May 2024 Southwestern Musician

Get kids performance-ready in no time, with Breezin’ Thru Theory and now with Fingerings too! The super-fun Breezin’ Thru Fingerings are timed-response drills for beginning and intermediate players. Kids simply pick their instrument or voice and try to beat the clock matching notes to correct finger positions. As they progress through the levels, students build rapid response and mastery. Level the playing field and accelerate your performance programs by integrating Breezin’ Thru Theory, now with Fingerings too.

Woohoo! Fingerings now available for: ● Band ● Orchestra

Guitar ● Solfège ● Recorder ● Ukulele ● Mallets/ Keyboard

TMEA Distinguished Administrator Spotlight

TMEA provides members the opportunity to recognize outstanding upper-level school administrators for their support. Read about nine administrators who recently received this distinction.

It’s All About the Music

by karen cross

Following 31 years of service as TMEA Executive Director, Robert Floyd will retire on June 30. Read about what led him to his 26-year career as music educator and the following three decades as music education advocate and director of our association. Also enjoy a Q&A with Bob, sourced from questions submitted on social media.

The Greener Grass Is Right Under Our Feet

by tim lautzenheiser

37

When exhaustion compounds throughout a school year of high demands and expectations, it can lead you to look for a way out. In those moments, it’s important to pause and consider not just what you are dealing with but how you are processing it.

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: Jesse Cannon II, Fort Worth ISD president@tmea.org | 817-814-2635 1407 I.M. Terrell Circle South, Suite 2203-Room 02, Fort Worth, 76102

President-Elect: Shane Goforth, North Shore Senior HS presidentelect@tmea.org | 713-516-7158 14122 Wadebridge Way, Houston, 77015

Past-President: Dana Pradervand-Sedatole, University of Houston pastpresident@tmea.org | 713-743-3627 3606 Glenwood Springs Drive, Kingwood, 77345

Band Vice-President: Mike Howard, Leander ISD bandvp@tmea.org | 512-570-0161 11301 Hill Drive, Leander, 78641

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 | 469-219-2300 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: Carter Biggers, Texas Woman’s University collegevp@tmea.org | 940-898-2689 304 Administration Drive, Denton, 76209

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

Digital Communications Specialist: Amanda Pierce | apierce @tmea.org

Financial Manager: Cristin Gaffney | cgaffney@tmea.org

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

Administrative Assistant: Dana Whitmire | dwhitmire @tmea.org

TMEA Office

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

Physical Address: 7900 Centre Park Drive, Austin, 78754

Website: www.tmea.org | Phone: 512-452-0710

Office Hours: Monday–Friday, 8:30 a m –4:30 p m

Attend Your Spring Region Meeting

May 11 10:00 a.m. McKinney HS

Texas Tech University School of music

Texas Tech University School of music

JESSE CANNON II

Committed to the Work TMEA President

The magic you’re looking for is in the work you are avoiding.

Anyone who has been following the education scene in recent years cannot ignore the significant seismic shifts that have taken place. With the media spotlight and the tumultuous political backdrop, some educators have found it nearly impossible to reconnect with the fire that sparked their journey into this profession in the first place.

I’ve recently had an opportunity to reflect on what kept me in the classroom and now in my role as a fine arts administrator. The constant in each has been providing students with quality arts education and exposure to various experiences. “Be who you needed when you were younger” was a quote that had a profound impact while I was teaching in the classroom. It not only reminded me of my purpose but also of the need to cultivate an environment where every student knows they are seen, heard, and valued in their musical journey.

In my classroom, building relationships with my students was not just a priority—it was the foundation upon which our music program thrived. Whether through social events or dedicated time carved out in class, I made it a point to connect with each student on a personal level. This investment in relationships not only enhanced the classroom environment but also elevated our music-making to new heights.

For many of our students, our programs serve as the most consistent

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

May—Renew your membership for the 2024–2025 school year.

May 1–June 1 —2025 Clinic/Convention proposals accepted online.

June 30 —All 2023–2024 TMEA memberships expire.

July 25–27—TBA, TCDA, TODA conventions in San Antonio.

August 20 —Liability insurance purchased last year through TMEA expires.

Winners of: Grammy Award, American Prize, American Protégé Award, Fulbright Scholar and Specialist Fellowships, Global Music Award, Metropolitan Opera National Council Audition, San Francisco Opera Adler Fellowship

brass

Keith Winking, trumpet*

Robert Cannon, trumpet

Bill Gayman, trombone

Jill Smith Rodríguez, horn

Raúl I. Rodríguez, euphonium/tuba

Caroline Steiger, horn

Tyler Vahldick, trombone

composition

Michael Ippolito*

Richard Hall

Jack Wilds jazz

Utah Hamrick, double bass/ensemble*

Carter Arrington, guitar/combos

Teofilo (Tito) Carrillo, trumpet/ensemble

Joel Frahm, saxophone

Hank Hehmsoth, piano/composition

Arthur Latin II, drum set/ensemble

Randy Zimmerman, trombone

keyboard

Jason Kwak, piano*

Kyung-Ae Lee, piano

Daria Rabotkina, piano

latin music studies

Miguel Guzmán, mariachi

Kirsten Boynt, salsa

Rene Gonzalez, Latin percussion

Marta O. Ocampo, mariachi

Michelle Quintero, mariachi

Juan Rosaly, salsa

percussion

Genaro Gonzalez*

Kari Klier

Robert A. Lopez

strings

Ames Asbell, viola*

Andrea E. Beyer, double bass

Mark Cruz, guitar

Karla Hamelin, cello

Lynn F. Ledbetter, violin

voice

Daveda Karanas, mezzo-soprano * Christopher Besch, bass-baritone

Natalie C. Cummings, soprano

Giuseppe Filianoti, tenor

Timothy O’Brien, baritone

Suzanne Ramo, soprano

Ron Ulen, baritone

Myra Vassian, soprano

woodwind

Adah Toland Jones, flute*

Ian Davidson, oboe

Daris Word Hale, bassoon

Todd Oxford, saxophone

Vanguel Tangarov, clarinet

Brian Trittin, saxophone

*area coordinator

and stable aspect of their lives. They cling to music as a source of solace, expression, and belonging. As educators, it is our responsibility to create an environment that fosters their growth and celebrates their individuality.

In some recent reading, I stumbled upon this insightful notion: The magic you’re looking for is in the work you are avoiding. As the school year winds down, it’s the perfect time to embrace that. Despite all the distractions that come with the end-of-year activities, planning is the key to setting your program up for success. So, how do you ensure your music program not only survives but also thrives come August? Dive into the tasks you’ve been putting off, whether it’s revamping your curriculum or finally organizing the mountain of sheet music, and consider the following:

Systems & Procedures

Take a moment to assess your program’s processes. What aspects are functioning effectively, and where are the opportunities for improvement? Streamlining your daily tasks can alleviate the burden of seemingly overwhelming responsibilities as the year progresses. What processes can you move online to reduce paper and increase accessibility? What district-wide platform could be used to reduce the number of apps students and parents have on their devices?

Calendar

Have you planned your concerts for next year? Completing this before you leave for the summer will give you a time-

line to help as you select repertoire during your break and give your students a calendar to help them plan ahead.

Student Leadership

How do you engage student leaders in your program? By establishing your student officers for the upcoming year now, they can facilitate various tasks during the summer break. Additionally, consider empowering them to organize a studentled summer social event to maintain student engagement and foster a sense of community within your program.

Budget Review & Planning

Everyone’s budget systems vary based on their district. Reach out to those responsible to ensure you have a plan in place as soon as the budget opens. This will enable you to allocate funds according to the specific needs of your programs. Take stock of what you spent this year and what your program will require next year. Make these requests before you leave for the summer to ensure a smooth transition and adequate preparation for the upcoming school year.

Scheduling

Connect with your lead counselor to ensure students are properly placed in the correct ensemble. Students often relocate over the summer, and some incoming freshmen hesitate to get involved on campus. Leave promotional material in the counselor’s office about your program so if a student asks, they have information to share. When framing your conversation with your counselor, be sure to address any

Have a Story to Share?

Throughout each volume of SouthweStern MuSician, TMEA is

In addition to full-length features, we publish shorter articles that offer quick and practical strategies in our Sound Ideas series.

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

schedule conflicts and be ready to present your solutions in the context of what’s best for the students.

Reflection

Whether teaching at the elementary or secondary level, take some time to review the year, celebrate your wins, and learn from your challenges. This self-awareness will fuel your growth and set you up for success in the future.

This month is all about laying the groundwork. Our goal is to uncover any roadblocks that might present themselves in the fall and ensure that our organizations are just as strong as the music we make next year. With intention, you can experience a smooth closing of one chapter and the opening of another.

2025 Convention Proposals

The depth of knowledge and expertise within our membership is truly remarkable. As we prepare for the 2025 Clinic/ Convention, we recognize that each of you brings invaluable insights and experiences to the table. Now is the time to harness that collective wisdom and create a convention program that reflects the richness and diversity of our community.

From May 1 to June 1, we invite you to submit your clinic and music showcase proposals for consideration. Visit www. tmea.org/proposals to share your ideas and contribute to our convention programming. Please be especially thorough in how you document what you plan to share through your clinic. It is only with a detailed description of what and how you will present that an effective review of your proposal is possible.

Our Executive Board is committed to curating a convention filled with clinics and concerts that inspire, educate, and empower. Your proposals play a pivotal role in shaping the content of the convention, ensuring that it meets the needs and interests of our membership at every level.

Take a moment to reflect on your experiences, expertise, and passions. What topics do you feel passionate about sharing with your fellow educators? What innovative approaches or strategies have you implemented in your classroom? Your insights could spark new ideas and perspectives for attendees. 0

SMU PROUDLY HONORS ALUMNUS

ROBERT FLOYD

for his distinguished career in music education

31 YEARS AS EXECUTIVE DIRECTOR OF TMEA

ROBERT FLOYD

What You Do Matters TMEA Executive Director

The depth of emotional complexity inherent in music provides a distinct avenue for personal growth and development and offers a unique dimension of enrichment that sets it apart from many other activities claiming to foster life skills.

It is with indescribable emotion that I opened my Southwestern Musician folder on the TMEA server and created the file to house my final column for the 31 years I have served as Executive Director.

As I prepared to write this column, I went to the archives room in the TMEA office and pulled from the files the May 1993 issue, which included my thoughts as Executive Director Designate, as well as the August issue from that same year in which I shared my first column as the new Executive Director. In the May article I listed the critical areas in which TMEA needed to expand its efforts: lobbying, building unity among our membership, continuing to expand its efforts to serve the membership with addressing local challenges and problems, and continued flexibility to help our members deal with changes over which we may have little control—everything from funding to scheduling issues to state accountability. And finally, we needed to expand our emphasis on a philosophy of promoting music in our schools and doing all in our power to make sure we better serve our teachers and student musicians.

In my first column as Executive Director I commented that I wanted to utilize this magazine each month to share information, ideas, and philosophies to assist members in carrying out their responsibilities and obligations as a teacher in a more timely, efficient, and effective manner. I believe that through the efforts and support of regional and state

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

May—Renew your membership for the 2024–2025 school year.

May 1–June 1 —2025 Clinic/Convention proposals accepted online.

June 30 —All 2023–2024 TMEA memberships expire.

July 25–27—TBA, TCDA, TODA conventions in San Antonio.

August 20 —Liability insurance purchased last year through TMEA expires.

leadership and staff we have made significant strides in all the above-mentioned areas that, 31 years later, continue to be our priorities.

As I faced monthly print deadlines through the years, I have sometimes been tempted to reach back into the archives and simply reprint a 20-year-old column. I have prided myself in refraining from such a tactic. I have attempted to vary content by topic—information, pedagogy, latest advocacy, political updates, inspiration. Most recently my columns have served as love letters of appreciation and thanks to the TMEA family for your service to your students and to TMEA over my 31 years in this role.

Being in reflective mode, I vividly remember being at our 1978 convention held in Houston. As I walked out of the Band Division meeting having just been elected Vice-President and Band Chair, I was suddenly panicked at what I had just done to my life for the next two years. Little did I know the journey I was beginning. It was a challenging time on the Board. In December of the same year our beloved Executive Director, Joe Lenzo, died suddenly. This tragic event was followed in rapid succession by our convention (hosted without the benefit of Lenzo’s guidance), the search for our next Executive Director, relocating from Pasadena to Austin, and finding office space to house us.

Meanwhile, we built a long-range plan to survive a potential fiscal crisis triggered by MENC (now NAfME), the national music educators association, as they had scheduled their 75th anniversary convention celebration to be held in San Antonio just four weeks after the 1982 TMEA convention. What if most of the national exhibitors as well as some of our teachers chose to attend MENC and not TMEA that year?

Fortunately for TMEA, at a meeting led by the Music Industry Council the year before, it became apparent that the majority of the national exhibitors were going to attend TMEA’s event. This jeopardized MENC’s plans for their 1982 convention. With the support of the Executive Board and Presidents Council, TMEA offered to host MENC’s 75th anniversary celebration during our convention, and they accepted. This happened to be the year I served as TMEA President.

Fast-forward ten years to my selection as TMEA Executive Director in 1993, with the beginning of that story being told in my keynote speech at this year’s convention. If I had given my keynote a title, it would have simply been “What You Do Matters.” The message I wanted to share was not so much about TMEA’s history but anchored in my 26 years as a teacher and supporting teaching and learning during each of your individual careers, touching and changing students’ lives through music.

