our Honor Band listenings across the state. If your ensemble is submitting a recording, please print and process the required invoices and be aware of the dates and deadlines to complete the process.

Spring Region Meetings

If you haven’t already, please attend your spring Region meeting (many will be held this month). Your input and active participation is crucial to running successful Region organizations and the decisions made at the Region level have

A Student-Centered Community through Purpose, Excellence, & Belonging

LIVE collaborations for infusing a culture of excellence into every facet of the music program

Opportunity to build community with diverse colleagues in all music content areas to learn effective strategies to enhance instruction and experiences

Empowering content for creating positive, emotionally healthy programs cultivated through connection, mindset, motivation, relationships and trust

"SLAM helps elevate music teachers in active collaboration with a national network of teachers in real time!"

—

slamleadership.org

Steve Andre, TMEA Past President

It Works for Me

by reese burgan, kc christensen harris , and larry brown

Few experiences are more influential on music learning than private lessons, yet they can be too costly for many of our students’ families to afford. Ultimately, this can result in inequitable access to resources proven most effective for musical success. When financial challenges or instructional staffing issues arise, we have found it possible to harness the value of the traditional lesson program while adapting it to match our program’s resources. We hope that if you face similar challenges, the information we offer here can help encourage you to consider a group lesson structure for your program. What follows is based on concepts and examples from Cypress Springs HS and Galena Park HS, both located in the Houston area.

Student-Focused Development

A primary goal of any music program is student growth in technique, artistry, and character, and the group lesson program we structured supports these outcomes. Through weekly sessions with expert instructors, students’ fundamental development soared, and their confidence and emotional investment grew. As more students subscribed to the group lesson culture, it created a tipping point. It became socially inconvenient for students not to be involved.

At Cypress Springs, this program led to an annual studio recital, multiple performances at TMEA conventions, and gigs throughout Houston. The saxophone ensemble offered a music showcase at the 2020 TMEA convention that included all but one saxophone student (that student had placed in the All-State Band). At both Cypress Springs and Galena Park, the development of students through group lessons benefits the broader program and improves the musical experience for all.

Program Structure

While it may vary based on enrollment, a key to the success of this concept is achieving a student–instructor ratio of three to one.

To encourage participation, some of the selling points include the specialized experience of our instructors, the low price compared to private lessons, and additional performance opportunities. In both schools, lessons are held on the weekly free evening during marching season, protecting class rehearsal time and maximizing efficiency for the band staff.

Teacher recruiting is critical—the success of the program hinges on an ability to attract and retain fantastic instructors. This model provides benefits to instructors, including predictable scheduling and payment, the opportunity to build a local studio culture, and consistent teaching in a class environment—an opportunity many private instructors may experience only once a year during summer band classes.

Of course, offering this program does require funding, and each program might utilize a different pool of sources. At Cypress Springs, funding comes from boosters and family payments, while Galena Park uses a mixture of district funds, family payments, and ESSER funds. We considered a model that would be free to students, but we believed that a minimal fee would offset program costs and encourage family investment. In both schools, students pay the band program and the program issues monthly checks to the faculty, creating consistent and predictable payment.

The Student Experience

Our schedule includes 12 one-hour sessions per semester. The schedule is developed collaboratively with the directors and lesson instructors. Schedule and student grouping is malleable as needed. For example, as the Cypress Springs saxophone studio prepared for TMEA we reduced each session to 45 minutes, giving us an extra hour for saxophone ensemble rehearsal without increasing the overall time commitment.

The sessions focused on a range of topics based on students’ needs and the time of year. This included fundamentals, technique, Region music, solos and ensembles, recital repertoire, and

other areas. The instructor has reasonable autonomy to determine topics, and band directors receive feedback and pedagogical connections, as well.

The curriculum also offers space for students to contribute. When we give students choices in their development, we empower them to mature and bring in their own culture, facilitating an environment of trust. We give students options on what to perform. We help them arrange, perform, and record music for ensembles, and we allow them to request a specific topic for a group lesson. Once this program was developed, we capitalized on the social commitment that galvanized an emotional and artistic commitment from all students.

A Solution for All

The efficacy of the group lesson program in filling instructional gaps and overcoming financial barriers to learning cannot be over-

stated. This program encouraged our students to grow musically and expand an awareness of their potential. We hope these ideas inspire innovative thinking that will impact your students’ lives for the better. 0

Reese Burgan is Adjunct Professor of Saxophone at Lone Star College–Montgomery and taught group lessons at Cypress Springs HS from 2016 to 2022.

KC Christensen Harris is Director of Bands at Galena Park HS and previously Associate Director of Bands at Cypress Springs HS.

Larry Brown is a retired band director, formerly the Director of Bands at Cypress Springs HS.

Tips for Renewing Your TMEA Membership

Renew Early

Starting May 1, go to tmea.org/ renew and log in to renew your TMEA membership. If your district will pay for it, use this year’s budget dollars!

Update Your Record

When you renew (or before), update your TMEA record with your current school and contact information. Go to tmea.org/ memberinfo and log in.

Please don’t create multiple records in your name. If you can’t log in or have other difficulties accessing your record, contact us!

Register for the Convention

When you renew, you can also register to attend the 2024 Clinic/Convention. We look forward to seeing you in San Antonio February 7–10!

Pay at tmea.org/renew

Paying online via credit card is the fastest way to renew. If paying by school check, communicate deadlines to your business office and follow up.

Consider Liability

All teachers should maintain this coverage, and TMEA offers it at a low cost as a benefit of membership. You can purchase when you renew.

Please contact Membership Manager Susan Daugherty at susand@tmea.org with questions about membership. TMEA office hours are M–F, 8:30 a.m.–4:30 p.m.

Q&A WITH MUSIC & ARTS SCOTT LANG

ADVOCACY DIRECTOR

BRIAN WILSON VP SCHOOL SERVICES

The past three years have been difficult for the entire landscape of music education. We saw significant declines in enrollment, music skills, and I would imagine, sales. Walk me through it all from the business side of it.

BW: It was rough! Frankly, we’re still not all the way back. But we reflect the teachers we serve; tough, resilient, and tenacious. Our entire company stepped up and dug in. We didn’t just help educators; we also helped industry partners and even some of our competitors who weren’t able to weather this type of disruption. Our people were there when they were needed the most. As Scott likes to say, “We ran towards the fire.”

SL: The thing that impressed me the most is that when other organizations were scared, Music & Arts made bold and significant investments not just in their business, but in music education as a whole. They acquired Be Part of the MusicTM and invested in advocacy initiatives, not because it made financial sense, but because it made a difference.

How has Music & Arts changed in the past three years?

BW: Before the pandemic, we had been talking for a while about updating our website, educator portal, and online rental experience. Having everything go remote changed our focus and caused us to re-think some of our priorities. As we speak, we’ve launched a completely re-designed website on a new platform that includes a brand new online rental experience. Renting an instrument isn’t a familiar experience for parents and we worked closely with customers to design an experience that is simple, streamlined, and mobile friendly. Every step of the experience, from instrument selection to supplies are customized based on what the teacher tells us they want. We even have a supplies experience for those that don’t need a rental instrument that can be customized for any teacher at any grade level for any instrument type.

SL: We took a similar approach in redesigning our website as well. Our new Be Part of the Music educator dashboard is not only a better solution, but a simpler and more streamlined one. The new interface is personalized and dynamic. We not only provide music teachers with all our materials in one central location, but we also provide daily content that informs and inspires with the hope of making their jobs easier and their days a little brighter. Having taught music for 16 years, I can tell you it’s a brutal job. The personal and emotional investment is insane, but then again, so is the impact.

You didn’t answer my question. You went off-topic.

BW: Have you just met Scott? He’s never met a topic he can’t wander off from.

SL: How has Music & Arts changed? Honestly, in my two years here, I have seen a shift in how this company thinks about the landscape of music education. Now, there is not a single significant decision made without asking, “How will this impact a teacher? How will it make it easier for them and their students? It’s why we developed Grants, Growth & Gratitude, Project

Imagine, Teacher Appreciation Week, and more. We wanted to have a real impact for the teacher.

