A small school’s limited resources can be transformed into catalysts for musical growth and personal development.
28 Culture-Building: It Starts with the Feeling of Family by
sundas mohi-truong
A focus on family can foster a strong program culture that supports students’ well-being and leads to high-level performances.
46 Culturally Relevant Pedagogy in Elementary Music by
franklin j ..willis
Honoring the rich musical traditions our students bring into the classroom will increase their engagement and interest in music-making.
2 From the Editor
6 President
Photo by Karen Cross.
From the Editor
November can be a challenging time of the year. The daily routine often becomes so repetitive that our students participate on autopilot. It is essential to find different ways to keep students engaged as we continually refine and enhance their musical, personal, and educational development. This issue of Southwestern Musician includes many ideas that can help keep your classroom energized.
You can keep students interested in learning by making sure your instruction resonates with them in ways that are important to them. Read the article by Franklin J. Willis on page 46 for strategies to engage students who might seem uninterested in your classroom. You can also find feature articles on building classroom and program culture and growing a small school program. These feature articles will spark ideas on creating a solid foundation to provide high-quality music education to your students.
In this issue, you’ll find the return of our divisional Q&A short features that include answers from TMEA members. Their responses offer new techniques and approaches that you can implement to elevate your students’ experiences in pursuit of musical excellence. The answers featured here, and those online at www.tmea.org/q&a, can empower you with valuable tools to impact your students’ musical journey.
The Vice-President columns contain information about the amazing concerts that will be part of the 2025 TMEA Clinic/ Convention. These performances are sure to be examples of excellence in music-making. I encourage you to find their performance times in our December issue, which will contain a full preview of our convention schedule. Make plans to support these outstanding programs and students. I also encourage you to get involved and volunteer for the 2025 TMEA Clinic/Convention. Your participation is crucial to our success. Go online and register now at www.tmea.org/volunteer.
With the general election season ending just as this issue mails, be sure to read updates in the TMEA News on page 4, as it provides a legislative update, with information about what is happening with the State Board for Educator Certification and the State Board of Education.
As we enter the season of gratitude, know that you and your students’ dedication to the art of music is truly inspiring. Your guidance and encouragement help shape the next generation of musicians, fostering not only technical skills but also a lifelong love for music. Thank you for your passion, commitment, and creativity in bringing music to life in our communities and for your invaluable contributions to music education.
Joe Muñoz E xecutive Director jmunoz@tmea.org
Editor-in-Chief: Joe Muñoz
Managing Editor: K aren Cross
Advertising Manager: Zachary Gersch
TMEA Executive Board
President: Jesse Cannon II, Fort Worth ISD president@tmea.org / 817-814-2635
President-Elect: Shane Goforth, North Shore Senior HS presidentelect@tmea.org / 713-516-7158
Immediate Past-President: Robert Horton, Conroe ISD pastpresident@tmea.org / 936-709-7806
Band Vice-President: Mike Howard, Leander ISD bandvp@tmea.org / 512-570-0161
Orchestra Vice-President: Jennifer Martin, Fort Worth ISD orchestravp@tmea.org / 817-814-2640
Vocal Vice-President: Joshua McGuire, Rock Hill HS vocalvp@tmea.org / 469-219-2300 x 81201
Elementary Vice-President: Christopher Giles, Mireles Elementary elementaryvp@tmea.org / 210-394-0289
College Vice-President: Carter Biggers, Texas Woman’s University collegevp@tmea.org / 940-898-2689
TMEA Staff
Executive Director: Joe Muñoz, jmunoz@tmea.org
Deputy Director: Frank Coachman, fcoachman@tmea.org
Administrative Director: Kay Vanlandingham, kvanlandingham@tmea.org
OFFICIAL PUBLICATION OF TEXAS MUSIC EDUCATORS ASSOCIATION
FEBrUArY 12–15 • SAN ANTONIO
TMEA NEWS Advocacy Doesn’t Stop After the Election
By Joe Muñoz
November is an active time of the year for music educators and TMEA. Your students are finishing their preparation or are involved in the All-State audition processes. All-State Orchestra, Jazz, and Mariachi students will be selected early in the month, and the review of hundreds of outstanding TMEA scholarship applications has begun. It’s also the conclusion of the election season, which might be misinterpreted to be the end of our advocacy efforts. I am thankful for your efforts as they have helped set the table for our legislative agenda in the 89th legislative session—our advocacy work continues.