I am sure there have been times, perhaps including my keynote, when reaction to my writings and words may have been Bob, you have been out of the classroom too long and have lost touch with reality. This touchy-feely approach that it is all about the music is not the day-to-day experience of what goes on in our classrooms. I get that, but after I made the decision to stop chasing the Honor Band performance invitation or best-in-class trophy and focused on the musical experience and how I taught and treated my students from a personal perspective, success became measured by a more meaningful set of criteria. Ironically, realizing those goals that were initially so important followed.

I must confess that before I started to write this column I once more pulled out the tattered cardboard box of letters and cards from former students referenced in my keynote in hopes of divine inspiration in sharing these thoughts. On what would probably be my final nostalgic journey

with that cardboard box, I wanted to see what I might have missed on all those previous visits, subconsciously believing the messages would all be about how their souls were touched through music.

Certainly there were references to music and even more about the joy of playing their instrument, but by far their thanks to me were more about being the dad they never had, showing confidence in them and helping them believe in themselves, writing their college recommendation letter, helping and supporting them when they had a problem, being there when their mother passed away, creating a family environment, and inspiring them to give their best.

The varied takeaways can be endless about why students value their experience in our classrooms and programs, but we must never forget the importance of happiness, joy, and fun that must be a part of that experience. As we prepared for TMEA’s Centennial and I first watched the elementary-focused advocacy video we had produced in 2019, I almost sent it back to the editors because virtually all of the

Watch

children’s comments simply said, “Music makes me happy.” How mistaken I was in that initial reaction, and how precious is that video. And the need for joy in our programs only increases, not decreases, throughout secondary school.

After a couple of hours sifting through the cardboard box, I must admit I was a bit disappointed that most students did not write to simply thank me for their music education. Yet, reflecting over those 26 years of teaching, it became so apparent that all those takeaways students referenced, including joy and fun, found their infancy in an environment anchored in music study. Frank Ticheli, who wrote not only the music but also the lyrics of our centennial anthem, “It All Begins with Music,” calls it the language of the soul

And therein lies the difference between music study and all the activities that purport to contribute to life skill development. While various extracurricular endeavors are often promoted as life-changing, the depth of emotional complexity inherent in music provides a distinct avenue for personal growth and development and offers a unique dimension of enrichment

that sets it apart.

So, what are our challenges for the future? I thought about building a top ten list to close this column, but distilling our roadblocks or goals down to a definitive list would be an exercise in futility as they continually change. Rather than create a list of challenges, my last thoughts would reach back to the three common keys for continued success shared in my keynote:

• Do all in your power to make music in your school and community the academic discipline we and the law profess it to be, and tell your story at every opportunity.

• Strive to do everything in your power to instill in your students a love of music, and in these times, to the extent possible, meet their creative musical needs beyond the traditional band, choir, and orchestra offerings.

• Respect your students’ time, personal life, and family commitments as well as being sensitive to costs associated with being a part of your program. And in the end, remember that you touch not just your students’ minds but

also their hearts and souls and human spirit through the nature of the subject we teach—through music. In these times when children’s mental health and search for happiness are at a crisis level, our classrooms are more important now than ever. Cherish the accolades and reminders to inspire and motivate you in these continued challenging times.

In closing, I consider myself the luckiest person on the planet to have taught music for 26 years and then served in music education another 31 leading TMEA. While my time as Executive Director is ending, my love of TMEA, its members, leadership, and staff will never fade. I hope you are thankful to teach in a state where there is a TMEA supporting you in your profession—an organization with this mission that began long before I became a part of the team.

I thank each of you from my heart for your contributions and support and messages of thanks through the years. It has been a great journey. And remember, it all begins with music. 0

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 400 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.

Aurelio Hernandez, Principal Taft HS/Northside ISD (San Antonio)

Nominated by: Gregory Mills, Taft HS

While just in his first year as William H. Taft HS Principal, Aurelio Hernandez has already breathed fresh air into our band program. What stands out most is that he does not come from a background of intrinsic fine arts education. Despite not having this prior experience, the students, staff, and parents of the Taft Band program feel his legitimate curiosity and intention to learn about what we do so he can support it. He asks smart questions and is observant in the work ethic that our students embody. After recognizing the intense levels of work our students dedicate to our campus, he instigated a campus-wide celebration of them. In this system in which we are continually asked to support others, it was game-changing for our students to feel seen in their own hallways. This effort was completely his idea, and our students have grown closer to him as a result.

I cannot thank him enough for his support, energy, and commitment to valuing the students and staff of the Taft Band program. He fully deserves this recognition.

Shelly Holmes, Principal

Allen HS, Allen ISD

Nominated by:

Mrs. Holmes has been an exemplary servant leader in her position as principal at Allen High School. Her profound love and appreciation for music has made working with her a joy, as she possesses a deep understanding of the needs of fine arts teachers and their programs. She attends all our concerts and UIL performances to demonstrate her support, and her door is always open to listening with compassion. Her greatest strength is her understanding that fine arts programs are vertically aligned districtwide, and that high school staff must support middle school and elementary staff for a successful fine arts program. She assists us in scheduling district-wide events and advocates for us with other administrators to ensure our program needs are met at all grade

levels. Mrs. Holmes has also created a rich culture that provides PLC and instructional needs for the fine arts staff, often seen only in the core content areas. As a result, our fine arts department runs smoothly and efficiently, while meeting the needs of all our students equally. Being a “band kid” and bassoonist herself, music education is very important to her. It has been a joy working with her as she has a deep love and appreciation for music. She always has the students’ best interest at heart, and she is an inspiration to us.

Todd Newberry, Superintendent Petersburg ISD

Mr. Todd Newberry has been our Superintendent for the last three years, and throughout those years we have received nothing but amazing support. Our program is still in the rebuilding process (both in program and a new school). Under his leadership, we have received an amazing new band hall, new instruments to replace our 1960s stock horns, and the ability to grow our students’ access to musical knowledge.

We have successfully started a Tri-M Music Honor Society and a basketball pep band and have had guest artists perform with us. Mr. Newberry is always a strong advocate for us at board meetings, district meetings, and, honestly, everywhere he has the chance. He strongly supports our expectations of and hopes for our students, and he does everything in his power to help us achieve our goals. He is a grounded and realistic administrator; he appreciates our hard work and isn’t afraid to set us on a different path, if necessary. And if a different path is necessary, he is always first in line to help us succeed on that path. He is truly a distinguished administrator.

Teresa Bell, Principal

Postma Elementary, Cypress-Fairbanks ISD

Nominated by: Brody Cecil, Postma Elementary

Student-centered is how I would sum up the type of educator and administrator Teresa Bell is. Across campus, she encourages all staff members to do whatever is necessary to engage students,

David DeVoto & Matt Cross, Allen HS

Nominated by: Kadee McInroe, Petersburg HS

PERFORMANCE OPPORTUNITIES IN: Choir, Marching Band, Symphonic Winds, Orchestra, Piano, Mariachi, Jazz Band, Percussion Ensemble, and Chamber Ensembles.

ALL-REGION CHOIR SMALL SCHOOL CAMP | July 8-9

ALL-REGION CHOIR LARGE SCHOOL CAMP | July 10-12

LEARN MORE ABOUT CHOIR CAMPS AT: utpb.edu/academics/colleges/arts-sciences/departments/music/choir

music.utpbUT Permian Basin Music Department MUSIC SCHOLARSHIPS AVAILABLE!

help them retain information, and promote a positive learning environment.

From the day of my job interview, she has proven to be an advocate for the arts at Postma—from allowing creative freedom to develop performances and lessons, to advocating for and educating the staff on the importance and value of what it is I do all day long. When I asked to start the school choir, the answer was an enthusiastic yes! When I asked to have students participate in district events, the answer was an excited, “Yes! Let me know what I need to do to make it happen!” With everything she handles and works through each day to protect our jobs and build relationships with the community, Mrs. Bell doesn’t forget why she’s a principal. She holds large-group instruction to the same level as STAAR-tested subjects. She provides support when we ask. Most importantly, she gets involved in the student learning of musical content and student performance!

I’m nominating Mrs. Bell for this award to recognize her for her love, support, and dedication to a well-balanced education that includes high-quality music instruction.

nomic status, we have not been able to purchase new band uniforms in over 18 years. Our uniforms are literally held together with duct tape and safety pins.

Over the past several years, we have requested approval to replace our uniforms, but the two superintendents who preceded Dr. Tiffany Spicer were quick to shut down any talk of spending over $100,000 for this. So, we began fundraising to purchase uniforms—a daunting task for a band of 100 students in a low-income community. Dr. Spicer was quick to ask why we were fundraising, and when we told her the story of the previous administrations she just smiled, and told us to have the uniform company contact her and that we would have new uniforms. It was a simple response, without hesitation. She recognized the need and handled it.

She is equally supportive of our choir program, junior high band program, and our elementary program. While this may not seem like a big deal to others, in our little community of Buna, having an advocate like Dr. Spicer is immeasurable.

Our small 3A district is in Southeast Texas near the Pineywoods Forest and several well-known fishing lakes. We are a low-income district with small-town charm. Our band program is one with a rich history and a lot of success. However, given our socioeco-

As Cleburne ISD Assistant Superintendent of Student Services, I believe Dr. Mark McClure deserves this recognition because of the active role he plays in the development of music and musicians in the district. The fine arts department falls under the purview of

Dr. Tiffany Spicer, Superintendent Buna ISD

Nominated by: Dean McCarty, Buna JH/HS

Dr. Mark McClure, Assistant Superintendent Cleburne ISD

Nominated by: Dr. Estelle Murr, Cleburne ISD

student services and is therefore reliant on Dr. McClure’s leadership and guidance behind the scenes. However, behind the scenes is far from the only place you will find Dr. McClure when it comes to fine arts. He regularly attends events, whether marching band competitions across the Metroplex, choir concerts in the Don Smith Performing Arts Center, elementary music programs on the campuses, or civic events at the Cleburne Conference Center that feature multicultural music. It is also very exciting that Dr. McClure registered for and attended his first TMEA convention this year. His leadership, support, sincerity, and eagerness to learn what he doesn’t know about music and fine arts is genuine. Dr. McClure is the type of executive leader who every music teacher wishes they had in their corner, and Cleburne ISD is proud to share that they do.

Wade Callaway, Superintendent

Gruver ISD

Nominated by: Danyelle Adkins, Gruver ISD

When Superintendent Wade Callaway interviewed me, the band program had been in decline. He told me that the music department is important to the school and that we were going to do everything to get it back to where it needs to be. He said, “We want our music program to have the same success our sports programs do. We want to make sure that the kids know it is important, as well as the community.” After I began the job, our local music store came to the band hall and did an inventory. They told me that we had the worst inventory in the panhandle. I informed Mr. Callaway, and he immediately gave us $12,000 to start buying new instruments. This year, we got an additional $10,000 to continue to buy new instruments. Mr. Callaway also proposed a $29 million bond for the district. One of the top three items is a new band hall/auditorium. That is now in the works, and they will begin construction in the summer.

Mr. Callaway drove us to all football games, contests, and events last year. He also makes a point to make an appearance in class every once in a while and cheer on the students and tell them how great they are doing and how proud the school is of the band.

In the past couple of years that I have worked in Gruver, Mr. Callaway’s actions have matched his words. He said he would improve the program and he is taking steps toward that goal.

Dr. Gionet Cooper, Principal

Brownfield HS, Brownfield ISD

Nominated by: Will Burks, Brownfield HS

In 39 years of public education experience, I have worked for many principals, but none who were more supportive than Dr. Gionet Cooper. He genuinely desires for the music programs at Brownfield HS to flourish. I know there are many administrators who are deserving of this award, and I can say without hesitation that Dr. Cooper should be among them.

I have worked with Dr. Cooper in two school districts and I have seen him grow as an administrator and as a supporter of the arts. I know I can count on his support in every step that we take to improve the quality of our program. In the three years I have worked for Dr. Cooper in Brownfield, we have seen our program numbers grow and all the data suggests the upward trend will continue.

We have been afforded the opportunity to take the band to university campuses to work with top-notch instructors in marching band, concert band, and solo/ensemble prep. It shouldn’t come as any surprise that when small school students are exposed to the university setting, the chance that they will pursue post–high school education increases dramatically.

Dr. Cooper’s support of my efforts with the band are far-reaching. He understands and supports that taking students out of band for any non-instructional purpose hurts the student and the band. He insists that “first period is high school band.” Additionally, he never hesitates to support me when I need to be off campus for professional development and to attend middle school band functions.

Dr. Shannon Allen, Superintendent Beaumont ISD

Having first walked the halls of West Brook HS as a high school band member, Dr. Shannon Allen’s personal connection to fine arts drives her commitment to students. She knows firsthand how impactful the arts can be on the lives of students.

Her support extends beyond mere endorsement, as evidenced by the numerous successful partnerships she has fostered with organizations, including with the Beaumont Civic Ballet, Southeast Texas Ballet Company, and the Art Museum of Southeast Texas. These collaborations have not only increased exposure to the arts for students in grades K–12 but have also forged valuable community connections.

Dr. Allen’s visionary leadership is further exemplified through extensive collaborations with the Symphony of Southeast Texas, Lamar University, and the Beaumont Community Players. These partnerships have brought masterclasses, performances, and exploration of fine arts–related careers to our students. These initiatives have contributed to a 25% enrollment growth in our fine arts programs over the past three years, coupled with improvements in our success at UIL and TMEA events.

In addition to her strategic collaborations, Dr. Allen has been a stalwart advocate in financial meetings. Her support has translated into tangible improvements for our programs, from the acquisition of new instruments to resources for UIL One-Act Play sets, dance costumes, choral risers, and other essential equipment.