BW: That’s one of the reasons we acquired Be Part of the Music. Scott has the pulse on what’s happening out there, and we wanted to understand better what was happening, and how we could better serve the entire profession of music education. Scott is positioned to help inform that perspective.

Ok, we’ve talked about the past, and you’ve shared a bit about the present. What do you see for the future of music education?

BW: If you could tell me, that would make my job much easier.

SL: Yeah, and some stock tips would be great too, because this market is killing me.

BW: Actually, we just completed and released the results from the State of Music Education Survey, and through all the data and analysis, one consistent theme emerged, “Getting better, but not back yet.” The pandemic was like an earthquake –unexpected and devastating. As you know, smaller aftershocks always follow a major disruption. That’s where we are now. The entire industry continues to see smaller and more manageable disruptions as we move forward.

SL: To Brian’s point, music teachers were like first responders – jumping in wherever and whenever needed to keep kids safe and music alive. Part of what I see in the future is doing a better job of taking care of the teachers. A music program is only as good as the person leading it. So, while teachers are putting the needs of their students above all else, our job is to put the needs of teachers above all else.

BW: To Scott’s point, our future roadmap is focused on serving teachers. Whether it’s our new web experience, enhanced educator portal, or ability to get instruments in your hands when you need them, we are striving to make Music & Arts not just the best place to buy or rent an instrument, but the easiest.

How do you do that?

BW: People. Music is a people business because music makes better people.

We invest in people — not just in the people we serve, but the people that serve teachers. We know the power of music because our Educational Representatives experienced it in their own lives. They know that the impact of music begins and ends with the educator. Anything we can do to serve that teacher, is serving students. That’s what drives us each and every day. That’s why we acquired Be Part of the Music and kept it free for all. That’s why we brought Scott and Andrew on board.

Helping the teacher equals helping the student. We can all get behind that!

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“In the time that I’ve used Music & Arts, our program has obviously grown and changed. They’ve given me great service. When we had a small band with only 40 kids, I could depend on them to help with those needs. My needs are obviously very different in a program with almost a thousand students, and they’re every bit as dependable now as they were then.”

-Garrick Cheyne, Band Director at Cherokee High School in Canton, Georgia

Our Greatest Assets Are Local Contact us to connect with one of our local, dedicated Educational Representatives and learn more. Schools@MusicArts.com www.MusicArts.com/Educator

TURNKEY RECRUITING SOLUTIONS

TMEA Orchestra Vice-President

Teaching Fundamentals and Nuance

Welcome to the home stretch of another school year! It has certainly been a wild ride over these past several years. Something that always gives me a boost at the end of the year is to poll students on their favorite orchestra memory. I love to ask questions at the end of the semester exam about their favorite orchestra memory, the favorite piece they performed, and a piece they would love to play. Sometimes you can make one of those dream pieces a reality! Find ways to celebrate the “wins” in your program this year with your students and families. As they head into summer break, these celebrations will solidify the bond they have as a group and reignite the spark that making music together gives them. If you are launching seniors to their next step, the traditions you use to honor them are something they have been looking forward to since their freshman year!

The end of the year is also filled with opportunities to keep advancing your students. It’s easy to fall into the rut of learning new repertoire for spring concerts, festivals, auditions, or solo & ensemble without focusing on building new skills or correcting bad habits that have developed. I think it’s especially tempting to wave the white flag this time of year after correcting proper posture, left-hand setup, and bow holds for the better part of a school year. Even if they are set up very well as beginners, as they experience growth spurts, it requires constant readjustment to keep things set up well. We must pay special attention to this in our return to normal. In some ways, the online learning years seem ages ago; however, as educators we are still in the thick of helping students fill in gaps in their musical, social-emotional, and academic skills.

In my observation, there are two trains of thought among educators and often reported in the media. One is that kids are resilient and

MARK YOUR CALENDAR

May—Attend your spring Region meeting (see page 2).

May 1 —TMEA 2023–2024 membership year opens for online and mail/email submission.

May 1 —Deadline to nominate students for a Texas Music Scholar award.

May 1 —Honor Orchestra Part A deadline (HS Full, JH/MS Full, and JH/MS String).

May 1–June 1 —2024 Clinic/Convention proposals accepted online.

June 1—Honor Orchestra Parts B&C and recording deadline (HS Full, JH/MS Full, and JH/MS String).

June 1 —Invited HS Mariachi application deadline.

June 30 —All 2022–2023 TMEA memberships expire.

July 20–22—TODA convention in San Antonio.

The art of teaching is a most delicate and beautiful blend of tangible, concrete factors and less quantifiable artistic qualities.

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will bounce back now that we are back to normal. The other is that kids lost so much during the pandemic that they will never fully be the same. While this would be an entire philosophical discussion of its own, I’d like to focus instead on meeting the students where they are and being intentional in planning and teaching to help them advance to the next level.

The art of teaching is a most delicate and beautiful blend of tangible, concrete factors and less quantifiable artistic qualities. As music educators, we know one cannot be held as more important than the other. If you neglect either, musical results will suffer. I compare it in some ways to a pyramid like Blooms Taxonomy, which defines six levels of cognitive thinking: remembering, understanding, applying, analyzing, evaluating, and creating. They are often shown in a pyramid with remembering at the base. The highest levels of cognitive thinking go up the pyramid, but all the levels must work together for students to fully develop.

Similarly, our students need to possess a strong foundation in the basics of instrument setup, music reading, rhythm, musical terms, intonation, tone,

strong left-hand dexterity, variety of bow techniques, shifting, vibrato, and more. If students don’t have the knowledge and application of these skills, they won’t be able to give quality performances. These skills in isolation, however, can’t communicate the beauty, spirit, and essence of music!

There is an entire range of nuanced details that bring this musicality alive: phrasing the musical lines, dynamic contrast, rubato, variations in tone color. This only scratches the surface! Subtle differences in bow placement can make huge differences in musical character. However, if the student has fundamental flaws in their bow hold, they may not have the physical ability to execute these nuances. Similarly, if a student uses incorrect vibrato motion, they will not be able to use it to enhance tone or bring out a phrase.

If advancing student technical skills is vital to the overall musical goal, how can we efficiently and effectively teach new skills and mitigate bad habits? One way is to record your rehearsals (video or audio) and listen with the goal of analyzing where your group is with different skill sets. You can and should do this live in class, but

you should also take time to sit back and observe when you aren’t actively teaching. This will afford you the opportunity for a more in-depth analysis. When you watch and listen to your group, look specifically for areas like left-hand setup, bow holds, vibrato, bow usage (bow lanes, part of the bow, bow techniques). You will find so many areas of opportunity in which to grow! Prioritize and pick one for your focus.

Once you have a skill in mind, the next step is to do a task analysis. Think through the process of executing that skill and break it down into the smallest steps. In one of my college education classes, my professor tasked us to complete this with a daily activity we take for granted. As we broke it down, he continued to challenge us to break it down even further into smaller chunks. It seemed overboard and even comical, but when I had to teach a bow hold to a non-music major in that class, the value became obvious.

Let’s take spiccato as an example. Spiccato can be defined as a bouncing bow stroke. We know there are specific parameters to do this correctly and successfully. If you teach students who

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struggle with spiccato, analyze where the breakdowns are and start a step before that. If students have a locked elbow joint, isolate that skill. Students often revert to locking their elbow on spiccato even if they don’t do that in other bow strokes. By isolating that motion, it brings mental and physical awareness of the small motion and flexibility used in that joint.

If we compare our brain to a web browser, we have hundreds, if not thousands, of tabs open when we play an instrument. Every tab takes some processing resources, and many tabs operate on autopilot. By isolating one small skill, the brain can devote more “processing speed” to that skill and make for quicker implementation and success. There is a list of micro-skills to teach just with spiccato. Though it may seem time consuming, each micro-skill doesn’t take long to learn. If a skill takes a lot of time to master, that’s a sign you could break it down to more minute skills. Quicker mastery allows you to move on to the next level and be able to do it successfully.