CANDIDATE RESPONSE SUMMARY
A review of the candidate responses to the fine arts education questionnaire sent to them in August shows an overwhelming support for fine arts education (www.tmea.org/2024candidates). How do we translate this support into action in the legislature? After the general election, our focus shifts to communicating with our elected representatives, senators, and State Board of Education members. Engage in the following steps to continue the conversation about fine arts:
• Reach out to your elected representative, senator, or member of the State Board of Education. Invite them to a future performance or event. Legislators will always be drawn to a group of their constituents. Highlight the significance of their support of your program and fine arts education. A positive relationship with a State Board of Education member can be critical because they create the rules to achieve the educational goals set forth by the legislature in statute.
• Asking your legislator to sponsor your performance at the capitol is a wonderful advocacy opportunity! Learn more and apply at www.tmea.org/capitolrequest.
• Be visible sharing the positive impacts your program is having on students. Share via social media, school board meetings, community events, etc.
STATE BOARD FOR EDUCATOR CERTIFICATION
Thanks go to members of our College Division Music Teacher Preparation Committee, who provided effective feedback to TEA staff on the proposed changes to Chapter 228 of the Texas Administrative Code. This chapter contains the rules governing Educator Preparation Programs (EPP). At their September meeting, the SBEC adopted on first reading new rules relating to the clinical/student teaching experience that include the following:
Students starting their EPP after September 1, 2024, must complete 490 hours of student teaching. The hours requirement is a change from the previous rule that stated the required days. Our committee members provided TEA valuable information that
helped shape their decisions on the following:
• The definition of a school day.
• After the start of instruction with students, professional development hours during the EPP placement will count toward the 490-hour requirement.
• TEKS-based instruction outside the school day may count toward the 490 required hours.
TEA representatives praised TMEA staff and leadership for their contributions and collaboration. The College Division committee’s Thinker actions helped increase the flexibility of the EPP requirements (for a description of Thinker actions, see my comments on page 11 of the September issue).
STATE BOARD OF EDUCATION
The State Board of Education has been meeting and working through the HB 1605 Instructional Materials Review and Approval (IMRA) process. While the process has proved to be quite cumbersome, the fine arts IMRA process is scheduled to start in June 2025, with an anticipated implementation date of August 2027. TMEA will actively advocate for updated instructional materials for students while maintaining the current TEKS to most effectively strengthen teaching and learning in the fine arts classroom.
CONVENTION NEWS
Our President’s Concert on Wednesday, February 12, will feature the Jason Max Ferdinand Singers. From performances in London to New York City on Saturday Night Live, you won’t want to miss their performance in the Lila Cockrell Theatre. If you already registered for convention, go to www.tmea.org/addon to learn how to purchase these $20 tickets. To purchase a group of 10 or more tickets, contact Membership at 512-452-0710, ext. 105.
I’m pleased to report that exhibit sales are ahead of pace, and it’s clear that we will sell out. Thanks go to our Sustaining and Institutional members as their support helps keep our convention registration affordable. The Exhibit Hall is always full of energy and is a valuable resource for students, teachers, administrators, and parents to find the latest products and services in the music industry. Be sure to schedule time to visit exhibitors at their booths or schedule meetings with them during our convention.
GET INVOLVED
Do you want to meet TMEA members from across the state? Volunteering at the convention is a great way to build a professional network while supporting our association. To learn more and register to volunteer at the convention, go to www.tmea.org/ volunteer. We need volunteer help at registration and divisional support. You can be a valuable part of creating the TMEA experience for our attendees. 0
TMEA
PRESIDENT
JESSE CANNON II
By embracing vulnerability, we teach our students that it’s okay to feel deeply and that these feelings are part of their growth, both as musicians and as individuals.