Dr. Allen actively engages with students, teachers, and community members. Her exemplary leadership and passion for the arts make her a true champion of fine arts programs throughout our city. 0

Nominate Your Outstanding Administrator

To nominate your campus or district upper-level school administrator, complete an online application at: www.tmea.org/adminaward

Nominated by: Mike Murdoch, Beaumont ISD

TMEA Band Vice-President

MIKE HOWARD

Aligning Vision with Student Experience

As you wind down your semester and the heavy planning commences, take pause. Reflect on the vision for your program and ensure it is grounded in a positive student experience.

As I guided my band program through the height of the pandemic three years ago, I spent several hours meeting with colleagues around the state about best practices on how to plan forward. We were confronted with the daunting task of engaging students and creating a connection to our program during a time of significantly decreased in-person interactions. We went back and forth asking each other questions about the dilemma:

How do we engage students daily?

How do we make students excited about the program?

How do we make calendar decisions that provide opportunities for maximum engagement in the process?

How do we carefully analyze all student/family situations to ensure the program stays accessible to all?

Why should they look forward to joining us every day, albeit online?

Every conversation revolved around keeping kids in our programs. Reflecting on this, I feel a bit foolish that it took a global pandemic for our band director shop talk to shift so heavily toward the student experience. I vividly remember talking with my wife after attending a wonderfully coordinated TMEA virtual convention in 2021. I talked with her about the clinics I attended, many of which revolved around the above questions. I came to the quick conclusion that these are the questions we should have always been asking each other, regardless of whether our rehearsals were “business as usual” or being navigated online.

I bring up the student experience because the month of May is what band directors consider to be a planning extravaganza. We will spend these next weeks making hundreds of minor and major decisions that

MARK YOUR CALENDAR

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

May—Renew your TMEA membership for the 2024–2025 school year.

May 1–June 1 —2025 Clinic/Convention proposals accepted online.

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

June 30 —All 2023–2024 TMEA memberships expire.

July 25–27—TBA convention in San Antonio.

August 20 —Liability insurance purchased last year through TMEA expires.

School of Music

2024 SUMMER MUSIC TCU School of Music

Camps & Workshops

TEXAS CHAMBER MUSIC INSTITUTE • JUNE 1-9

JULIETTE HERLIN, LIZ LEE AND MICHAEL BUKHMAN

PERCUSSION CAMP • JUNE 7&8 BRIAN WEST, JEFF HODGE

TCU BAND CAMPS • JUNE 9-15 BOBBY FRANCIS, BRIAN YOUNGBLOOD

FLUTE WORKSHOP • JUNE 25&26 SHAUNA THOMPSON

SAXOPHONE WORKSHOP • JUNE 27&28, ALLEN CORDINGLEY HARP WORKSHOP • JULY 8-10 KELA WALTON

ALL-STATE CHOIR CAMP • JULY 14-20 CHRISTOPHER ASPAAS, MARLA RINGEL

CLARINET WORKSHOP • JULY 23-24 COREY MACKEY

NEW! MIDDLE SCHOOL CLARINET WORKSHOP • JULY 22 FOR REGISTRATION INFO, PLEASE VISIT OUR WEBSITE AT WWW.MUSIC.TCU.EDU/SMI.ASP

cumulatively have a significant impact on what the student and staff experiences will be in the 2024–2025 school year. What instrument will this incoming beginner play? How will we construct the calendar and rehearsal schedules? What events will we attend? How much will our programs cost the families? These are only a small sampling of the questions we will answer over the coming weeks. Before we start answering hundreds of planning questions, I would encourage us to first answer this question: What is the vision for our

band program and how is that vision grounded in the positive student experience? Our answer will allow us to filter all other planning questions through the lens of a student-centered program vision. Taking this approach can be beneficial in making healthy decisions for students and staff, which in turn will promote continued engagement for students and career longevity for teachers. Establish that program vision first, especially before tackling the following planning puzzle pieces.

Calendar and Rehearsal Scheduling

One of the driving factors for staff longevity and student/family buy-in is the planning and usage of time. Time—our greatest nonrenewable resource—should be carefully planned to allow students opportunities for engagement in school, family, other activities, and band (rather than band, band, band, and more band). It is so easy to drop entries into our online calendars! I caution us all to do so with great intention and care for the culture of our programs. While I love a good “Bandtober” meme as much as the next person, the reality is that the scheduling decisions we make now will affect the physical and emotional health of droves of students and teachers throughout that month of high school band.

Of course, certain times of year are inherently busier than others within all grade levels. Be sure to carefully balance those time-intensive periods with oppor-

tunities for rest and recharge regarding activities outside school. This practice of creating peaks and valleys of intensity within the calendar lends itself well to student retention and teacher longevity. When making our calendars, we must ask ourselves whether we can personally sustain this schedule for several years. If the answer is no, then make a change now, while still in the calendar-planning process.

Finance and Fees

Some of the highest-leverage decisions we will make for next year relate to budget. From analyzing program needs to closely monitoring student financial obligations, these decisions must be made within the context of student accessibility. In a climate of rising costs, we should carefully measure what impact financial decisions may have on the program, boosters, families, and any other stakeholders involved. Ultimately, we want to attract as many students into our programs as possible and should avoid making financial decisions that may create barriers for families within our community. One of my mentors once told me, “The financial decisions you make as a band director are a public statement of what your program values. They are a direct reflection of your program vision.” This comment continues to be a wonderful guide, motivating me to always have the student experience in mind when considering budget decisions.

Band Director Health

The most influential factor in a positive student experience is always the teacher. Given that, we must make decisions with the physical and emotional health of band directors in mind.

In the past, I fell victim to the stress of comparison, stress of time, and stress of expectation—all of which led to a lack of focus on good sleep, nutrition, and mental and physical wellness. This was not a sustainable lifestyle and required me to pivot toward embracing the most important job of a band director: inspiring students to love music, love each other, and work hard

While I always knew this was my charge as a teacher, the stresses mentioned above clouded my ability to respond to it. As with so many healthy concepts, knowing it and living it are two different things. Pivoting toward making decisions only through the lens of a positive student experience was

a game-changer for my approach and, in turn, my health and sustainability as a teacher.

As you wind down your semester and the heavy planning commences, take pause. Reflect on the vision for your program and ensure it is grounded in a positive student experience. Let that studentcentered vision be your guiding light as you tackle all the choices that will create the blueprint for your current and future students. If you are constantly asking yourself “Is this what’s best for kids?” and “Is this what’s best for band directors?” you can’t lose!

Invited Percussion and Jazz Ensembles

It’s time to apply for your middle school jazz band, high school jazz band, or high school percussion ensemble to perform at the 2025 TMEA Clinic/Convention. Go to www.tmea.org/band/invited-jazz or www.tmea.org/band/invited-percussion to learn more and apply! The application and recording upload deadline is June 1.

2025 Convention Proposals

I hope you will consider contributing to the 2025 convention by submitting a clinic proposal. It is only with a significant depth and breadth of proposals that a balanced program can be created that will benefit all band directors at every level. 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 what an attendee will walk away knowing. As you review the details on clinic submissions at www.tmea.org/ proposals, know that attendees from our division indicated that the following are the topics of highest interest:

• Instrument methods

• Recruiting/retention

• Repertoire selection

• Teaching methods

• Classroom management

• Technology integration

• Small-school strategies

• Conducting techniques

• Advocacy & administrative support

• Mental health & wellness

Invited Program Spotlight

We are excited to continue hosting Invited Program Spotlight clinics at next year’s convention. Anyone who applied by the May 1 deadline must be sure to upload all materials by the June 1 submission deadline.

Honor Band

Thanks to all who have entered the Honor Band competition. Be sure you are aware of all remaining deadlines, Honor Band rules, and financial procedures found at www.tmea.org/honorband. Best of luck to all participants!

Spring Region Meeting

Region meetings are continuing to be held throughout the month of May. Attendance at these meetings is important and your Region needs to hear your voice as they adjust policies and procedures and finalize calendars. Visit www.tmea.org/ regionmeetings for schedule details. Have a wonderful summer break! I hope to see you at the TBA Clinic/Convention, July 25–27, 2024! 0

SOUND IDEAS

BAND: Tips for Successful Beginner Placement

by robert herringS

This is the time of year when you put on your marketing hat and help incoming students see why they want to be part of your program. As you begin planning for the next school year, consider these tips for successfully placing beginner students on instruments. These are based on my experience and what I have learned and adapted over the years from master teachers.

Student and Parent Education

You must educate incoming students and their parents about band. Parents often hesitate because there is a cost, but once they realize the quality of the education their child will receive, the value of your class, and the benefits of being involved in music, they will want their child to be a part of the program. It is our duty to help get students placed on the correct instrument. Parents need to know and believe that we will have the utmost professionalism in determining which instrument is best for their child. When parents are on your side, it’s even easier for them to support students in keeping an open mind when trying all the instruments. I always say, “The wand picks the wizard!”

Balancing Numbers

Prior to your beginner testing, determine the ideal instrumentation for incoming students. This should be based on the number of students enrolled, the instrumentation needs in your advanced bands (knowing some students might not continue the next year), and the needs of your feeder programs. If your school feeds multiple programs, you must consider where your students will attend next. Being mindful of this ensures that each of your feeder programs gets a balanced instrumentation each year. Other aspects to consider when reviewing instrumentation are as follows:

• Available school-owned instruments (oboes, bassoons, horns, euphoniums, tubas, etc.).

• Student-to-teacher ratio. Too many students with one teacher does not allow for the teacher to effectively teach the class or to hear kids play individually on a weekly basis.

• Your teaching space. A comfortable classroom setup is important to support students learning their instruments and teachers moving around the classroom comfortably.

Instrument Placement

First and foremost, ensure families and students understand that no prior musical experience is required! Some students will arrive with musical knowledge developed in elementary schools. Others, especially those moving in from other states without elementary music standards, may not. Developing a relationship and gathering information from elementary teachers offers great

insight into the future students of your program. Interviewing students to get to know them is monumental in determining what instrument offers them the greatest opportunity for success.

When placing students, I firmly believe that utilizing a “miniinstrument” (as noted in the list below) can offer a good idea of whether that instrument will be a proper fit for the student. This is to ensure that students get the most out of their experience in your class. Allowing students to touch, hold, and make sounds on the full instrument does get them excited, but is not really needed, aside from testing hand/arm size.

It is important to consider student physical features, such as the alignment of teeth, shape of the lips, and overall size. Handeye coordination and the ability to feel pulse and rhythm should also contribute to instrument recommendations. If you know an instrument isn’t the right fit for a student, steer them in another direction, to one on which they might find more success. For instruments like oboe, bassoon, horn, and trombone, it is essential to test a student’s ability to match pitch.

I have found the following to be predictive of student success on these instruments and thus a critical part of instrument testing:

• Flute: On the headjoint (uncovered), produce an A.

• Clarinet : On the mouthpiece, barrel, and ligature, produce a sharp F #

• Oboe: Crowing on the reed, produce a C.

• Bassoon: Crowing on the reed alone, produce an F. Playing on the reed attached to the bocal, produce a C or C # .

• Saxophone: On the mouthpiece attached to the neck, produce a G # .

• Brass: Buzzing on the mouthpiece, strive to get students to produce a fuzzy buzz before you try to get them to play different pitches. If the student is buzzing consistently low and cannot raise pitch with instruction, avoid placing them on trumpet or horn. If the student is buzzing consistently high and cannot lower pitch with instruction, avoid placing them on low brass instruments.

• Tuba: In my experience, hearing kids on the full instrument is crucial to placement.

However we approach instrument testing, our focus should always remain on supporting student success, and ultimately this will support overall program success. 0

Robert Herrings is Director of Bands at Artie Henry MS in Leander ISD.

Leadership, Drum Major & Color Guard Camp

SATURDAY-TUESDAY, JUNE 15-18

Frank Troyka –

Conn-Selmer, Inc. Educational Consultant

Willie Veenstra –Visual Caption Coordinator, The Bluecoats

Power On: Marching Arts

Audio Intensive

SUNDAY, JUNE 16

Percussion Director Symposium

MONDAY-TUESDAY, JUNE 17-18

Blast of Brass

Marching Arts

Director Symposium

SUNDAY-TUESDAY, JUNE 16-18

Interactive masterclasses from leaders in the drum & bugle corps, college and high school marching band activities. Take your teaching and ensembles to the next level. CPE Credit up to 16 hours available.

SUNDAY-FRIDAY, JULY 14-19

Brass chamber music camp for students in middle school, high school and early college, with opportunities to study with internationallyrecognized performing artists.

Ashley Hall-Tighe – Trumpet

Canadian Brass

Megan Boutin – Trombone

TAMUC

2024 SUMMER MUSIC CAMP SERIES

JENNIFER MARTIN

Helping the Future You TMEA Orchestra Vice-President

Evaluate what you did this year that went well, and what areas you want to bolster for next year. Prioritize something logistical and something musical that will help finish the year strong and get you a head start for the next year.

In Memoriam

Kevin Black 1970–2024

One August, I pulled out a piece of music for the ensemble to play, and attached to the folio envelope was a sticky note with a message I had previously written:

“Dear Future Jennifer, the score is missing, so put this up and find a different piece.” I laughed and quickly put in an order to buy a new score. I remembered that when I wrote that note, I was annoyed because I had wanted to read the piece that day. Thinking back on that moment brings me to a relevant question for this month: What can you put in place at the end of this year to help the future you?