Another benefit of isolating these micro-skills is that they become part of our students’ bank of prior knowledge. The next time you notice locked elbows popping back up, a simple reminder of the elbow joint will more quickly resolve the issue. The more you teach new skills using this process, the faster you’ll be able to mitigate bad habits in the future, because

you are reviewing something they have done successfully in the past.

Region Meetings

While some meetings were held in April, several Regions will host their meetings in May. Be sure to check the schedule and attend (page 2 of this issue and at www.tmea.org/regionmeeting). As TMEA President Dana Pradervand-Sedatole explains in her column this month, it is during our Region meetings where we have the opportunity to share our ideas and become a more active participant in our association. If you haven’t attended before, I strongly encourage you to begin taking every opportunity to stay informed and be involved (meetings are held each spring, fall, and during the convention).

All-State Audition Material

We have a great lineup of conductors and repertoire in the works for the 2023–2024 All-State Ensembles! The TMEA website will always have the most updated information on audition materials. Orchestra audition etudes will be posted on the website May 1, with the orchestral excerpts posted August 1. Mariachi audition etudes will be posted May 15.

Honor and Invited Ensembles

I am thrilled to have both Honor Orchestras and the new Invited Program Spotlight groups slated to be selected for

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the 2024 Clinic/Convention. With both programs, we can recognize and celebrate a wider array of top-notch programs and teaching across the state. More information is available on the TMEA website. Part A for Honor Orchestra, Invited Program Spotlight, and Invited Mariachi are due May 1. Parts B & C and recording uploads are due June 1.

Convention Proposals

The window of time to submit a proposal online is May 1–June 1. Our beloved convention is a success each year because of the wonderful clinics led by our members. Take what works in your teaching and your program and submit a proposal to share with your colleagues.

See www.tmea.org/proposals for more information. As a reminder, Orchestra Division members reported they want to attend clinics on the following topics next year:

• Rehearsal techniques

• Instrument methods

• Conducting techniques

• Repertoire selection

• Recruiting/retention

• Teaching methods

• Classroom management

• Technology integration

• Mental health and wellness

• Advocacy/administrative support

TMEA

Membership Renewal

As of May 1, take a moment and renew your TMEA membership for next school year at www.tmea.org/renew. Memberships for this year expire on June 30, so get a jump-start and ensure your membership doesn’t lapse.

Summer Convention

Instruments Accessories Rental Repair

Make plans now to attend the TODA Convention this summer, July 20–22, in San Antonio. This event is one of the best ways to get you focused, equipped, and excited to start the new school year! In the few years I didn’t make it to the TODA convention, I felt more frantic and behind starting the school year. The new music reading sessions, clinics, and time catching up and brainstorming with colleagues will set you up to start the new year strong. Learn more at www.todaweb.org. I look forward to seeing you in San Antonio! 0

If you need a mentor, sign up. If you can serve as a mentor, sign up.

Teaching Students to Think Like You

The role of attention in your music classroom

By John E. Parsons

We all have an intuitive sense of what attention is and why it’s important. In education, conversations about attention are often couched in terms of promoting students’ well-being by keeping them focused on accomplishing instructional goals while avoiding unhealthy distractions. These are certainly important discussions, but once we’ve lured our students’ attention away from the clutches of TikTok, what do we do with it? In music classrooms, the answer might seem obvious: make music! But there’s more to how we focus students’ attention on music-making than simply keeping them on task.

What Is Attention?

Have you ever tried to define attention? It can be tricky. From moment to moment, we can hold only a finite amount of information in our working memory. So, attention is the mechanism that sifts through environmental stimuli and decides what to process in working memory and what to leave out.

Attention is often goal-directed, so the stimuli most likely to be attended to are those that help us achieve our goals in the moment. Violinists, for example, may listen carefully and observe their left-hand shape as they bow a double-stop to ensure both strings vibrate evenly and in tune. Other stimuli, like the hum of the air conditioner, don’t help them play beautifully and are quickly ignored. Continuing with this example, the violinist can attend

to physical, internal elements of performance (e.g., the left-hand shape), or the external elements (the sounds) that their movements create. Does it matter if they focus internally or externally? Research suggests it does!

One might surmise that focusing attention on specific physical movements during performance would yield superior results. Imagine playing a trill on the piano as evenly as you can. You may find yourself thinking about the shape and movement of your fingers. But when undergraduate music (non-piano) majors were asked to perform a similar, two-finger piano task, they played more evenly when told to think about an external focus such as the sounds they were making than when told to think about an internal focus such as their fingers (Duke, Cash & Allen, 2011).

Similar effects have been found across a variety of domains like singing, bowling, and even weightlifting. Many researchers now agree that focusing one’s attention on the external effects of physical action during performance promotes the execution of automatized motor processes below conscious awareness, resulting in smoother, more efficient movements (think muscle memory). Conversely, focused attention on the body interferes with these processes and performance suffers.

If an external focus is the more beneficial way to attend to a task, then why do we spend so much time asking beginner instrumentalists to think about the physical components of musicmaking? My colleague at UT Austin, Amy Simmons, and I recently

published a paper in which we describe the verbalizations of three experienced band directors who explained their intent to focus their beginner students’ attention on either internal or external components of performance (Parsons & Simmons, 2021).

I refer to the teachers here by the pseudonyms Beth, Gloria, and Melissa. These teachers focused their beginners’ attention much more frequently on internal rather than external elements of performance. After observing these directors in their beginner classes, I interviewed them individually to gain a deeper understanding of the thinking behind their instructional approaches. Their responses suggest a less dichotomous, more nuanced perspective on focus of attention.

What This Actually Looks Like

If you observed Melissa teaching a beginner flute class, you would notice that she frequently focuses her students’ attention on internal elements of performance, like a plush lower lip and relaxed, efficient motion in the fingers. No surprises there! Effective teachers know that thoughtful, daily attention to fundamental physi-

cal components of performance over time is required for students to acquire and refine essential skills. In fact, Melissa’s students learn to use embouchure checklists early in their beginner year to help them diagnose problems. She explained, “We use the checklist, use the mirror, and then make the sound—going back and forth with the teacher. Does that sound like my sound? Why not? What’s on your checklist that’s missing? ”

While clearly beneficial from a diagnostic standpoint, this process also reveals how teachers like Melissa focus students’ attention externally by asking them to make meaningful observations about sound and musical effects.

Any time a teacher asks learners to match the sound of a model, they are promoting an external focus. Gloria modeled performance goals on her trumpet roughly 80 times per class during our observations—eighty! When I asked her about the prevalence of modeling in her instruction, she offered this example: “You know, when you get into [musical] style later on with them . . . you can explain staccato as much as you want, but until you show it to

them, they’re not going to be able to play it accurately.”

This externally focused modeling approach is more economical in that students achieve the musical goal more efficiently by focusing on the desired effects rather than the sophisticated interactions of physical components of performance that create those effects. In this way, an external focus on expressive inflection allows us to attend to the effects of multiple internal components simultaneously.

To be clear, this isn’t a zero-sum game. It’s not “internal focus bad, external focus good.” Both have their place in music learning. Remember how Melissa trained her students to use their checklists? Great teachers know that explicitly describing the connection between internal and external elements of performance helps students gain a deeper understanding of how their body and instrument work together.

Take Beth and her beginner clarinets, for example, as students learned a melody for which the expressive marking read, “Sweetly.” Before addressing any physical elements, Beth’s first question to the class was, “How do we play sweetly on the

clarinet?” Immediately, the students began volunteering solutions: “Play softly!” “It should be slow.” “Play connected!” After some experimentation, the class discovered that a sustained throat tone A-natural was too loud. Following more discussion, Beth recommended changing how much air (internal component) that note should get compared to the clarion notes above it, and the sounds (external effects) were indeed sweeter.

This explicit pairing of internal and external elements of performance is critical because it teaches students to observe their own playing the same way that teachers do. When you hear a thin cello tone in your orchestra rehearsal, you may ask the students to apply more weight to the bow with their right hand and arm.