‘Inside Out’ Insights
If you’ve been following my articles during my time on the Executive Board, you know I’m a bit of a cinema enthusiast. Over the years, I’ve used this space to draw lessons from series like Ted Lasso and others, finding inspiration in storytelling that connects to our work as educators. This summer, while on vacation with my family, we had the opportunity to attend a special screening of Inside Out 2. As I watched the film, I couldn’t help but make connections between the emotional depth of the movie and what we do each day in the classroom. It impacted me, not only as an educator but also as a leader.
This sequel to Inside Out revisits the world of young character Riley’s emotions, adding new layers of complexity as she faces the challenges of growing up. The movie offers deeper insights into emotional intelligence, self-awareness, and personal growth. Each of these themes resonate as we help guide students through their emotional and artistic development.
Inside Out 2 expands the cast of emotions, adding new characters Anxiety, Envy, Embarrassment, Nostalgia, and Ennui to the familiar lineup of Joy, Sadness, Anger, Disgust, and Fear. Each of these emotions help provide a deeper understanding of the complex, multifaceted nature of our feelings.
MARK YOUR CALENDAR
check www.tmea .org for updates
November—Renew membership, purchase liability insurance, register for the convention.
November 1, 4:30 p.m. CT—TMEA scholarship online application deadline.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 5:15 p.m.—TMEA Division business meetings at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
One of the most memorable moments in the film is when Joy tells Anxiety, “You don’t get to choose who Riley is! Anxiety, you need to let her go.” That line resonated with me as a reflection of our role as educators. We don’t get to decide who our students become, but we do have the opportunity to help shape their experiences by instilling in them values, skills, and a love of music that will last a lifetime.
VISUALIZING EMOTIONS TO FOSTER UNDERSTANDING
For music educators, this idea translates perfectly into the classroom. Our students are constantly navigating a range of emotions, often without the tools to express or understand them. Music gives them a way to externalize what’s happening internally. A piece of music can capture sadness, joy, or anxiety in ways that words often cannot. By giving students an emotional outlet through music, we help them make sense of their inner world.
In the same way that Inside Out 2 brings
clarity to emotional dynamics, music education helps students articulate their emotions, developing both their emotional and creative intelligence. Understanding this dynamic also helps us as leaders. It reminds us to be more attuned to our students’ emotional landscapes and to guide them with empathy and patience.
THE FOUR QUADRANTS OF EMOTIONAL INTELLIGENCE
The film’s exploration of emotions aligns with a well-known model of emotional intelligence, which consists of these four key areas: self-awareness, self-management, social awareness, and relationship management. As educators and leaders, these quadrants are crucial for our success in the classroom and beyond.
Self-Awareness: One of the film’s key themes is the importance of recognizing and understanding one’s emotions. This self-awareness is important for educators. Understanding our emotional state, whether we’re feeling joy, frustration, or
stress, allows us to be more intentional in how we interact with our students. Are we bringing the energy and enthusiasm they need, or are we letting our frustrations bleed into the classroom?
Self-Management: Once we are aware of our emotions, managing them becomes the next step. This is particularly important for leaders. In the film, we watch the characters grapple with complex emotions, learning that emotions like anxiety and sadness can’t simply be suppressed or ignored—they must be managed. As educators, we model self-management for our students by staying calm under pressure and finding healthy outlets for our emotions. Whether we’re conducting a challenging rehearsal or responding to a classroom disruption, how we manage our emotions sets the tone for our students.
Social Awareness: The ability to empathize with students’ emotions is an essential leadership quality for fostering connection and trust. The film demonstrates the
Explore TMEA’s New Online Learning
Presented by TMEA members, these practical video courses support educators in all TMEA divisions with strategies you can apply immediately in your classroom. This newest benefit of membership is available to anyone whose TMEA membership is current. Those with an Active type membership earn professional education credit for each completed course. Go to www.tmea.org/online-learning and view the trailers. Log in to watch the full courses.
importance of social awareness through the interactions between Riley’s emotions, showing how our feelings impact those around us. As educators, developing empathy helps us better connect with our students, understanding when they need encouragement, guidance, or simply someone to listen. This might mean recognizing a student’s anxiety before a performance or providing support when they’re feeling overwhelmed by personal challenges.