Think back to those things you wanted to take care of but haven’t had the time to do. Look over your students’ growth over the year and evaluate what you did this year that went well and what areas you want to bolster for next year. Prioritize something logistical and something musical that will help finish the year strong and get you a head start for the next year.

Logistics and organization are an obvious area. Are the systems you have in place for instrument inventory, music library, uniforms, etc., working well? If the answer is yes, put in some time to close up shop for the school year in a well-organized way. Future you will thank you. Get students and parent volunteers involved. Don’t take on everything yourself! If your system needs a tweak or perhaps a complete overhaul, see what you can do to improve those processes and get that set up for

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

May—Renew your TMEA membership for the 2024–2025 school year.

May 1–June 1 —2025 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 2023–2024 TMEA memberships expire.

July 25–27—TODA convention in San Antonio.

August 20 —Liability insurance purchased last year through TMEA expires.

TEXAS LUTHERAN UNIVERSITY’S

JUNE 23 - JUNE 28, 2024 BAND & ORCHESTRA

MIDDLE & HIGH SCHO O L BANDS

ACHIEVEMENT- BASED SCHOLARSHIPS AVAILABLE FOR MORE DETAILS, EVENT UPDATES, AND TO REGISTER, VISIT TLU.EDU/SMA

the new year. A better system will save you time and headache for years to come!

Determine something musical you want to develop or plan. Naming the goal or task now gives you the opportunity to work and let ideas grow and develop with the benefit of time. I love to look ahead and get a head start on music ideas for next year. It’s a great time to listen to new music and create a short list of possibilities for the next year without the pressure of needing to have it all figured out right away.

The prep work pays off and future you will have a smoother start to the year because of it. I intentionally schedule the time at the end of the school year to do this. I usually find there is a small window of time toward the end of the year when I can dedicate some of my energy toward it. If I wait too long, Newton’s first law of motion sets in: An object at rest remains at rest. Or, as I think of it, the black hole of summer takes over, where I turn off the teaching part of my brain! Prepare yourself so that you can embrace it and power down. Future you will be ready when the time comes, so enjoy summer you!

Review Committees

Throughout last fall and this spring, Orchestra Division committee members have been reviewing policy and procedures for our Honor Orchestra, All-State Orchestra, and All-State Mariachi competitions. Thanks go to the members of these three committees for their hard work and thoughtful contributions to the betterment of the Orchestra Division! The Executive Board reviewed the recommendations of the committees and approved several changes and additions. Please make sure to review the full rules and policies within each of the programs when online and as summarized below:

Honor Orchestra Updates

The deadline to submit Parts B & C for HS String Honor Orchestra has been

pushed back to October 25. Many school districts take a weeklong fall break in October, so this provides more opportunities to rehearse and perform. The committee also studied data on possible effects of performance order in the final round of judging. After extensive study, the committee created a new process for the final round of Honor Orchestra adjudication.

Finalists will be assigned a random order by the tabulation software. To help prevent bias based on when a group is judged, each judge will begin listening to finalists at a different point in the random order. From their different starting places, judges will continue listening in the random order, wrapping around to the first randomly sorted entry after reaching the end of the order (e.g., five entries are randomly assigned the IDs A, B, C, D, and E. Judge 3 begins listening at C, hearing the entries in this order: C, D, E, A, B).

All-State Orchestra Updates

The two All-State etudes will be released on the TMEA website on May 1. There is one update to the release of audition music based on feedback from Region Chairs and members across the state.

There will still be one cut from each etude released on August 1. A selection from each of these cuts will become two recorded tracks for the All-State audition. Regions must use these cuts for All-State tracked auditions; however, they may reduce the length of the cuts on August 1 (rather than September 1). Regions that reduce the cut will need to select enough music to preserve the musical integrity of the cut.

The committee also studied judging procedures in depth. Judges will continue to listen in person for Pre-Area and Area judging. However, this year at the PreArea (Saturday) round, each Zone will judge recordings from their own zone. The All-State student re-chair audition will continue to be done via the online audition

system. There will be an additional school day in the recording window to account for the Martin Luther King Jr. Day holiday.

All-State Mariachi Updates

The overall audition and selection process for the All-State Mariachi ensemble will work the same. However, there is an update to the way part assignments are determined for trumpet and violin. After All-State students are selected, violin and trumpets will be re-ranked based only on the scores of the two instrumental etudes. This ranking will be used to assign parts. There is also a new process in place to select vocal soloists for the All-State performance. There will be a virtual audition on the vocal solos using the same platform the Orchestra has been using for All-State chair auditions. Shortly after the All-State results are announced, audition cuts from the vocal solo parts from the Clinic/Concert music will be posted on the TMEA website. Each piece with a vocal solo will be judged and ranked separately. Auditions will be judged virtually. This will provide time for each soloist to fully prepare vocal solos and will streamline rehearsal time.

Spring Region Meetings

While some meetings were in April, many are still to come in May. Make plans to attend your spring Region meeting. Region Chairs will have important information to share with you, and many local region decisions are made at the spring meeting. Find a way to get involved and serve in your region. The Region leadership can’t do it all alone. You’ll also develop deeper relationships with colleagues, have a wider professional network, and learn and grow in new ways. Go to www.tmea.org/regionmeetings and first review the 2024–2026 Region Alignment to ensure you attend the appropriate meeting that will be relevant for next school year.

Summer Convention

I hope to see you at the TODA convention in July! The TODA Board has a great convention lined up. After you rest up this summer, get mentally geared up for the new year by learning from the best teachers across the state and country and find new music to program.

Have a fantastic summer break! Take the time to relax and recharge—you deserve it!

Over the course of TMEA’s 104-year history, only six individuals have worked in the association’s executive leadership position. Among them, Robert Floyd stands as the longest-serving executive, having dedicated 31 years to the role. Throughout those three decades, he has also held the position of Southwestern Musician Editor (see page 8 for his 283rd column!). While he will retire from his position as Executive Director on June 30, Bob’s positive impact on this association and on music education for all students will resonate for years to come.

Preparing for this magazine issue, I met with Bob to discuss the roots of his passion for music and music education. Since it’s impossible to fully capture in one article the rich history and myriad stories that have guided his 56-year career in music education,

It ’ s All About the Music

I chose instead to offer a few reflections that illuminate why he chose the music education path and why he’s never strayed from it.

A Lineage of Influential Educators

Bob’s musical journey began at Mount Calvary Baptist Church in Richardson, Texas, where he sang in the children’s choir alongside his older brother Dick. Bob’s first structured music education began when he was seven years old, during weekly piano lessons with Edna Kimsey. Without a piano in their small country home, Bob rode his bike down the narrow country road to his grandmother’s house to practice on her old upright. “Mrs. Kimsey was a wonderful and kind teacher, and I still value that I can play piano.” While a lot has happened in his musical life since those nine years of lessons, Bob continues to play for personal enjoyment, occasionally

After performing with a high school clarinet quartet at a 1961 UIL

sharing his music with the TMEA staff at the piano in the boardroom.

Bob began attending Richardson Elementary School in 1949, just before the opening of Central Expressway, which cut right through the Floyd family farm and supported exponential growth in north Dallas. In contrast to Richardson ISD’s 55 campuses of today, Bob went to elementary school in the same red brick building where his father had spent his school days.

When Bob joined the beginner band in fourth grade, he had to share a clarinet with his brother Dick, who was then in seventh grade and playing in the high school band. Bob fondly remembers the time about one year later when he was standing in their front yard at the end of the day, anxiously awaiting his father’s return—he was bringing Bob his own brand-new clarinet, bought from the downtown Dallas Brook Mays music store. “That was a good day!”

Bob’s first band director was George Gates. “He was a dedicated and kind teacher, and he programmed high-quality music. He really is the one who started what became a long tradition of great bands in Richardson,” Bob said. “I have a vivid memory of going to the band hall during lunch and sitting with him at the piano. He had a piece of manuscript paper and a pencil and was writing Sol y Sombra, still a popular paso doble for band.”

Bob then joined high school band, under the direction of Norman White. Bob played clarinet in the concert band and alto saxophone in the marching band, ultimately leading that group as their drum major. He also put to use his piano skills as

a member of The Dixie Cups, a combo that he and five high school friends formed. They played for dances, talent shows, and local Kiwanis Club events. “Band was just my thing, and it was my social outlet. All my friends were in band.”

During high school, Bob had the good fortune to take private clarinet lessons at SMU from Oakley Pittman, who directed the Symphonic Band and who became the music school’s registrar (this would become important later in Bob’s academic career). After graduating high school, Bob immediately enlisted in the Air National Guard, performing with the 531st Air Force Band for seven years.

During those years of service, he also attended SMU, first enrolling in premed but switching majors to earn a bachelor’s in mathematics— an unexpected turn in this music journey story. Bob chose his major in part because he wanted to finally deviate from his brother’s path (at the time, Dick was studying music at SMU). But it was also because Bob truly loved mathematics—an interest nurtured by his favorite high school teacher, Mrs. Mann, who during World War II was recruited to help test the Army’s first computers at Aberdeen Proving Grounds. “She was wonderful, loved math, and shared that passion with her students. I also really enjoyed working with her when she was our student council sponsor—student government was another big interest of mine in high school.”

While working toward his math degree, Bob also performed in the SMU Mustang Band directed by Irving Dreibrodt and in

the Symphonic Band still led by Oakley Pittman. “I didn’t ever think about not playing in band. I did it because that’s who I was, and that’s what I did. Math was my major, but music was my life.”

As he completed his bachelor’s studies, it was again a teacher’s influence that motivated his next choice. “I let my math professor talk me into going to graduate school in statistics. I really had no interest in that, but he convinced me.” With his life anchored in music (and perhaps with his brother no longer at SMU), Bob found the courage to abandon statistics while waiting for his professor to arrive for

Singing with the Mount Calvary Baptist Children’s Choir in the 1940s (far right on the first row).

solo & ensemble contest (second from right).

Rehearsing the Berkner HS Band. they were a TMEA Honor Band

his very first graduate class. He got up and walked to the Owen Fine Arts Center and to Registrar Pittman, who helped put him back on his path—this time to earning a bachelor’s degree in music.

Two years later, after student-teaching at West Junior High in Richardson and graduating from SMU, Bob was hired as an assistant in that same junior high, but that didn’t mean he was done learning. Each morning, he spent first period with the high school band, then under the direction of Joe Frank, Sr. “I watched him rehearse every day for two years, and I learned so much from him—he had such passion and

In the late ’50s Irving Dreibrodt revitalized the Mustang Band, returning to its jazz and swing roots established in the early years, removing all non-brass instruments except for saxophone. While Bob was prepared to play sax, at Irving Dreibrodt’s request, he learned to play euphonium during the summer before his freshman year. He joined the all-male band just as it had grown to 96 players and one featured twirler, leading to their popular nickname, “96 Guys and a Doll.” On this November 22, 1964 cover of The Dallas Times Herald Sunday Magazine, you’ll find Bob inside the “M.”

love for teaching and would get so excited to talk about it. It made no difference what the subject was. He taught me how to play flute. He taught me how to rehearse a band. He taught me how to snow ski. He taught me how to fly his airplane. He could just teach!”

Bob remained in the place of his musical roots for the rest of his 26-year band directing career, during which he was elected to serve as TMEA’s State Band Division Vice-President and TMEA President and, ultimately, hired to be TMEA Executive Director.

Enduring Influence of Music Educators

While technical mastery was a top priority for each of his educators, it wasn’t the defining factor of their influence. Bob consistently describes his teachers—from elementary school through college—as kind, compassionate, supportive, and willing to share what they knew. “My most reminiscent memories aren’t how somebody taught me how to get the throat tones right. They are about how they touched me and helped me become the best musician I could be.”

As music educators, I hope you recognize yourself in these stories. You are the Elizabeth Manns, the Joe Franks, and the Irving Dreibrodts. You have the opportunity to guide your students on their musical journey and inspire and equip them to navigate their path with passion and purpose.

All About the Music

When I spoke with Bob about his education and his career, most stories found their way back to music, and how it touches our lives. As a band director, Bob spent countless hours researching repertoire and preparing ensembles to perform, so when I asked him about the most powerful music performance experience of his life, I was surprised to learn it was as a singer.

As an SMU music major, Bob was required to sing in the Choral Union, at that time conducted by Lloyd Pfautsch. In his freshman year, the Choral Union joined with the Dallas Symphony and Symphony Chorus in a performance of the Mozart Requiem, conducted by Bernhard Paumgartner, Austrian conductor, composer, and renowned Mozart authority.

“I don’t think I’d ever felt how powerful music could be as I did in that performance that was in memory of President Kennedy—the emotion that music can bring in a moment like that. It was lifechanging, from a music perspective.”

A few years later—early in Bob’s band directing days—he pursued his master’s degree at then West Texas State University, studying with Gary Garner. One summer in that program, Bob participated in a twoweek summer camp for graduate credit, where H. Robert Reynolds served as the guest conductor and lecturer. On the first day, Bob walked into a directors reading band rehearsal and sat down to observe and take notes, ready to learn from this conductor he’d never heard of. “He got onto the podium, and without offering any real instruction on the piece, he had

Addressing the TMEA State Board during its meeting at the 2008 Clinic/Convention.

Receiving his TMEA Past-President and Honorary Life Member plaque at the 1982 Clinic/Convention.

Band. Under his direction, Band in 1974, 1987, and 1991).

them play straight through Ye Banks and Braes O’ Bonnie Doon by Grainger. I can’t explain it, but it changed my conducting life. The music he pulled out of that piece— just sightreading it—was indescribable. I sat there and thought that’s what I want to be! It just touched me like no other music performance.”