As teachers, we frequently think about such action–outcome relationships during instruction. But to solve performance issues quickly, we often choose to focus students’ attention only on the relevant internal components. We assume, perhaps, that students hear the problem the way we do, without explicitly drawing their attention to it.

If students aren’t making these internal–external connections, then the learning experience for them shifts from creating beautiful and expressive music to the accomplishment of physical goals. This is a subtle yet important shift in thinking that prevents students from attending to their own playing as a skillful musician would. We must help our students listen and think like we do by focusing their attention on these crucial action–outcome relationships.

Learners as Accomplished Musicians (Like You)

In many ways, focused attention on musical effect is what separates novice or intermediate players from more accomplished performers. As teachers, we might

assume that advanced technical development is a prerequisite for thinking about music-making in this way.

Of course, an artist plays with exquisite fundamentals and technique, but even with the first repetition of a piece in their studio, an artist’s attention is acutely focused on the effects they wish to achieve. This can begin in the earliest days and weeks of the beginner year. Beth explained that while the muscle formation must be there and attended to repetitively, there’s always a why is this important question to address, because we want to create a mood or emotion through the music.

My intent is to encourage us to think about how we can enhance the experiences we’ve been creating for our students every day. Here are some instructional approaches and their impacts on musical development to consider:

Instructional Approaches

1. Select tasks and repertoire appropriately. This is not a new idea, but technically demanding repertoire often imposes an internal focus of attention. While this is desirable at times, make sure students also spend time daily playing music they’re comfortable with so they can think more about sound and less about their bodies.

2. Regardless of the activity, work to focus your students’ attention on important physical components and what you heard that led you to identify those components in the first place. In other words, the focus may be internal, but the goal is external!

3. As often as possible, guide students through the critical thinking and decision-making that characterize the habits of accomplished musicians. Ask, “How do we want this to sound and what do we need to do physically to make that happen?”

Impacts on Student Musicianship

1. When students are privileged to think and perform like accomplished musicians every day, their mindsets change for the better when they walk into your classroom.

2. As students build their repertoire of action–outcome relationships, they move steadily closer to independent musicianship, capable of troubleshooting their own performance issues and developing mature, expressive goals for themselves.

3. Empowering students with decisionmaking opportunities can promote strong feelings of autonomy and agency. When students are the ones making meaningful choices about how music should sound and they hear expressive outcomes that resulted from those choices, they feel empowered, independent, and capable of success in and out of the classroom. As music teachers, we often strive to expand what learners can do or to stretch existing skills in new or more sophisticated contexts. But it’s also important to take time regularly to ensure that our students are thinking about how their combined actions create expressive performances for their audience, the same way accomplished musicians do. And for that, students must learn to pay attention to external elements of music-making from the beginning—to think like you. 0

John E. Parsons is Assistant Professor of Music Education at Texas Tech University.

References

Duke, R. A., Cash, C. D., & Allen, S. E. (2011). Focus of attention affects performance of motor skills in music. Journal of Research in Music Education, 59(1), 44–55. doi:10.1177/0022429410396093

Parsons, J. E., & Simmons, A. L. (2021). Focus of attention verbalizations in beginning band: A multiple case study. Journal of Research in Music Education, 69(2), 152–166. doi:10.1177/0022429420973638

This explicit pairing of internal and external elements of performance is critical because it teaches students to observe their own playing the same way that teachers do.

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TMEA Vocal Vice-President

JOSHUA MCGUIRE

You Deserve Rest

It’s time for some honest talk. I choir hard. I’ve tried to deny it each time a colleague says this to me. I’d prefer to be the model of someone with perfect work–home balance—the professional with the ability to teach a full day, complete plans for the next rehearsal, and shut the computer off by 5 p.m. to head home, leaving work until the next day. However, I probably wouldn’t have submitted this column on time if there weren’t some truth in that initial characterization of my work habits.

My work colleagues receive texts from me on weekends and during my vacations. Students and families in the choir program sometimes say that I over-communicate and wonder why I’m sending emails at 4:30 a.m. This past spring break, I canceled my plans to visit family for a few days because I felt like I had too much work that would be left unfinished if I took time to travel.

Yes, I choir hard. That said, I do find the time I need to rest, and not just my body, but also my mind. Should I rest more? Probably. Are there times in the year that achieving balance is difficult to come by? Certainly. Am I an expert on this subject? Absolutely not. As we close out the school year and I finish my 21st year of teaching, I believe the summer of 2023 is the perfect time to establish better habits regarding rest in my personal and work life. If you’d like to join me, think of it as a summer resolution for teachers.

At the beginning of February, I was forced with a decision. School had been canceled for the first of four days because of wintery weather affecting much of the state. As I drank my coffee and swiped through social media, my mind was bombarded with thoughts of that week’s numerous school tasks. How could I accomplish everything that needed

MARK

May—Attend your spring Region meeting (see page 2).

May 1 —TMEA 2023–2024 membership year opens for online and mail/email submission.

May 1 —Deadline to nominate students for a Texas Music Scholar award.

May 1–June 1 —2024 Clinic/Convention proposals accepted online.

May 1 —Invited MS/HS Choir application deadline.

June 6 —Connections online session, featuring Sandra Babb.

June 30 —All 2022–2023 TMEA memberships expire.

July 20–22—TCDA convention in San Antonio.

You don’t have to earn the right to rest. You are worthy of rest regardless of the status of your to-do list.

to be done when there was no way to slide my car across the ice all the way north to our campus. Then, while scrolling through my social media feed, I saw a meme that changed my unplanned vacation: You don’t have to earn the right to rest. You are worthy of rest regardless of the status of your to-do list.

And just like that, I allowed myself to lay on the couch and watch television. Three television series were started, and finished, before I returned to work. I called friends who I had been neglecting. Within three days, I started and finished reading a book, and I took time to make and enjoy meals. It was a good reminder that rest is not just physical. Mental rest is equally beneficial to the body in a stressful period during the school year. This period of rest was a reminder that our profession is one that demands physical and mental energy. It also requires time. We often give fully, but don’t receive rest in return for the valuable time we give to the students, schools, and communities we serve.

In the summer of 1999, when I was about to begin student teaching in the Chicago area, I attended my first Illinois ACDA retreat. It was at this gathering of respected choir directors from the Midwest that I heard Jean AshworthBartle, founder of the acclaimed Toronto Children’s Chorus, present a few sessions on teaching choral music. The final session was on work–life balance for those who stand on the conductor’s podium. Back then, I couldn’t comprehend why she was spending valuable time talking with choir directors about finding hobbies outside choral music.

What I didn’t realize then was that we

are better teachers and conductors when we prioritize taking care of ourselves. This was the valuable lesson Ashworth-Bartle was sharing with us. While it is through giving that we receive, we all have limits for giving in a healthy way. Telling someone no is not automatically a sign of laziness; it can represent preservation of mind and spirit. Through all the challenges, the past three years have helped many in our profession realize this truth. While I still look at social media and see my fellow choir-hard colleagues filling their feed with busy, I must believe that even they take time to rest. They’ve learned how to say no. These directors only schedule events of value for their students, and they’ve found the balance between work and their personal lives.

As we approach the end of the school year, we all have our to-do lists that include budgeting, scheduling, planning concerts and trips, literature selection, and many tasks required to leave our campus and begin recharging for next year. I encourage you to be intentional in planning opportunities for rest this summer and in the start of your 2023–2024 school year. Don’t decide your summer break can’t start until you check every item off your list. Some can wait. Instead, pick up that book you received from your best friend over winter break. Take a nap, or take ten naps, if that’s what renews your energy. Take a social media break. Work out at a gym or create a manageable exercise routine at your home that is sustainable for when school begins in August. Above all, establish a routine that incorporates rest. Your future choir director self will thank you.

Have a Story to Share?

Throughout each volume of SouthweStern MuSician, TMEA is proud to publish feature articles written by TMEA members.