Hearing about these powerful experiences from his time as a student, I asked him to share a most memorable moment from his teaching days. He immediately replied with a story about taking his band to Corpus Christi to participate in Buccaneer Days Music Festival—a huge event at the time:

We played the Giannini Variations and Fugue. It’s an incredibly difficult and emotional piece—a classic example in the repertoire of tension and release. That day, on that stage, everything just came together in an indescribable way. When we finished, the kids walked off stage, crying, so moved by what they had just been a part of. It still blows my mind to think about what sixteen- and seventeenyear-old kids can create through music. While these are just a few of the many stories Bob shared, I found it significant that in our conversations, he never focused on a contest win or any award. Fittingly, he finished our conversation by recalling this moment that followed the performance of his 1991 Honor Band:

After cutting off the final note, I acknowledged the applauding audience and turned back to recognize the band. I found them all hugging each other, sharing the joy they experienced in making such beautiful music together. It’s always about the music and how it touches our lives. 0

Karen Cross is TMEA Communications Manager and Managing Editor of SouthweStern MuSician

Thank You, Bob

The members of the TMEA Staff and Executive Board offer our sincere gratitude to Bob for his leadership, support of music education for all, and especially for his friendship. We wish you well in your retirement!

From Music Educator to Music Education Advocate

Before being named TMEA Executive Director, Bob had already been helping protect music education in Texas schools. While serving as Berkner HS Director of Bands, and especially during his TMEA Presidency, Bob often traveled to Austin to work with then Executive Director Bill Cormack to influence state leaders on state law and policy, always trying to protect and elevate fine arts education opportunities for all students.

It was in the early ’80s that TMEA evolved as a policy influencer, with Cormack decidedly focused on proactively seeking a place for fine arts. When Bob took over in 1993, he immediately engaged in Texas politics. He met regularly with legislators and their staff and State Board of Education members, developing vital relationships and working to ensure that the fine arts education community couldn’t be ignored. In his early days, TMEA successfully appealed for the addition of a fine arts credit graduation requirement, followed by a successful campaign to keep elementary music instruction resources funded, and then, most significantly, for the inclusion of fine arts in the required curriculum as a TEKS-based subject. During his tenure, TMEA’s work to influence law and policy has only intensified, with continued consultation with lobbyists and, most recently, with the development of the Texas Arts Education Campaign, which Bob co-chairs. Anyone who’s had a conversation with Bob about music education quickly learns about his deep passion for protecting music education through the law. If you’re interested in learning more about TMEA’s political influence over the years, you’ll find highlights in a series of articles we published in our centennial year, available here: www.tmea.org/100years. To know more about music education in the law today, go to www.tmea.org/music-education-in-the-law.

TMEA President Sally Schott and Bob Floyd at the capitol in 1984.

Bob speaks about the importance of high-quality fine arts education at a capitol press conference during the 2007 Arts Education Day at the Capitol.

Awith Robert Floyd

Thanks go to members of the TMEA social media community who submitted questions for Robert Floyd to answer. While we couldn’t include them all, we hope you enjoy the variety of inquiries that range from professional to personal:

In the last 50 years, what’s changed the most and what’s stayed the same in music education?

In those years, the quality of teaching has elevated to a much higher level, which can be attributed to the colleges and universities focused on teacher preparation. Also, having standards defined at the elementary level is a positive change over the years. As for what’s the same, it’s just the unique way that music can change a student’s life.

What lesson should TMEA carry from its past?

Continue to fly the flag that music is academic and a critical part of a well-rounded education to be protected in law and rule.

What in TMEA’s history should every member know about?

In the 1970s, by a vote of its membership, TMEA declared its independence from MENC (NAfME). This meant that membership in TMEA wouldn’t require the additional payment of national dues, making TMEA membership more accessible to Texas music educators. For the details, go to page 39 of the November 2019 magazine issue, accessible from www.tmea.org/emagazine.

What is one thing you wish you learned about before you began teaching?

The challenges of classroom management in those early years. While real-life experience is what helps us develop confidence in this area, I’m glad music educator preparation focuses more on it now than it did in my day.

What do you wish novice teacher Robert Floyd could do differently?

Be more positive in my teaching and not be so singularly focused on the technical perfection of my UIL program or Honor Band submission. I got there quickly but wish I had started there.

What unexpected lesson did you learn while teaching?

Kids are smart. If you make a mistake, admit it!

What advice do you have for early-career educators?

Don’t let challenges and struggles in a day of teaching overshadow the successes that occur in that same day.

What legislative changes would you advocate for to better support music education in Texas schools?

Tear down the wall between the foundation and enrichment subjects of the required curriculum in the Texas Education Code.

What is a big next opportunity for Texas music education?

To join in the fight with the public education community to force our state leadership to meet their constitutional responsibility to fund a public education system for all children in Texas.

What advice do you have for educators as advocates?

Being a part of your music program must be an experience valued by students, parents, administration, boards of education, and most importantly, your community. Tell your story and utilize your students to do so, performing in your community, and saying yes as often as possible. Sometimes your most effective advocacy tool is across-the-fence neighborhood chatter by parents who value music as a worthwhile experience for children.

What’s the best piece of advice you’ve ever received?

Career-wise, legislation is decided by those who show up!

Who are some most famous musicians you’ve met?

British composer Gordon Jacob, conductor Frederick Fennell, and artist/musician Wynton Marsalis.

What is your favorite concert band piece you taught? Ingolf Dahl’s Sinfonietta.

What piece never fails to move you emotionally? There Will Be Rest by Frank Ticheli.

What instrument do you wish you could instantly master? French horn.

What’s the last song you listened to on repeat? Both Sides Now by Joni Mitchell.

What’s your favorite podcast?

Simon Sinek on all phases of leadership.

What’s a hobby or interest you have that most people might not know about?

Pretending to be an award-winning chef.

What is the latest book you’ve read?

Beyond the Notes, Thoughts on Meaningful Music Making by Paula A. Crider.

What are you looking forward to doing in retirement?

Jogging and playing piano more.

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SOUND IDEAS

ORCHESTRA: Prioritizing Your Rehearsal Strategies

by kyle daviS

It’s time for rehearsal to start, and you find feelings of inadequacy and anxiety washing over you. You struggle with the big things—where to start, what to focus on, how to keep kids engaged. You struggle with the little things—addressing intonation in that one spot, fixing the precision issues in the other, correcting bowing style, and more. In moments like these, we might question our choice of profession.

Early in my teaching career, one of my biggest struggles was knowing where to start and what to prioritize in rehearsal. I would find myself at a bit of a loss when trying to plan rehearsals to make the most out of the limited time I had with students. There always seemed to be more to address than could possibly fit within the given time. I needed to get a good grip on recognizing what was critical to our success and figuring out where to fit everything else.

I’ve been blessed to know some incredible veteran teachers whose wisdom still guides my daily planning and rehearsal strategies. Karen McAfee, my mentor and high school orchestra director (whom I affectionately refer to as “my other mother”), impressed upon me the importance of ensuring young string players are always performing with good tone. She emphasized the fact that no good performance could come from a bad sound. Dr. Mark Bartley demanded rhythmic integrity of me and all other students in the West Texas A&M Symphony Orchestra. My own musical experiences have taught me that nothing will derail a performance faster than rhythmic inaccuracy.

My cello teacher, Emmanuel Lopez, loved to remind those of us in his studio and in chamber music–coaching that playing with good intonation is like bathing every day—everyone around you will appreciate it. I also fondly recall a lunch with Charles Nail where he spoke at length about addressing style from the first reading and never letting my students rehearse or perform a piece without the appropriate style. I quickly realized that this would require me to have clear musical direction and firm decisions regarding the music before ever passing it out to students. From Dr. Chris Reidlinger, I learned the importance of being consistent and persistent as I watched him check bow holds every day in every class, not taking for granted that even his most talented students would benefit from review. This list could go on, but that would require another article entirely.

Once I established a list of priorities, I worked to develop a plan to address each issue. Below are some rehearsal strategies that have worked well for me when I’ve encountered issues:

Tone:

1. Students warm up using long tone exercises on all their strings and at various dynamic levels.

2. Students perform a short exercise or line from a method book in different parts of the bow (lower half, middle, upper half) to establish a good tone in all parts.

3. Students practice passages with various bow speeds and bow placements on the string to compare and determine which sounds the best.

Rhythm:

1. Review the rhythm slowly and check for understanding.

2. Count and clap the rhythm simultaneously.

3. Count the rhythm aloud while clapping or tapping the downbeats.

4. Clap the rhythm while counting only the downbeats.

After following these steps, we play the rhythm on a single note before playing the passage again as written.

Intonation:

1. Check for understanding of key signature and corresponding scale.

2. Isolate the problematic note and establish the finger pattern.

3. Have students sing the passage on the syllable la (bonus points if they can sing it with solfège).

4. With more advanced students, have them transpose it to another key and then come back to the original.

Style:

1. Review appropriate bowing styles for the period of the music selection.

2. Practice scales using various bowing styles that correspond to the music.

3. Have students listen to and watch performances of professional groups to get a sense of style.

Decide what is most important to you and what needs to be addressed first. For me it is always tone, rhythm, intonation, and style. Once you are clear about your priorities, lean into them, keeping in mind that success often comes long after the struggle. Be patient, be persistent, and keep the first things first.

Kyle Davis is Head Orchestra Director at Jordan HS (Katy ISD).

Be a part of the Largest Summer

July 25-27, 2024

• Combined Exhibit Hall

MARSHA CARLISLE LEGACY SERIES presents:

Elementary Honor Choir Clinicians

Welcome Event Wednesday evening, July 24

• 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

PERFORMING GROUPS:

• Tallgrass Chamber Choir, Dr. Jake Narverud

• Orpheus Chamber Singers, Dr. J.D. Burnett

• Brothers in Song, Dr. Derrick Brookins AGAIN THIS YEAR!

Video Performances from diverse genres and choral programs across Texas.

HIGH SCHOOL STUDENT LEADERSHIP DAYS:

DATES TBD: El Paso (Far West TX), Irving (North TX), Round Rock (Central TX), Houston (South East TX), Canyon (Panhandle), McAllen (Upper Valley)

HEADLINERS:

and Bow Stroke Excerpts books.

CONVENTION HIGHLIGHTS:

• 40 Clinics this year, including sessions on bow artistry, body wellness for string players, upper strings pedagogy, lower strings pedagogy, DEI in the classroom, rehearsal strategies, conducting, mariachi, full orchestra, remediation, leadership, mentoring, and life beyond the classroom

• 6 Reading Sessions, including “Music of Underrepresented People” (a collaboration with the American Musicological Society)

• 2 Invited Ensembles, to perform at the TODA Celebrations & Awards Event and TODA General Session

DON’T MISS!

• Wednesday Night Work & Wine Event with AMS (An opportunity to categorize music by BIPOC composers by grade level and more!)

• Thursday Welcome party with an “Instrumental Open Mic” Night!

• Friday Fiesta and Silent Auction

• Featured luncheons for Retired Directors and Young Directors

HIGH SCHOOL STUDENT LEADERSHIP DAYS:

August 3, 2024

• DALLAS - Newman Smith HS

• HOUSTON - Kinder HSPVA

• SAN ANTONIO - Churchill HS

June Huang

Director of Strings & Assistant Professor of Violin George Mason University

Anthony Maiello Conductor, Lecturer, Author of Conducting Nuances and Conducting: a Hands-On Approach

Cathryn Lee Suzuki Teacher Trainer Author of Bow Exercises, Bow Strokes,

Dr. Edryn Coleman Oakland Mills MS, Maryland MS/JH All-State Conductor

Dr. Jacqueline Henninger Texas Tech University Headliner Sessions

Alfonso Gonzalez Harlingen HS

Victor Johnson Fort Worth

Julie Stobbe Mitchell Inter, The Woodlands

Music Conventions

San Antonio, Texas

WEDNESDAY

TBA Welcome BBQ

Wed, July 24, 6 - 9pm Families invited too!

65+ CLINICS

Register for the 77th Annual Convention/Clinic: texasbandmasters.org

Early Bird Discount through June 15. Onsite registration July 24, 3-6:00 pm.

THURSDAY

TBA Academy for New Band Directors

Thurs, July 25, 7:30 - 5pm

For first-year band directors. Attendees receive CPE credit plus TBA Active Membership and convention entrance for FREE

FRIDAY

TBA Student Day Fri, July 26, 8am - 5pm

Strategic Booster Institute

Fri, July 26, 8:30am - 5pm

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

Middle School Clinics:

• Beginner Clarinet, Saxophone, Trumpet, & Trombone

• Back to the Future! Planning - Britni Hummel, Michelle Kim, Brandon Morrison

• Beginner Timelines - David Brandon, Kristin Hames, Christina Langer, Nicki Neugent

• Beginning Band Building Blocks - Megan Czerwieski, Chris Eaton, Victoria Mays

• Cultivate and Elevate in a Diverse Classroom - Jason Finnels

• Henry MS Demo Band Clinic - Robert Herrings

• Developing a Successful MS Band - Kimberly Beene, Jarred Dodd, Jay Hagy, David Puckett

• Fall Factory Reset - Lynne Jackson, Sherry Poteet

• Hot Takes on Flute Non-Negotiables - Kim Cooley, Tiffany Lisko, Nicki Neugent

• Placing Beginner Students on the Right InstrumentRob Chilton, Chris Bennett

• Recruitment, Retention, Rally - Ruth Allen

• There is ALWAYS a Fire! - David Puckett

High School Clinics:

• MARCHING BAND CLINICS with Demonstration Groups: Carlisle HS, Cedar Park HS, Celina HS, Flower Mound HS, Roma HS, Vandegrift HS

Austin Symphonic Band

Dr. Kyle Glaser, Conductor

Sugar Land Winds

Larry Matysiak & Rick Yancey, Conductors

• Creating a Successful Small School Band -Tami Goss & Bridge City Concert Band

• Creative Movement - Michael Rosales

• Getting the Most out of the Amplified SolosRyan Johnstone, Justin Shelton

• Making your Marching Band Sound BetterAmanda Drinkwater & Jay Kennedy

• Small School Concert Band Clinic - Jennifer Condon & Stanton HS Concert Band

• Success in a Title I Program - Shane Goforth & North Shore HS Concert Band

• TAME Mariachi Clinics

• UDB Virtual Curriculum - Reid Atkinson

• What is the Judge Thinking and How to Use the FeedbackMike Howard & Nola Jones

Jazz Clinics:

• Benefits of a Healthy Jazz Band - Los Fresnos HS Staff and Jazz Band

• Creating a Successful Jazz Rhythm Section - Jose Diaz with Caliente Demo

• TBA Jazz Reading Band and TMEA Etudes

U.S. Army Band, “Pershing’s Own” COL Bruce R. Pulver – Leader and Commander

U.S. Air Force Band of the West

Major Dustin M. Doyle, Commander and Conductor

The Greener Grass Is Right Under Our Feet

By Tim Lautzenheiser

With the close of an academic year often comes some serious self-talk, focusing on our professional future. The rearview mirror reveals weeks and months of invested time-on-task. Even before welcoming your students to their first day of class, you’ve already spent countless hours in summer camps, leadership retreats, room preparation, and staff development. Then you’re off to the races with the calendar’s early launch of scheduled performances.

Throughout the year, music educators remain immersed in ongoing administrative responsibilities, recruitment and retention programs, fundraising, parent meetings, bus schedules, budget requests, endless communication responses, organizational/association attendance, and much more. The expectations are infinite. Is it any wonder that at this time of year, exhaustion sets in and thoughts of redefining one’s professional pathway emerge? There’s just no more fuel in the tank; you’re running on fumes.

I have often been amused (and haunted) by the classic wisdom

shared by the famous cartoon philosopher Pogo: “We have met the enemy, and he is us.”

It is easy to get caught in the undertow of our chosen mindset. When we are tired, anxious, disillusioned, or stressed, we become susceptible to our own misgivings. We begin to look for a way out, relief from the pressure, a different theme for our daily commitments, or even a complete reset of our life’s mission. It simply is our survival mechanism guiding us to “hope for” greener pastures. However, perhaps it is not just about what we are dealing with, but rather the way in which we are processing it, or more simply put, our viewpoint. Is their grass really greener, or is it our thought filter that embellishes the color? If so, wouldn’t the same logic apply to everything we perceive in life?

We don’t see the world as it is; we see the world as we are. Our focus and our attitude determine our reality. Is it partly sunny or partly cloudy? Is the glass half full or half empty? Aren’t they the same? Isn’t it just a different viewpoint or labeling?

We must give up giving up.

When our mind defines something, we treat it accordingly. And, as we all know, the mind’s job is to make judgments on everything from intonation problems to classroom behavior. The good news is we have control over our thoughts if we choose to do so. In a world that often emphasizes the negative, it becomes quite easy to get caught in the downward spiral of a pessimistic perspective. We’re now back to our friend, Pogo, who recognized the sad futility of our own internal thinking often branded as self-doubt

This powerful quote attributed to Mahatma Gandhi may offer some insight to a desired alternative:

Your thoughts become your words, Your words become your actions, Your actions become your habits, Your habits become your values, Your values become your destiny.

What a powerful blueprint it brings to one’s unlimited potential. It all starts with our thoughts. With that in mind, what if we highlighted the professional and personal positives that are one-of-a-kind benefits generated by being a music educator?

The obvious one is being connected to music, a universal language of art, expression, creativity, beauty. While there is a big leap from “Twinkle, Twinkle, Little Star” to Handel’s Messiah, it is still a journey of learning–growing–becoming. Witnessing a child get it is a personal victory worth celebrating. Then there are those glorious moments when all the puzzle pieces come together and a musical phrase is created that stirs the soul. The student or the ensemble feels something, and we struggle to fight back the tears of joy. How often does that happen with other areas of study?

In a recent workshop with administra-

tors, the participants were sharing their aligned thoughts concerning the uniqueness of their music programs and their music staff. These are a few of their insightful reflections:

• The music teacher is not a one- or two-semester instructor, but rather an every-semester mentor. Living in a small farm community, my choir director (who clearly is a revered influential difference-maker in my life) was in front of me from first grade through high school graduation.

• The principals were quick to say, “Music is not a class, it is a culture.” It is a microcosm of society. We know it is a family for many of our students, a place of belonging, a community where students can contribute and feel valued in a myriad of ways that matte r.

• Being a music educator means going far beyond the cognitive aspects of the discipline, also integrating the affective elements of the educational highway. We teach music; we teach life.

Faculty who focus on undergraduates ■ 16 ensembles, with national and international ensemble touring opportunities ■ Degrees in music education, performance, and composition ■ Master of Arts in Teaching, a 5th year program with a full year of student teaching and 100% job placement (25 consecutive years)

■ Located in culturally vibrant San Antonio

■ Study Abroad opportunities

• Music-learning and music-making (particularly in an educational climate) require a sense of cooperation, sensitivity, self-discipline, compassion, compliance, communication, collective support, and relinquishing of one’s personal agenda for the welfare of the group’s advancement. It is an ongoing development of the character attributes that serves as the cornerstone of success in all aspects of our society—positive habits transferred to all facets of our being.

As a music educator you are often seen as the adult role model. “Ms. Music Teacher, can I talk to you about a personal problem?” That’s not an unusual request, is it? It comes with the territory. This same student is the one who returns in eight years to let you know the shared conversation was a turning point in their life. Had it not been for your caring advice, medical school would never have been an option; now this music student is a heart surgeon serving as a key member of a medical team and it’s because of you, the music teacher

There is so much more to our profession than the teaching of notes, rhythms, dynamics, articulation, and a neverending list of performance standards. The master teacher realizes it is a balance and blend of content and context

For nearly five decades I have had the opportunity (privilege, pleasure, good fortune) to spend time with the finest music educators on the planet. Many of them reside in your great state of Texas! It is ever-apparent (perhaps more than any other organization) that music programs are a reflection of the music educators. Unlike the transfer of knowledge in other academic disciplines, such as math where 2 + 2 w ill always equal 4, working on the same piece of music never yields the same result. It can be interpreted in so many ways based on the relationship–status–connection with the teacher/conductor/maestro. This in no way diminishes the importance of every teacher/educator, but it certainly shines a light on what is brought to our students with the art of music and the music of art

More than any other educators in the curriculum, the music teacher is the gatekeeper when it comes to the delivery and understanding of the knowledge needed to comprehend the language of music. Do we teach techniques? Yes. Do we develop talents? Yes. But, we also open

hearts and minds, bypassing the definitive data while connecting to the depths of emotions with the musical vocabulary to express them.

We all want to make a difference. We all want our lives to matter, to have our commitment and dedication contribute to society’s forward motion. I expect anyone reading this article can point to a music educator who was pivotal in guiding you on the pathway to music education. Might I suggest you are postured as one who will lead others as you have been led—the teacher who makes the difference.

What is the common denominator of the successful music educator? What do master educators do when faced with seemingly insurmountable challenges, when the odds are stacked against them, when they are so behind it seems impossible to catch up? We all know there is no quick-fix, but there is prescription that can help us reboot our thinking, our motivation, our thoughts, and our mission—we must dust ourselves off and simply get back in the race. We must give up giving up.

From the 30th president of the United States, Calvin Coolidge, comes this brilliant quote:

Nothing in this world can take the place of persistence. Talent will not; nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost

a proverb. Education will not; the world is full of educated derelicts. Persistence and determination alone are omnipotent.

The slogan “Press On” has solved and will continue to solve the problems we face every day. The sun will come up, the tides will rise, the stars will shine, the grass will grow, and the music will play on forever.

As a coda, I would be remiss not to recognize the unparalleled contribution of my loyal colleague and dearest friend, Mr. Robert Floyd. Every word in this article is a bold testimony to his unwavering commitment and dedication to music education, not only as the Executive Director of the Texas Music Educators Association, but also as an incomparable leader who has not just met the standards but also influenced the creation of the highest standards for music education everywhere. As this is the final publication of Southwestern Musician during his remarkable tenure, please join me in a heartfelt acknowledgement of Mr. Floyd’s gift to all of us as we tip our hats to our grand mentor and our much-loved hero.

Let the music begin.

Tim Lautzenheiser is a well-known teacher, clinician, author, composer, consultant, adjudicator, and advocate for music education for all children.

TMEA Membership

Update Your Record

Renew Early

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!

Consider Liability Insurance

All teachers should maintain this coverage, and TMEA offers members a low-cost policy. You can purchase when you renew.

JOSHUA MCGUIRE

The Three Rs of Sustainability TMEA Vocal Vice-President

How

In Memoriam

Liz Castile 1968–2024

Kayla Rigney 1988–2024

Four years ago, I found myself sitting in a makeshift home office at my keyboard auditioning students online. Like everyone in our profession, I was preparing for an unknown choir experience brought on by the covid pandemic. After 15 wonderful years in my previous school district, transitioning to a new campus in a different district was orchestrated through a pair of laptops at my home, all with hope that the eighth through eleventh graders, also in their homes, could manage to get through this unknown.

Since spring break, I’ve given a lot of thought to the seniors graduating from our choir programs at the end of this month. These are the students who finished eighth grade online, started high school in masks or online from home, and missed the social foundation–building moments that should have grounded their first two years of high school.

It has been well documented that this group of graduates is different from those of the past. Most of the related research highlights issues with mental health, apathy, lack of focus and motivation, and lower test scores. But anecdotal evidence suggests students fully engaged in our fine arts programs are performing better in all areas. This is not shocking to any of us. The class of 2024 acknowledges their mental health with honesty, their learning deficits openly, and their experience through a four-year roller coaster of setbacks and advancement with a sense of grit and grace.

check www.tmea.org for updates

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

May—Renew your TMEA membership for the 2024–2025 school year.

May 1–June 1 —2025 Clinic/Convention proposals accepted online.

June 30 —All 2023–2024 TMEA memberships expire.

July 25–27—TCDA convention in San Antonio.

August 20 —Liability insurance purchased last year through TMEA expires.

TexasWoman'sUniversity

CHOIR CAMP

As educators, we are better equipped to provide them with the tools to succeed, and they have learned how to accept and use them, many times helping their mentors be more creative along the way. For each of us, how we change is how we succeed. Together we’ve implemented the now decades-old philosophy of the 3Rs: Reduce, Reuse, and Recycle

We are truly at a crossroads in our profession. One where we should challenge our notion of a successful choir program. We’re in a time and place where we need to

2025 TMEA

acknowledge what is sustainable for us as program leaders and for our students and our communities. As choral directors, we must have a serious conversation about the word reduce. The pandemic was a one-time gift for each of us, reducing the amount of busy we placed on our program calendars and personal schedules. I’m afraid that through our transition from pandemic teaching to “business as usual,” we’ve actually added more to our plates when we should be reusing some of the changes made during our

PRESIDENT’S CONCERT

FEBRUARY 13, 2025

LILA COCKRELL THEATRE

Save the date & purchase tickets when you register for the 2025 Clinic/Convention!

brief period of downtime in the classroom. Reduce your workload. Reuse what works instead of adding more. Recycle what you’ve learned over the past four years.

As the school year ends and many of you consider your 3Rs, it is important to understand that they are different for everyone. At times, I have found myself wondering whether this career is sustainable. This doubt often stems from comparing myself and the opportunities I offer my students to others in our profession. This role often requires more time and energy than what is reflected in my regular contracted time; I find myself overwhelmed, trying to balance all the plates at once. On occasion, I’ve worked myself into a state of believing I don’t deserve downtime or rest until I’ve accomplished everything on my to-do list, and a couple of times I have found myself even slipping into a mild depression. When this happens, I realize I must allow my situation to change.

Change is how to succeed and to bring balance. Changes in mindset, in organization, in prioritization, and in habits have led me to sustainability. It has led me to joy in all that I do, at work and more importantly at home. As you did four years ago,

allow change to enter your life and allow yourself the opportunity for a sustainable career.

Congratulations to each of you, and to your students. Whether this is year one or year thirty-one, you made it! For those of you who began this career in a mask four years ago, I offer a special congratulations to you and to your graduating seniors! May you all continue to set an example of the 3Rs in all you do.

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 for more details and visit www.tmea.org/ regionmeetings to review the schedule for the month of May. Double-check your Region before marking your calendar (a link to the 2024–2026 Region alignment map is at www.tmea.org/regionmeetings where you can find the schedule).

Convention Proposals

Accepted Through June 1

As you prepare to apply to present, learn

more about the proposal and review process at www.tmea.org/proposals. Online proposals for clinics and music showcases will be accepted now through June 1.

Our membership consistently communicates their wish for clinics presented by educators teaching the same grade levels and in the same classroom cultures as they are. The number of our proposals continues to grow, so take time to ensure you submit a thorough and detailed proposal to guarantee reviewers can easily discern exactly what an attendee will walk away knowing. With a bank of well-detailed proposals on a variety of topics, we can build the best possible program for choral educators at every level.