In addition to full-length features, we publish shorter articles that offer quick and practical strategies in our “It Works for Me” series.

Learn more about submitting an article for possible publication in our next volume!

End-of-Year Inspiration Through TMEA Connections

As you begin to envision the 2023–2024 school year and your choir program, mark your calendar to meet with and be inspired by our 2024 TMEA Clinic/Convention Featured Clinician, Dr. Sandra Babb. She will share time with us online Monday, June 6, at 7:00 p.m., for a special TMEA Connections session entitled Building Literacy, Technique, and Unity.

In this session, Babb will help choral educators reflect on this year and look forward to 2023–2024. Not only will this be a fantastic way to close out the school year, but it will also be a preview of what to expect at next year’s convention, during which Babb will present multiple clinics. Also, current TMEA members earn CPE credit by attending. To register, go to www. tmea.org/connections where you will log in, find details of this session, and register.

Sandra Babb

Associate Professor of Choral Music Education

at Oregon State University, Sandra Babb teaches choral methods, vocal pedagogy, and choral conducting lab. She also directs OSU Bella Voce, recently featured at the 2021 National ACDA Conference, and the Heart of the Valley Children’s and Chamber Choirs. Recognized for her work in developing choral tone, she is a contributing author for Composing in Choirs, Teaching Music through Performance in Choir, Volume IV, and Voices in Concert. She enjoys living in the pacific northwest, singing with the Corvallis Repertory Singers, building partnerships with local K–12 schools, and directing the OSU Summer Choir Camp for high school singers.

Region Meetings

While several Region meetings were held in April, there are many more scheduled for this month. Be sure to attend and participate in these meetings. They are relevant to you and your students.

See page 2 in this issue or go to www.tmea.org/regionmeeting to find your meeting schedule.

TMEA Membership Renewal

Starting May 1, you can renew your TMEA membership for next school year. All memberships for this year expire on June 30, so renew now to ensure

your membership doesn’t lapse. Go to www.tmea.org/renew, and while there, double-check all your data and make updates where needed.

Convention Proposals Accepted Through June 1

As you prepare to apply, learn more about the proposal and review process at www.tmea.org/proposals. Online proposals for clinics and music showcases will be accepted May 1 through June 1.

Keep in mind that attendees consistently comment they want to attend clinics presented by educators who teach in schools like theirs and who teach their same grade levels. That said, if this isn’t your year to propose, but you know a great educator whose clinic you’d attend, encourage them to apply!

As a reminder, the following are the top 10 topics Vocal Division members who took this year’s convention survey said they want to see covered in next year’s clinics:

• Rehearsal techniques

• Repertoire selection

• Recruiting/retention

• Classroom management

• Teaching methods

• Music theory

• Mental health and wellness

• Diversity, equity, inclusion, access

• Urban or rural challenges and solutions

• Technology integration

All-State Audition Materials

The beginning of May brings the release of the All-State audition material (available at www.tmea.org/vocal/ audition-material). The 2024 All-State

Conductors are excited to join our students in Texas in February. Please utilize the additional resources found on the website and notify me of any issues at vocalvp@tmea.org.

TCDA Summer Convention

I hope you are already looking forward to attending the annual Texas Choral Directors Association summer convention, July 20–22, in San Antonio. Make plans to attend inspirational professional development sessions, visit the exhibits, and enjoy fellowship with fellow choral conductors from around the country.

I hope I’ll see you in San Antonio this summer! 0

Bringing Books to Life Through Music

By Lauren Summa

Iclearly remember the first time I taught a lesson based wholly on a children’s book. It seems like an odd thing to remember, but that lesson transformed how I thought about teaching music. The students enjoyed a book and made music at the same time!

It took a lot of trial and error to determine which types of books and activities work best for my students, but that work was worth it! Book time is one of my favorite times in music class. Books create connections, help us think differently, and guide us in creating bonds with others. They give us reasons to laugh, contemplate, and cry. Books can make us better people.

Book options are limitless and so are their applications. Walking into a library can be overwhelming when you’re first starting to explore book-based lessons. But don’t stress. I’m here to share my starter kit for selecting literature and designing meaningful learning opportunities for your students.

Selecting Books

While it might seem obvious, in the initial step of selecting a book, be sure to read any you might share with your students. You don’t want to be surprised by content!

Finding books that will engage students through storytelling, style, and illustrations is an exciting process. Choose books with something to say. The message might be conveyed with humor or gravitas—presenting books with a variety of tones will benefit your students. A diverse selection will give students ample opportunities to connect with literature.

Representation is important! Look for books with characters and illustrations that represent your students in respectful ways. Not sure if a book respectfully reflects the culture it portrays? Do some online research. We Need Diverse Books is a nonprofit organization with the mission of putting more books featuring diverse characters into the hands of all readers. Their website, diversebooks.org, is an excellent place to continue your education.

Choose literature that aligns with both your professional ethics and community standards. Never use books featuring content based on traditions rooted in racist bias or other discriminatory belief systems. Also avoid books that present situations in lighthearted ways that could be traumatic for your students.

There is a popular and beloved musical storybook that I choose not to use with my students. In the story, the police visit a child’s house in the middle of the night to confront the child’s noisy behavior. I often hear students tell stories about a parent going to or getting out of jail. So, while this book could be utilized to teach musical elements, its value is overshadowed by the emotional trauma that could resurface for some students.

If you discover something inappropriate in a book you had your heart set on using, don’t give up! There are literally millions of books out there to choose from. Keep reading to find the perfect one to incorporate in your music class.

Designing Learning Experiences

Before presenting a book to your students, identify how you will use it in instruction. There are as many ways to utilize books in the classroom as there are teachers to present them. Three teaching strategies I like to use are Direct Interpretation, Teacher Interpretation, and Student Interpretation.

For the books highlighted below, you can download my lesson plans at www.tmea.org/summa-books.

Direct Interpretation

Direct interpretation is the quickest and most accessible way to use a picture book. You can use a book that is based on existing musical material or write your own music, using the author’s text. The following books would be excellent as standalone introductory and closing activities or they can be incorporated into more complex learning experiences.

Respectful Representations

You are the expert on your community and student population.

• Rita and Ralph’s Rotten Day, Carmen Agra Deedy & Pete Oswald (Lesson Included). Rita and Ralph are having an excellent day until they decide to play a new game—Sticks and Stones. This story of friendship and conflict resolution is 50 Southwestern Musician May 2023

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a new take on the story of Mr. Wiggle and Mr. Waggle and is excellent for introducing high/low and melodic contour.

• You Make Me Happy, Smriti PrasadamHalls & Allison Brown. Uplifting prose and adorable illustrations make this book a must-have for younger students. I teach my students a simple melody I composed that easily adapts to the poem’s meter.

Instructor Interpretation

For more in-depth lessons, select a book with teachable moments. The teacher identifies portions of the book that can be used to teach musical skills. Students take part in activities based on the book, but the teacher does the heavy lifting.

• All Are Welcome, Alexandra Penfold & Susanne Kaufman. Be a part of a school where all students are welcome and valued. In this lesson, students create rhythmic ostinato patterns using word chains based on welcoming behavior.

• Once Upon a Jungle (Laura Knowles & James Boast). Food webs take center stage in a beautifully bright and vibrantly illustrated jungle. This book pairs wonderfully with an arrangement for Orff ensemble that reinforces fourth-grade science skills (see below). I wrote the lyrics based on the concepts presented in the book.

• Eating the Alphabet, Lois Ehlert. A rainbow of delicious fruits and vegetables serves as a basis for musical exploration with younger students. Connect your favorite classic food-themed songs, chants, and movement to this book with ease.

Student Interpretation

Students take the lead in making music. Using a book as a springboard, guide students through the process of musical creation. The instructor sets the guidelines, but the students interpret the book through music.

• Another, Christian Robinson. Enter an alternate universe and encounter new perspectives in this wordless picture book. Starting with movement, students explore individual and paired movement before composing.

Once Upon a Jungle

• Perfect, Max Amato. What happens when conflicting forces come together? Students explore the idea through speech and unpitched percussion to create a soundtrack that evolves at each page turn.

• Blancaflor, The Hero with Secret Powers: A Folktale from Latin America: A TOON Graphic, Nadja Spiegelman & Sergio García Sánchez. Blancaflor hides her talents and contributions while trying to impress a handsome prince in this engaging graphic novel. Select excerpts of this lengthy book for your students to score. Use existing melodies as character themes to build upon.

Student Behavior During Book Time

After you have selected a book, it’s time to use it in your classroom. Sometimes when I am ready to share a book with my students, they aren’t ready to receive it. I will never forget the day I sat down to read The Snowy Day by Ezra Jack Keats to a kindergarten group and a boy shouted out, “Noooooo! We hate books!”

The whole class agreed, and I had a mutiny on my hands. The book was put aside for the day, I pretended to love my job, and we moved on to a different activity. I might have eaten a box of cookies alone in my closet that night to cope, but I also resolved to think of some sneaky ways to reach those tough classes.

While books are fantastic, kids are still kids. If they walk into your classroom feeling big things, you must be ready to pivot. So, what do you do when kids aren’t ready for the traditional readaloud experience? Here are a few ideas:

• Start with music: Find a song or chant that can serve as a lead-in to the book you have selected. While actively making music, describe elements of the story that relate to the music. Slowly introduce sections of the book to get students invested.

• Start with movement: Help students focus their energy through movement. If they arrive hyped up, start with an energetic activity and transition to quiet controlled moves. From there introduce elements of the story to explore through movement in their own spaces. Then show the class the pictures in the book that might look like what they have been doing.

• Have a discussion: Ask your students what you can do to get them ready to hear a story. Many times, students know exactly what they need to get them in the right mindset for class.

Putting It All Together

Starting with a high-quality book, a thoughtful lesson, and strategies to support squirrely students will set you up for success. Enjoy your time in the library researching books and learning something about yourself along the way!

L auren Summa teaches K-5 Music at Melba Passmore Elementary in Alvin ISD.

TMEA Elementary Vice-President CHRISTOPHER GILES

Keeping Your Students Engaged

We have the freedom and creativity to teach our TEKS through a variety of mediums including singing, dancing, creative movement, and instrument playing.

Iam finishing this school year enjoying some sense of normalcy and I hope you are as well.

On our campus, students fill the halls, carrying their lunch boxes, wearing huge smiles and matching shirts. They’re eager to leave for their end-of-year field trip. Concerts and family events are in full swing, and my campus is gearing up for the return of a community favorite—our annual field day. A campus that felt somber and empty just a short while ago is now a beehive teeming with energy. As we bring this school year to a close, we must be intentional with the short time we have left with our students. Let’s help them finish strong, with memories that motivate their return to music next school year.

Keeping Students Engaged

As elementary music teachers, engagement is something we pride ourselves on. We have the freedom and creativity to teach our TEKS through a variety of mediums including singing, dancing, creative movement, and instrument playing.

At this time of year, I suggest taking the concepts you have been working on and play with them. This last month is the perfect time to work on collaborative composition projects as well as drumming and recorder ensembles. I love giving my students the chance to revisit some of their favorite games we have done throughout the school year. I don’t know about you, but my fifth graders always ask for games they learned back in kindergarten and first grade! Keeping students engaged

check www.tmea .org

May—Attend your spring Region meeting (see page 2).

May 1 —TMEA 2023–2024 membership year opens for online and mail/email submission.

May 1–June 1 —2024 Clinic/Convention proposals accepted online.

June 15 —Application deadline for Elementary Division Invited Choirs and Ensembles.

June 30 —All 2022–2023 TMEA memberships expire.

July 20–22—TCDA convention in San Antonio.

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through collaborative projects and games is also a great way to manage some of the end-of-year behaviors that students tend to exhibit.

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Start Preparations for Next Year

The beginning of the year is filled with meetings, staff development training, and dusting off and setting up classrooms in preparation for the new year. As we close

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out this year, I encourage you to begin preparations for next year before you leave your school for the summer.

During the month of May, I start building a Google Doc entitled “Ensemble Possibilities” for my before- and afterschool groups. I do admit that it is a little unusual listening to Christmas, Hanukkah, and winter music in May, but I do take 20–30 minutes scouring publisher websites to find pieces that my students and community members might like. I will type up the list in the Google Doc and add links to the score, prices, and audio files. Then in the fall semester, I go back into my classroom and whittle down the list to the final pieces to purchase and perform.

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Another way to prepare for the fall is to revisit the forms and signups you sent out this year as you begin to secure dates on the calendar for your performances and field trips for next year. While it is still fresh in your mind, edit your T-shirt uniform order forms, permission slips, ensemble signups, etc., and include information that answers the questions parents emailed you about this year. Be sure to update the times, venues, and dates for the following

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school year. These updates help ensure you have a strong foundation for starting your extracurricular activities so that you can dive into your grade-level planning.

Summer Offerings

Our schools often provide exceptional professional development, but it isn’t typically tailored to meet the needs of elementary music teachers. During the summer there are myriad options out there, both virtually and in person, specifically for elementary teachers to hone your personal teaching strategies. In addition to the annual Texas Choral Directors Association (TCDA) convention, there are popular in-person training opportunities available across the state for Kodály and Orff training.

The TCDA Convention is July 20–July 22 in San Antonio. Each year there are valuable publisher reading sessions that feature both new and proven repertoire, sessions for starting, building, and finetuning your choirs, and incredible student performances. This year the 2023 TCDA Elementary Honor Choir is under the direction of Elizabeth Shepley. Members can register online or onsite. Continuing Professional Education credits and Teacher Choice hours are available for this convention. More information can be found by visiting www.tcda.net.

Kodály training is typically a threeweek course that embraces five core areas of study. These include Musicianship, Choral Ensemble Skills, Music Literature, Conducting, and Pedagogy. A Kodály inspired music education utilizes folk material to help prepare, present, and practice music concepts to promote music literacy. After successful completion of a Kodály certification, a teacher should receive 225 hours of Continuing Professional Education credits and Teacher Choice hours. You can find a certification program near you by visiting the Organization of American Kodály Educators (OAKE) website, www.oake.org.

Orff training is a two-week course that encompasses three areas of study: Basic Pedagogy, Recorder, and Movement (creative and folk dance). An Orff-centered music education incorporates folk material and the Orff-Schulwerk volumes in preliminary play, imitation, exploration, and improvisation to promote music literacy and active music-making. After

successful completion of Orff certification, a teacher should receive 180 hours of Continuing Professional Education credits and Teacher Choice hours. You can find a certification program near you by visiting the American Orff-Schulwerk Association (AOSA) by visiting www.aosa.org.

The price of the courses can vary greatly from location to location. Be sure to talk with your campus administration and your PTA/PTO. They may be able to pay for or subsidize the cost of the course or the required materials.

Renew Your Membership

As of May 1, you can renew your TMEA membership to ensure you are current for the 2023–2024 school year. Go to www. tmea.org/renew to complete that step and check the school name and all other data on your record for needed updates.

Submit a 2024 Convention Proposal

Proposals for clinics and music showcases are accepted online May 1–June 1 at www.tmea.org/proposals. I hope you’ll consider applying or encourage a colleague

whose clinic you’d want to attend to apply. One of the best aspects of our convention is the opportunity to learn from teachers like us who are doing what we do every day.

As a reminder, the following are the top 10 topics Elementary Division members who took this year’s convention survey said they want to see covered in next year’s clinics:

• Teaching methods

• Classroom management

• Special-needs instruction

• Technology integration

• Diversity, equity, inclusion, access

• Repertoire selection

• Rehearsal techniques

• Instrument methods

• Mental health and wellness

• Urban or rural challenges and solutions

I hope you have a wonderful end of the school year and a great summer! 0

2024 Clinic/Convention Proposal Deadlines Near

May 1–June 1: Submit a proposal to present a pedagogical clinic during the convention. Attendees prefer to learn from fellow music educators who teach the same grade levels and in schools like theirs, so apply now (or encourage a colleague to do so). Go to tmea.org/proposals.