The following are the top ten 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

• Conducting techniques

• Music theory

• Inclusion, diversity, equity & access

• Technology integration

• Advocacy/administrative support

All-State Audition Materials

The beginning of May brings the release of the All-State audition material (go to www.tmea.org/vocal/audition-material). The 2025 All-State Conductors are excited to join our students in Texas in February. Please utilize the additional resources, online reference recordings, and publisher information found on the website. Please send questions or any discrepancies via email to vocalvp@tmea.org.

TCDA Summer Convention

I hope you are already looking forward to attending the annual Texas Choral Directors Association summer convention, July 25–27, 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. 0

Students can pursue artistic expression through music at Austin College regardless of their major.

Our vocal, orchestra, and band ensembles provide many opportunities for students to let their talents shine.

Scholarships available for music majors and non-music majors.

LEARN THE TEXAS LARGE SCHOOL ALL-STATE MUSIC

EARLY REGISTRATION $250 DEADLINE MAY 1

LATE REGISTRATION $300 AFTER MAY 1

GROUP REGISTRATION $210 GROUPS OF 10 OR MORE, DEADLINE JUNE 15

COMMUTER & DIRECTORS $175 ALL-STATE MEMBER $99

SOUND IDEAS

VOCAL: Atomic Habits in the Choral Rehearsal

by betsy cook weber

This past February, I was honored to present a session titled “Atomic Habits in the Choral Rehearsal” at the TMEA Clinic/Convention. What I offered was inspired by James Clear’s book Atomic Habits: An Easy & Proven Way to Build Good Habits & Break Bad Ones. Running a choral rehearsal is complex on multiple levels. The complexity keeps the job infinitely interesting and exhilarating, but it also can make our work overwhelming and daunting. Clear’s book helps validate what I have known to be true during four decades in this business—focusing on and celebrating tiny victories is the secret to choral director happiness. While Clear didn’t write this book for choral directors, some of his precepts fall beautifully in line with our vocation.

As Clear describes it, a habit is a behavior that is repeated enough times to become automatic. The ultimate purpose of developing habits is to solve the problems of life with as little energy and effort as possible. For example, we don’t really think about brushing our teeth while we are performing that task. That habit is so ingrained and automatic that we perform the task while thinking about something else entirely.

The following are a few examples of building positive atomic habits to help mitigate problems and positively impact your work and support student success:

Problem #1: Wasted time while singers enter the room before the bell/downbeat and a lack of focus once rehearsal begins.

Habit #1: At the University of Houston, students come in and immediately begin reviewing the test passage for the day under the leadership of our undergraduate student director. This is optional, but everyone takes advantage of the opportunity. When I taught high school, the students had a sightreading example to study as they came into the room.

Clear says that productivity is compounding. Accomplishing one extra task is a small feat on any given day, but each adds up over an entire career—the more tasks you can handle without thinking, the more your brain is free to focus on other areas.

I apply this concept by allowing singers to help with every task possible, large and small. When I do this, not only does my mind have less detritus to focus on, but the singers also develop more ownership. They buy in. The constant need to motivate dissipates as the traditional top-down leadership model evolves into true collaboration.

Problem #2 (a): Singers on the back row are less engaged than singers on the front.

Habit #2 (a): Rotate rows at every rehearsal.

Problem #2 (b): The director can’t remember which row is in front/back from day to day.

Habit #2 (b): Assign a student to keep track of this and to post the order before the day’s rehearsal.

Clear also encourages us to focus less on goals and more on systems. If your goal is to have a UIL Sweepstakes–worthy choral program, you’ll be frustrated during the years before achieving that goal. If, instead, your goal is to instill habits that create an atmosphere of excellence and ownership, then feelings of joy and accomplishment can take place (almost) daily. The difference is in thinking at a granular or, in Clear’s words, at an atomic level. Let’s be honest, if the tiny, non-musical aspects of your rehearsals aren’t efficient and orderly, musical excellence is highly unlikely. Learn to rejoice in the trajectory of your program.

Problem #3: Distributing and collecting musical scores is a disorganized mess and requires an unreasonable amount of time.

Habit #3: Student section leaders oversee all choral library tasks for their sections, including issuing, collecting, filing, checking for score markings, etc.

We can also apply the systems versus goals philosophy to our careers. Educators sometimes view their current position as a steppingstone to a perceived ultimate position, such as a head high school director or a collegiate professor. While focused on that goal, they miss fully investing in and enjoying their current job. They neglect the tiny habits that are essential to supporting their work, whether it be in a classroom with elementary students or on stage with a symphony. Being so focused on what they haven’t attained, they don’t find true joy in where they are. Because they haven’t achieved excellence where they are, theirs is not the name that comes to mind when new positions emerge. It can become a professional vicious cycle.

Problem #4: A director believes they are being unfairly passed over for opportunities.

Habit #4: The only way to demonstrate you are ready for the next job is to do excellent work in your current position. Work for excellence in every aspect of what you are doing now.

It’s never too late to start building atomic habits, so I hope you take time to think through how these ideas can positively impact your daily work and support of your students. 0

Betsy Cook Weber is Madison Endowed Professor of Music and Director of Choral Studies at the University of Houston Moores School of Music.

TMEA Elementary Vice-President

CHRISTOPHER GILES

That’s a Wrap!

Reflecting on the academic year is not merely an exercise in nostalgia; it’s an essential practice that allows music educators to grow personally and professionally.

As the school year draws to a close, music educators often find themselves navigating a plethora of emotions, reflecting on the highs and lows of the past months. Each year brings its own set of challenges and triumphs, making reflection at the finish line a vital part of the year. It’s a time for contemplation, assessment, and celebration of the musical journey you’ve traveled with your students.

Reflecting on the academic year is not merely an exercise in nostalgia; it’s an essential practice that allows music educators to grow personally and professionally. What aspects of this school year brought satisfaction? Perhaps it was the successful execution of a challenging piece, the camaraderie formed among students, or a breakthrough moment witnessed in a student’s musical journey. Take time to celebrate those achievements—whether a standout concert performance, a successful music project, or a meaningful connection with your students. Understanding why these moments were successful is crucial for replicating and building upon them in the future.

Conversely, acknowledging what didn’t go as planned is just as important, if not more so. Were there instances in which lesson plans fell flat or challenges unexpectedly arose? Perhaps a concert didn’t meet expectations, a project encountered logistical issues, or classroom management presented difficulties. Reflecting on these setbacks provides valuable insights for growth and gives you a chance to improve.

Explore the root causes behind these challenges. Was it a lack of resources, time constraints, or unexpected obstacles? By understanding

MARK YOUR CALENDAR

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

May—Renew your TMEA membership for the 2024–2025 school year.

May 1–June 1 —2025 Clinic/Convention proposals accepted online.

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

June 30 —All 2023–2024 TMEA memberships expire.

July 25–27—TCDA convention in San Antonio.

August 20 —Liability insurance purchased last year through TMEA expires.

the reasons behind the struggles, educators can develop strategies to overcome similar hurdles in the future and improve their practice. During this practice, maintain a positive perspective so that you don’t become defeated; every setback presents an opportunity for growth and refinement.

Among the highlights of the school year are undoubtedly the projects or concert programs that exceeded expectations. Identify the key elements that contributed to the success of those endeavors. Perhaps it was a collaborative effort with students and colleagues, meticulous rehearsal planning, or incorporating technology to enhance learning. Understanding the factors behind success can serve as a blueprint for the future and inspire innovation in teaching practices.

Without a doubt, my personal standout moments of the year were the collaborative Fine Art Showcases I was privileged to plan with the art teacher on my campus. This year our theme for the spring showcase was Game Night. This event was so special to me for many reasons. I love the fresh insight our art teacher brings when we pair up. The musical portion of this event was a fulfilling exercise in collabora-

tion with each of my performing groups. Each group suggested three to four games for their respective part of the program. We then worked together to ensure that the program had a variety of mediums. A perfectly balanced blend of singing, instrument-playing, and creative movement was needed, and the students did not disappoint! Collaborating with a colleague I respect so deeply and providing students with support and autonomy to build the concert resulted in a product far better than I could have orchestrated on my own.

Additionally, it is essential to not only reflect but also recognize the collective efforts of students, colleagues, and support staff in achieving these milestones. Collaboration and teamwork are pivotal to the success of any musical undertaking.

Acknowledging the contributions of all involved fosters a culture of appreciation and camaraderie within the education of each of our students.

As we wrap up this year and start to look ahead to the next, we may find ourselves contemplating new projects or concert programs. However, venturing into uncharted territory can be daunting. Consider whether there are specific

hurdles or challenges standing in the way of realizing these aspirations. Seek advice and guidance from experienced colleagues or mentors; they can provide invaluable support in navigating unfamiliar terrain and overcoming obstacles.

Moreover, embracing a growth mindset is crucial when embarking on new endeavors. Recognizing that challenges are opportunities for learning and development can empower us to approach obstacles with resilience and determination.

Amid the chaos of a school year, it’s easy to lose sight of why we chose to teach music in the first place. For many educators, the intrinsic rewards of witnessing students’ growth and transformation serve as a constant source of inspiration. The profound impact of music education extends far beyond the confines of the classroom, shaping students’ lives and fostering a lifelong appreciation for music.

However, the journey of a music educator is not without its challenges. There may be moments of doubt or frustration, where the pressures of the profession seem overwhelming. Yet, it is precisely during these challenging times that the true essence of teaching shines through. Our unwavering

passion for music, coupled with the belief in the transformative power of education, fuels educators’ perseverance in the face of adversity.

As a music educator my why isn’t necessarily to create future career musicians, even though that can happen. My goal is to create lifelong consumers of music through the foundation established in elementary school. When our students grow up and have children of their own, we want them to encourage participation in music because of their own personal experiences. Ultimately, it is the profound sense of purpose and fulfillment derived from nurturing the next generation that keeps music educators centered and inspired. As the school year draws to a close, let us take a moment to reflect on the musical journey, celebrate our successes, and reaffirm our commitment to the noble profession of music education.

Embrace the journey of growth and discovery, knowing that each experience enriches not only your practice but also the lives of your students. As you begin on the next chapter of your teaching journey, may reflection be your compass, guiding you toward continued growth, fulfillment, and inspiration in the noble pursuit of music education.

In times of doubt or weariness, it’s essential for music educators to draw upon sources of inspiration and renewal. Whether it’s attending professional development workshops, collaborating with colleagues, or exploring new repertoire, these opportunities for growth reignite passion and enthusiasm for teaching. Moreover, cultivating a supportive network of fellow educators provides invaluable encouragement and solidarity during challenging times.

Furthermore, taking time for selfcare and personal reflection is crucial for maintaining a healthy work–life balance. Whether it’s pursuing hobbies outside teaching, spending quality time with loved ones, or practicing mindfulness and relaxation techniques, prioritizing one’s well-being is essential for sustained professional fulfillment.

By celebrating successes, confronting challenges, and reconnecting with their purpose, educators renew their commitment to the transformative power of music education. As you start your summer break and prepare for the year ahead, I hope you can carry a renewed sense of

purpose, inspiration, and resilience. It is through reflection that we grow, evolve, and continue to make a difference in the lives of our students.

2025 Clinic/Convention Proposals

If you haven’t considered proposing a clinic or applying for your group to perform for the TMEA convention in previous years, perhaps this is the time (go to www.tmea.org/proposals to learn more and apply by June 1). Additionally, if you know a colleague who could serve as an effective clinician, encourage them to apply. Every teacher has a unique perspective and valuable insights to share. Sometimes taking a moment to acknowledge a fellow educator’s abilities is the catalyst for them to take the leap and put themselves out there.

It’s important that we receive many proposals on a variety of topics and that each proposal includes meaningful details about how they will be delivered. This is the only way we can build a balanced program of clinics within our division to meet the needs of all elementary educators.

As you consider this opportunity, consider what Elementary Division

convention attendees reported as the most important for clinics at the 2025 convention. This feedback will be part of the proposal review process:

• Teaching methods

• Classroom management

• Special-needs instruction

• Inclusion, diversity, equity & access

• Technology integration

• Rehearsal techniques

• Instrument methods

• Repertoire selection

• Mental health & wellness

• Music theory

Elementary Invited Ensembles

This is also the time to finalize your plans to apply for your ensemble to perform at the 2025 TMEA Clinic/Convention. Our online application for choirs and instrumental ensembles is open May 1–June 15. Learn more now and prepare to apply at www.tmea.org/elementaryensembles.

I hope you have a wonderful close of the school year and a rejuvenating summer break! 0

2025 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.

SOUND IDEAS

ELEMENTARY: Promoting Multimodal Delivery

by bethann hepburn

Elementary music teachers can support student learning when they present concepts with multiple learning modalities. In this brief article, I’ll highlight the significance of learning modalities, offer an overview, and provide practical examples of strategies from active music learning models that support a multimodal delivery of musical concepts.

Learning Modalities

Learning modalities delineate how individual learners process information: visually, auditorily, or kinesthetically. Modalities Learning Theory was developed by Barbe and Swassing in 1979. Later, they expanded their work in collaboration with Milone (Barbe, Swassing, & Milone, 1979). Their theory proposes that people process information to learn through visual, auditory, and kinesthetic/spatial modalities. The sensory processes that help promote learning are specific to the individual learner.