May 1–June 15: Apply for your elementary choir or ensemble to perform a concert during the convention. Go to tmea.org/elementary to access the application page.

Submit a Proposal for the

Why Submit?

Offering 300 professional development clinics is one of the most amazing aspects of the TMEA Clinic/ Convention! Convention attendees have spoken, and they want clinics offered by teachers who are in situations like theirs. They want to learn from those who teach the same grade levels and in similar environments. Share what you know and help colleagues across the state return home with new ideas and strategies!

What Topics?

In 2024, attendees want to learn about:

• rehearsal techniques

• teaching methods (EC–college)

• repertoire selection

• recruiting and retention

• classroom management

• instrument methods

• technology integration

• mental health and wellness

• conducting techniques

• diversity, equity, inclusion, access

• small school strategies

• advocacy/administrative support

• and much more

CLINICS

The Purpose

Each division will host a diverse program of clinics to ensure every member has multiple offerings to foster their professional advancement and to help them in their personal support of all students through music education. Clinics will further TMEA’s commitment to music education for all: every student at every level deserves a well-balanced education that includes a comprehensive, highquality, sequential program of music taught by teachers who are certified in music education.

Learn about the process and get ready to apply!

TMEA Clinic/Convention

The 2023 Clinic/Convention featured 50 Music Showcases, held in open areas throughout the convention center. Showcases included steel drum bands, brass and woodwind ensembles, show choirs, and more. These 30-minute performances offer smaller ensembles the opportunity to share music with thousands of convention attendees. Music Showcases are a vital component of our convention, displaying the amazing results of quality music education throughout all areas of the center. Learn more about the process and get ready to apply at www.tmea.org/musicshowcase.

MUSIC SHOWCASES

TMEA Distinguished Administrator Spotlight

The TMEA Distinguished Administrator Award program recognizes school administrators whose support has been critical to the music program successes in schools across our state. TMEA has recognized over 300 deserving administrators through this program. When TMEA honors an administrator with this designation, the nominating TMEA member is sent a certificate to present their administrator.

To nominate your administrator, go to www.tmea.org/adminaward.

Chad Huseman is a true example of what school administrators should be. He has continuously shown a high level of support to all who are in our Fine Arts Department. Mr. Huseman leads our administrative team in a way that has built a great community and culture on our campus. I love that we can go to any administrator and know we will be heard and supported. Because we are held to the same standards as other subjects, we are given the same respect as any other teacher or subject.

We constantly have administrators and assistants at our events, and they check in to ensure we have what we need. This culture of support and belonging starts with a great leader, and we have that in Mr. Huseman. He has set aside funds to help us attend trainings and conventions and supported our attendance at district sessions specific to our subjects.

I often hear peers talk about issues they have with administrative support, and I realize that I can’t relate to their experience. I also find myself saying that it’s not only the students who keep me in the profession and at my campus, it is also our administrative leadership. Mr. Huseman encourages us to share all the good things happening in our programs, and he celebrates those accomplishments with us. I’d like to return the favor and recognize him for all of his dedication to our campus and music programs. Thank you, Mr. Huseman, for creating a safe place for educators to create beautiful music with our students and for challenging us to keep reaching higher for them.

sixth-grade beginner band. She adjusted the master schedule so that we could have two beginner classes rather than one. This allowed us to teach woodwinds in one class and brass in another, and this schedule change has yielded tremendous improvement over the single-class experience. My assistant and I can now split up the brass class and the woodwind class so that we can more effectively teach each instrument group.

It is with great pride that I nominate Lorianne Toombs for this honor! Ms. Toombs is in her second year as principal for Colorado MS and has been a true champion for our band program. Her greatest help has come in the form of scheduling for our

Leslie Burke is the textbook example of a supportive administrator. Since I was hired at Silbernagel Elementary school in 2021, Ms. Burke has supported me personally and professionally. From advocating for my program to letting me try new things, she has always been a champion of fine arts and student opportunity.

Ms. Burke is a strong leader. She is not in the administration business to make friends, but rather to encourage teachers to reach their potential. She has high standards and expects her teachers not only to do their jobs but also to do them with class and dignity. Her motto is to do what is right for kids.

I have always felt like my voice is valued at the campus level and is elevated to the district level when elementary music or fine arts input is needed.

Ms. Burke has been an advocate for the music program through creative programming, such as the addition of an afterschool choir and recorder club (the only in our district), heritage programs such as for Hispanic Heritage and Black History Months, community travel for the choir (a first this year!), and professional development targeted to elementary music. She is the first to praise our groups and encourage students and families to get involved with the arts.

I consider Leslie Burke an outstanding mentor, a kind friend, and an upbeat and flexible sounding board for her teachers. In these challenging times, Ms. Burke is helping transform Silbernagel students into strong, contributing leaders in our community, starting in PreK.

CHAD HUSEMAN, PRINCIPAL Caprock HS, Amarillo ISD

Nominated by: Andrea Cruz, Caprock HS

LORIANNE TOOMBS, PRINCIPAL Colorado MS/Colorado ISD

Nominated by: Samuel Hale, Colorado HS

LESLIE BURKE, PRINCIPAL Silbernagel ES/Dickinson ISD Nominated by: Kelsey Helton, Silbernagel ES

Jody Hormann currently oversees all student activities for Leander ISD, with the difficult task of balancing support and providing equitable access for fine arts organizations, athletic organizations, and additional activities for all students in a large and growing school district.

LISD quickly expanded into a district of six high schools, nine middle schools, and 29 elementary schools. Mitigating the challenges that result in a rapidly growing school district, Ms. Hormann developed systems and processes that have helped music programs in Leander ISD continue to thrive through that growth.

Through her leadership, she has increased personnel and staffing in the district Fine Arts Department, pushed for larger budgets for Leander ISD band and choir programs, and provided much needed support and funding for participation in UIL and TMEA programs. She has also served as an effective advocate for fine arts and music throughout tough conversations in school board meetings, in district cabinet meetings, and with campus principals.

Through the difficult times triggered by the pandemic, Ms. Hormann demonstrated strong and steadfast leadership. She was willing to make difficult decisions while keeping our students’ opportunities at the forefront of that decision-making.

Francisco Miranda began his tenure at Nimitz four years ago, ready to learn about everything that goes into a successful music program. He does more than attend every event. He protects our programs. Our district recently switched to block scheduling. When this happens, fine arts programs often lose students. We didn’t because Mr. Miranda ensured that every student who wanted to participate had the opportunity.

When we have an issue with busses, he is there to help. When we have a campus space reserved and another group requests it, he protects our rehearsal time and our space. He doesn’t simply say “good job” and move on. He goes to our contests and concerts and travels far from campus to support our students. We are successful because we work with a principal who protects our interests and our students’ opportunity to study music.

Paula Patterson is a friend of the arts in the truest sense of the word. As Superintendent of Schools for Crosby ISD, Ms. Patterson has constantly supported our music programs. She believes in the importance of music education, and her record of support for the arts goes back to her time as a teacher and principal in Crosby ISD.

Ms. Patterson attends almost all concerts, competitions, and other performances. For those she cannot attend, she always makes sure to offer her well wishes. She notices and recognizes the band’s development across the semester and year. It means a lot to know that your administrator understands what you are doing, sees the weekly improvement, and recognizes that growth. Ms. Patterson loves visiting with our band students. She comes by rehearsals often and even participates in our concerts!

Under her leadership, our programs in Crosby ISD are thriving. She supports all the hard-working programs on our campus, and because of her support and this success, our district and community have such a strong sense of pride. Ms. Patterson is a fun, genuine leader you enjoy working with. She is a motivator not just in the school district but also in our community. I am proud and grateful for a person like Paula Patterson to guide our school district.

While this is my first year at Fabra Elementary School, it’s my 18th as a music teacher. I have worked in different cities and at various types of schools. Fabra Elementary Principal Troy Latiolais stands out among those I have had the privilege to work for.