Modalities Evolve

The way a child learns, whether through seeing, hearing, or movement, is not fixed. According to Milone (1981), a child’s ability to learn using different methods can change with age. As children grow older, they become more integrated in their learning styles, and the use of different learning methods becomes more balanced. Younger children tend to be more auditory learners, while older children tend to rely more on visual learning or mixed methods. The sound-before-symbol method embedded in active music learning approaches aligns with this development.

Combining visual, auditory, and kinesthetic/spatial sensory inputs is common in music classes utilizing strategies from Orff Schulwerk, Kodály, Dalcroze Eurhythmics, and Gordon MLT. Let’s explore a few examples and tips to consider as we plan for instruction.

Auditory and Kinesthetic Preparation

Active music learning approaches commonly use auditory and kinesthetic preparation before the visual representation of Western notation. The first example is playing a singing game in kindergarten and bringing the game back in first grade for reading from the music staff. In kindergarten, play the Sneaky Fox singing game. In first grade bring it back when the students are reading sol, mi, and la on the staff. Go to www.tmea.org/sneakyfox for game details and notation.

Singing games are an excellent engagement for auditory and kinesthetic preparation for students before the visual representation of notation. Another example would be the use of eurhythmics quick-reaction games. Quick-reaction exercises require students to have a musical response after an auditory cue from the teacher. These exercises can be led by the teacher on a variety of

instruments, such as a piano, hand drum, or temple blocks; they blend an auditory and kinesthetic preparation prior to visual representation of notation.

Group Work Promotes Multimodal Learning

Many approaches utilize partners or small groups to work together during musical tasks. Whether partners are decoding a rhythm together during a Kodály lesson or working in a larger group, they use all the modalities to communicate with each other to support music learning. The Orff Schulwerk teaching process invites children to actively engage in musical experiences and performance through imitation, exploration, and creation. Pedagogical processes used in an Orff Schulwerk–inspired classroom through cooperative learning groups empower students to become their classmates’ tutors or peer models. This process helps reinforce music concepts, encourages pattern play, and can aid in connecting auditory, tactile, and visual representations of musical ideas.

Orff-inspired collaboration opportunities or Kodály partner activities provide the opportunity for peers to teach each other using multiple learning modalities. Peer teachers may use one or more modalities as they model for their peers. Adding manipulatives during peer groups creates another tactile/kinesthetic opportunity. For example, during a Kodály lesson, peers may decode a rhythm together with an icon sheet using rhythm bricks during an Orff Schulwerk composition activity.

A reciprocal relationship develops between sensory input and cognitive understanding as young learners develop musical skills and knowledge. Each individual processes information differently and has their own learning preferences; however, when used in combination, the ability to understand musical concepts can be strengthened. When music educators are diligent about adding a multimodal approach to their curriculum scope and sequence, young learners will develop stronger cognitive understandings through active involvement with music.

BethAnn Hepburn is an endorsed teacher education instructor for the American Orff-Schulwerk Association and is coauthor of Purposeful Pathways: Possibilities for the Elementary Music Classroom, Books 1–4.

References

Barbe, W. B., Swassing, R. H., & Milone, M. N. (1979). Teaching through modality strengths : concepts and practices. Zaner-Bloser. Campbell, P. S., and C. Scott-Kassner, (2005). Music in childhood from preschool through the elementary grades. 3rd ed. Thomson/ Schirmer.

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 DATE: Sunday, May 19th, 2024 1 - 3 p.m.

Individual audition dates may be requested if necessary.

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

Eliza Jeffords Director of Strings ejeffords@tlu.edu

Zoe Chunghui Kim Interim Director of Vocal Studies ckim@tlu.edu

Brett A. Richardson Director of Bands brichardson@tlu.edu

FACULTY

Carol Brittin Chambers Composer in Residence & Composition

Lauren Casey-Clyde Asst. Professor, Trombone & Euphonium

Heather Couture Asst. Professor, Music History

Sean Holmes Asst. Professor, Horn & Music History

Stephanie Hulsey Instructor, Flute

Michael Keplinger Instructor, Guitar

Elizabeth Lee Asst. Professor, Cello

Deborah Mayes Choral Accompanist

Scott McDonald Instructor, Saxophone, Jazz Band & Music Education

Carla McElhaney Asst. Professor, General Music

David Milburn Instructor, Double Bass

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

Bryce Turner Instructor, Percussion

Shareen Vader Instructor, Piano & Music Education

Mika Allison Valenzuela Instructor, Oboe

Yvonne Vasquez Instructor, Mariachi

Tyler Webster Asst. Professor, Clarinet & Music History

Sarah Wildey-Richmond Asst. Professor, Bassoon

SOUND IDEAS

COLLEGE: Empowering Independent Musicianship

by brandon houghtalen

One of the great joys in life is teaching music, and one of the very best parts of teaching music is delving into what makes musical performances so compelling. I spend a lot of time (though I wish I could spend more) dreaming about how to perform a phrase, how to balance a chord, how to best capture the intent of the composer and bring the music to life with my students. This time spent dreaming leads directly to planning—how can we accomplish these goals? How can we remove distractions such as faulty intonation, imprecision, etc., and really go for it when it comes to phrasing, articulation specificity, dynamic nuance, and vibrancy?

In addition to teaching fundamentals such as proper breathing, long tones, and lip slurs, empowering students daily to make independent musical decisions is key to achieving compelling performances. There is a big difference between a group of students working hard to please a director and an ensemble and conductor working together to create compelling performances.

Below I will outline some techniques I’ve found helpful when explaining how musicians turn printed notation into music. Some work well in conductor-led ensemble settings and others work better in sectionals, conducting class, or leadership development settings.

Match Me: I sing or play a note or phrase and the ensemble plays it back to me. In the beginning, I use short, predictable ideas such as the first three notes of a scale. As the group develops fluency playing by ear, I give them fewer clues for to what to expect. You may lead by singing in solfège or playing your instrument. This is a fantastic game to help develop listening and matching skills. Intonation and articulation specificity rapidly improve. I used to do this daily with beginners with great success.

Definition of Terms: As part of our daily ensemble-building time, I conduct a series of four notes and ensure an accurate performance of each term—staccato, legato, portato, accelerando, rallentando, allargando, cuivre, and semplice, for example. In this way, we teach students that music is an action—musical expression is something one does. By giving students practical experience performing and playing with the building blocks of expression, they learn how to use them in appropriate contexts. This exercise builds on the match me exercise by putting a name to something they have already done.

Dad Jokes: I have students tell dad jokes. This requires much preparation and thought from the students to make their peers laugh. They really have to own the material. A punchline works

only when it follows a proper setup with comedic timing. In this way, students begin to understand antecedent and consequent phrases. They no longer drop phrases or clip note endings because they’ve learned to finish an idea with polish and purpose. Musical form and architecture begin to make more sense.

Children’s Books: Reading children’s books is a game-changer The assignment is very simple: read me your favorite children’s book. Often, students begin nervously, and frankly, boringly. I encourage them to read with more dynamic nuance and read using different voices, tailored to each character. In this way, students learn that printed notation gets them only so far; to achieve a truly compelling performance much more is required than simply reading all the words accurately. Show me the pictures! A musician’s job is to help the audience go on a musical journey—if a critical component of communication isn’t there, we are missing an opportunity. Once students buy in to the concept of telling the story in a compelling way, the transfer to making music from notes on a page is more attainable.

Fix Me: I purposely sing or play a phrase in a boring/plain way and ask the students to fix my performance. This reverses the usual conductor-led model and develops independent interpretation skills. Try many different students’ ideas.

Three Possibilities: As students develop interpretive skills, I ask them to offer three possible “playable choices” for each melody. This exercise is often used by actors as they create their roles. Students are forced to consider multiple options before deciding on the best, which develops flexibility. This exercise is especially beneficial for soloists.

As I clinic ensembles, I frequently find myself encouraging students and directors to make independent musical decisions. Directors can be afraid to make decisions that aren’t present in reference recordings. Students tend to be afraid of doing anything that isn’t what the director has instructed. Once students have the tools, and the permission, they begin to view themselves as empowered to perform musically. The result is a much more satisfying process and more rewarding performances.

Brandon Houghtalen is Director of Athletic Bands and Associate Director of Bands at the University of Texas at El Paso.

CARTER BIGGERS

Sustaining Your Passion for Teaching TMEA College Vice-President

We all need to find an approach that can help us weather the storms whenever they happen so that we can enjoy the flowers that follow.

The adage “April showers brings May flowers” resounds for me at this time each year. Not only from a horticultural perspective (I like yard work), but also from a professional one. If you are anything like me, you begin the year filled with optimism and hope for what lies ahead. Excitement fills your classroom, with the anticipation of the upcoming year.

As the year progresses, we encounter success stories, and those opportunities provide us the nourishment to continue moving forward. However, we also face challenges along the way, and sometimes when this rain falls, it pours. When this happens, it can be easy for us to pack it in. To survive these stormy moments, it’s important to understand what will keep you going. Regardless of whether this is your reality now, consider these approaches that can help us weather the storms whenever they happen so that we can enjoy the flowers that follow:

Consider a hobby. Perhaps you like to work with your hands, so you might try taking up woodworking, knitting, or pottery. Are you someone who likes the outdoors? Consider gardening, fishing, or going for a run or walk. Do you prefer staying home? Perhaps start journaling, cooking, or simply picking up a great book that has absolutely nothing to do with work. These diversions can give you a much-needed break from the daily grind of your classroom.

Keep a “warm fuzzies” folder. Early in my career I started a folder of special notes, photos, and other mementos from students, parents,

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

May—Renew your TMEA membership for the 2024–2025 school year.

May 1–June 1 —2025 Clinic/Convention proposals accepted online.

June 30 —All 2023–2024 TMEA memberships expire.

July 25–27—TBA, TCDA, TODA conventions in San Antonio.

August 20 —Liability insurance purchased last year through TMEA expires.

October 4 —College Fall Conference.

administrators, and colleagues. They vary from a simple Post-it note that a student left on my door that reads, “Thanks for believing in us,” to a three-page email from a former student who described how much they realize all we did for them in school and how they now can pay it forward in their job, to special commendations from administrators. Any time I feel a little lost or in moments when I seriously question whether I should continue on this path, I pull this folder out of my desk drawer and read through the notes. Some days are harder than others, but this collection of memories always does the trick for me.

Remember your why! Leadership expert Simon Sinek is well known for his TED Talk about discovering your why. The why is your statement of purpose for doing the work you do. When I feel down or lose the inspiration to keep going, I find myself returning to this thought of rediscovering my why.

For me (and it likely is true for many in our association), the why is my students. Seeing them succeed or overcome their own challenges in the classroom or rehearsal room reminds me of just that. They are my why. I got into this profession

to make a difference in their lives because long ago someone did the same for me. My hope is that this cycle will continue, unbroken, as they move on from our hallowed halls to their places of work.

As we head into the summer season, I hope to see you at the TBA, TODA, and TCDA conventions in San Antonio July 25–27. Regardless, my wish for you is that you can rest, reflect, and remember your why! Take time to revisit an old hobby or start a new one. Catch up on sleep and simply take time for yourself so you can be renewed for the next year.

Region Meetings

Although much of our work in the College Division is completed at the committee level, I encourage you to attend your upcoming Region meeting. Several Regions will have already met, but if yours is still to come, please make the effort to attend if you can. Not only do we serve our universities and students, but as the institutions that produce future music educators, we also serve the local communities we are in and beyond. I thoroughly enjoy attending these semiannual meetings as they provide me an opportunity

to reconnect with other educators in the Region and see how we can better serve them through our division. To find out when and where your Region meeting is visit www.tmea.org/regionmeetings.

Renew Your Membership

As we move into the summer months, remember that your current TMEA membership will expire on June 30. The renewal portal is now available for all members. Your membership and involvement in TMEA are vital to the continued success of our organization and all the benefits they provide. From professional development, research grants, opportunities to publish and present your research, and advocacy for our programs, the value of these benefits of your membership is immeasurable. To renew for the 2024–2025 year, go to www.tmea.org/renew.

While online, please consider making a first-time, continued, or increased donation to the TMEA scholarship program. This program benefits not only high school students but also our current university students. There are awards for undergraduate and graduate students as well as student teachers. Information

regarding the scholarship application process for next year will be available this coming fall. You can donate at any time, and I encourage you to share this opportunity with your community (anyone can donate to this worthy fund!). Simply go to www.tmea.org/donate.

Clinic and Music Showcase Proposals

The online proposal process for the 2025 TMEA Clinic/Convention is now open until June 1. I hope you consider applying to present. The opportunity to share our research, pedagogy, and practices is critical to the continued growth of

thank you

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 companies and institutions that advertised with us in one or more of the issues in Volume 92, making this resource possible. Each issue of SouthweStern MuSician includes an index of that month’s advertisers.

our profession. The review and selection process will begin immediately following the close of the submission window, and in mid-August TMEA will notify all who submit about the status of their proposals. Please include thorough details about the content and how you will present it. It is only with this depth of information that a meaningful review can be accomplished.

The breadth of topics we welcome are as diverse as our own population. A list of most-requested topics from both College Division Faculty and College Students is on the proposal webpage. Your commitment to the betterment of our field through the sharing of your knowledge and experience is highly valued.

In addition to the clinic proposal process, the Music Showcase program is a wonderful opportunity for our college faculty and students to be featured in a performance setting during the convention. These showcases take place at multiple venues throughout the convention center and are another way that TMEA works to feature the results of high-quality music education in our state. The only restriction is that the ensemble type cannot be one already selected through TMEA’s Invited Ensemble process.

For more details and to apply to present a clinic or music showcase, go to www.tmea.org/proposals. June 1 is the deadline to apply. 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

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