Not only does he encourage my plans to expand the music offerings at our school and in our community, but he also offers real help in making them possible. On my first field trip/choir performance, Mr. Latiolais rode the bus, took head counts, spoke with parents, and offered spontaneous and meaningful help.

When I wanted to plan an afterschool winter concert for the first-grade students and choir, he helped me with everything from song selection to opening the show and dismissing kids. He stays after events to help me clean up, and he has been especially supportive over social media promotions. Nothing beats the principal sending a tweet to the entire community. Our concerts have been standing-room-only this year thanks to his social media posts.

I recently asked Mr. Latiolais if I could start an afterschool musical theater club and he was very supportive, helping me set it up in a way that would allow the most students to be involved. He has also been very helpful in ensuring financial support for these programs. He and his team selected our program for a schoolwide grant for ukuleles. Something I expected to spend five years fundraising to pay for was granted in just a few months.

This may be my first year at Fabra Elementary School, but with a principal who shows this level of care and involvement, I plan to stay until I retire!

PAULA PATTERSON, SUPERINTENDENT Crosby ISD

Nominated by: Kevin Knight, Crosby HS

FRANCISCO MIRANDA, PRINCIPAL Nimitz HS, Irving ISD

Nominated by: Erin Scalisi, Nimitz HS

TROY LATIOLAIS, PRINCIPAL Fabra ES, Boerne ISD

Nominated by: Claudia Salazar, Fabra ES

JODY HORMANN, SENIOR EXECUTIVE DIRECTOR OF CAMPUS ACTIVITIES AND SUPPORT Leander ISD

Nominated by: Mike Howard, Leander ISD

TMEA College Vice-President MATTHEW MCINTURF

Establishing Credibility and Influence

We must demonstrate our educational commitment to our students and constituents and be positive contributors to the institution’s health.

Cristina Mendoza Padilla 1973–2023

The close of the spring semester usually brings a time of relief and reflection. Like many of you, I have learned over the years that effective planning begins with a critical debrief of the preceding year. Reviewing the year, I am delighted with my students and colleagues. They have been flexible, energetic, and invested in learning and success. I believe we have made significant progress in recovery, but we still need to be creative and flexible as we react to changes, not all of which are predictable.

Perhaps unsurprisingly, many predictions and plans I made for this past year didn’t come to fruition. Mostly, I underestimated the loss of institutional memory that resulted from post-pandemic administrative changes. I am still optimistically viewing this as an opportunity to streamline work processes, but I intend to be more flexible and communicative next year. I have also developed more empathy for our faculty working in administration, as they seem more affected by the changes than teaching faculty. The processes involved in administration became exponentially more difficult with the pandemic.

As I speak with teachers around the state, I find that most of the acute discouragement is rooted in administrative concerns. Teachers usually see student challenges as within their purview but often seem less equipped when faced with administrative hurdles. That can be compounded by feeling unappreciated when obstacles appear and resources disappear. Part of my concern is that this is often experienced intensely

www.tmea .org for updates

May—Attend your spring Region meeting (see page 2).

May 1 —TMEA 2023–2024 membership year opens for online and mail/email submission.

May 1 —Deadline to nominate students for a Texas Music Scholar award.

May 1–June 1 —2024 Clinic/Convention proposals accepted online.

June 30 —All 2022–2023 TMEA memberships expire.

July 20–22—TBA, TCDA, TODA conventions in San Antonio.

October 6 —College Division Fall Conference

by new faculty and young teachers. These are very real concerns, but I don’t believe we are either helpless or hopeless.

The ongoing debate on certification is an example of faculty positively influencing administrative concerns. TMEA, especially the College Division, has worked hard to participate in constructive dialog and exercise thoughtfully measured influence to help our students and our programs. It takes time and requires us to work together with our colleagues, but the effort benefits our students and our profession.

Experience shows us that we must do several things to establish credibility and influence with decision-makers. First, we must approach them with professionalism and integrity. Our focus must be on our students’ welfare and the health of the curriculum. Second, we must be patient and respect the administrative process. We must create opportunities to work with, not in opposition to, the administration and their educational goals. Third, we must communicate clearly and inform

tions. Fourth, regardless of our perception of the problem, we must always act transparently and professionally. We must demonstrate our educational commitment to our students and constituents and be positive contributors to the institution’s health. Creating consensus will never be possible if we are viewed as unprofessional or unwilling to collaborate.

One of the best administrative leaders I have worked with often said, “There are no problems, only new opportunities.” While there may be a little Pollyanna prescription in that aphorism, it remains a valuable starting place when planning for the future.

2023 College Division

Fall Conference, October 6

To avoid conflicts with other professional events, we changed the date of the 2023 College Division Fall Conference announced in last month’s magazine. The conference will be held Friday, October 6, at the TMEA office in Austin. Please update your calendar. We would love to

9:00 a.m. and end around 3:00 p.m.

Under the revised constitution approved during the 2023 Clinic/Convention, the College Division Fall Conference has become an even more important event in the life of the division. Recognizing that most College Division business is not conducted at the Region level, we will be empowered to nominate a candidate for College Division Vice-President at the Fall Conference. I believe this will lead to a more democratic and equitable process.

Our Fall Conference will continue to have committee meetings and address important issues for university faculty. The Executive Board, the TMEA staff, and so many of you in the division continue to monitor and address the certification issues critical to the future of music education in Texas and our work preparing the next generation of educators and leaders. I believe we are making significant progress, but this is a daunting process being influenced by many issues unrelated to creating success for our students. Our conference will provide a forum for information, dis-

Contact Tyree Hastings thastings@uttyler.edu

Contact Jeremy McBain jmcbain@uttyler.edu

Contact Sarah Roberts sroberts@uttyler.edu

Essay Contest

The Article Review Committee is working on drafting the rules and procedures for the Essay Contest to be held next school year. The Board will finalize the information at its May meeting, and it will be published in the September issue of the Southwestern Musician.

Please encourage your students to submit an essay. There will be undergraduate and graduate divisions, and winners will receive a $2,000 award. In addition, the winning essays may be published on the website and will be considered for publication in Southwestern Musician.

Submissions will be due in early December, and the awards will be presented at the College Division meeting at the 2024 TMEA Convention. The intent is for the contest to be an annual event.

TMEA Membership Renewal

It’s May, and that means you can renew your TMEA membership. Your membership is critical to the success of TMEA and

it brings tremendous benefit and value to you. From the professional perspective, TMEA is engaged in the legislative process that immediately affects our students and our certification curriculum. From a personal perspective, the opportunities to serve as a participant and presenter at our annual convention are an important part of an engaged professional life. If you are unsure of your membership status, go to www.tmea.org/renew.

Submit a Clinic Proposal

I hope you are considering submitting a clinic proposal for the 2024 TMEA Clinic/ Convention. The online submission portal is open May 1–June 1. The review process will begin immediately after the closing date. We welcome proposals on a diversity of topics and seek thoughtful and creative work. We are fortunate to have so many gifted and committed teachers in our membership and value your contribution to our annual meetings.

College Division Region Chair Vacancies

We still have several Regions that do not have a College Division Region Chair. If your Region Chair position is vacant and you are interested in serving, please contact me. I will be happy to discuss it with you and to help you in any way.

Committee Service

A strength of the College Division is the active service and contribution of our committees. Our Committee Chairs are currently confirming the 2023–2024 committees to publish on the website. If you are interested in serving on a committee, please contact me or reach out directly to the chair of that committee. You can find those committees linked from the College Division page of the TMEA website at www.tmea.org/college. Committee service is the backbone of the College Division and a concrete way to be actively involved in the large work of our profession.

Enjoy your summer, and remember to take some time for yourself. 0

SERVING OUR NATION WITH THE WORLD AS OUR STAGE

Marine Musicians represent the Corps and create the sound of freedom for all the world to hear. As a Marine in the Music Enlistment Option Program, you can proudly use your passion for music to inspire our entire Nation.

Do you belong among our ranks?

among