Relationship Management: Emotional intelligence also involves effectively managing relationships. True leadership is less about controlling emotions and more about navigating them. By building strong, trust-based relationships with students and colleagues, we foster open communication. When students feel supported and valued in these relationships, they are more likely to express themselves openly, both in their music and emotionally, creating a safe, positive, and nurturing learning environment.
VULNERABILITY AND LEADERSHIP
A recurring theme in the Inside Out films is the power of vulnerability. We see how emotions like sadness and anxiety, often perceived as weaknesses, are essential to Riley’s well-being.
Too often, we believe that being a strong leader means always having the answers or never showing weakness. But throughout the films, I was reminded that vulnerability is not a flaw; it’s a strength. By showing our students and teachers that we,
too, experience doubt, fear, or anxiety, we humanize ourselves and create a culture of openness in the classroom. Vulnerability fosters trust and connection, making it easier for students to share their own struggles and emotions.
In leadership, this might mean admitting when we don’t know something or when we need help. It might mean showing students how to cope with mistakes or failures in a healthy, constructive way. By embracing vulnerability, we teach our students that it’s okay to feel deeply and that these feelings are part of their growth, both as musicians and as individuals.
LEADING BY EXAMPLE
As educators, our actions set the tone for our students. Whether we realize it or not, our students are always watching how we manage challenges, stress, and emotions. Do we stay calm under pressure? Do we react with patience when things don’t go as planned? Do we show empathy when a student is struggling?
In the classroom, we lead by example. By demonstrating emotional intelligence, recognizing our feelings, managing them appropriately, and responding with empathy, we provide students a blueprint for navigating their own emotions. Music education offers countless opportunities for these lessons, from handling performance pressure to collaborating in a group setting. Through these experiences, we can teach our students not only how to be better musicians but also how to be more emotionally intelligent individuals.
2025 TMEA PRESIDENT’S CONCERT • FEBRUARY 12
At its core, Inside Out 2 is a film about transformation and how emotions shape us as we grow. Music has the unique ability to transform lives. It helps our students explore their emotions, build resilience, and develop a sense of identity. While we don’t get to choose who our students become, we have the privilege of guiding them on their journey. By teaching them how to express themselves through music, we teach them tools that will last a lifetime.
THANKFULNESS TO TMEA VOLUNTEERS AND STAFF
I hope you will join me in offering gratitude to the incredible TMEA staff, whose dedication and hard work uphold our organization every day. Their unwavering commitment is foundational for our association. I also want to extend my appreciation to the TMEA Region officers and other volunteers. Their work organizing auditions and leading your Regions and divisions is invaluable to our collective success. Like Region officers, my colleagues on the Executive Board are dedicated to guiding our association into the future and they represent each division so well. Together, we all shape the future of music education, and I am grateful to share this journey with you.
CLINIC/CONVENTION UPDATES
If you haven’t yet, take time now to register to attend our incredible convention in San Antonio on February 12–15. Go to www.tmea.org/register. In this issue you will find information on some of the ensembles who are already working to prepare their performances. You are not going to want to miss a moment of the music! Next month, this magazine will feature a full convention schedule preview—just in time for you to plan your attendance while you’re off for the holidays.
FEBRUARY 12, 2025 • 8 P.M.
LILA COCKRELL THEATRE
Make plans to arrive on Wednesday for this extraordinary concert!
Purchase tickets when you register for the 2025 Clinic/Convention or after you’ve registered by following directions at www.tmea.org/addon.
When you register (or anytime later), be sure to purchase tickets to the President’s Concert, which will feature the Jason Max Ferdinand Singers. I’m thrilled to welcome this extraordinary ensemble, and I hope to see you there as we experience the joy of music together as the kickoff to our incredible convention. 0
Jesse Cannon II is Director of Visual & Performing Arts at Fort Worth ISD. president@tmea.org
BAND
What is one of your best practices for helping students continue with band from middle to high school?
• In addition to high school directors visiting the middle school band, our high school band comes to the middle school for side-by-side rehearsals multiple times a year. All directors attend each other’s concerts and UIL evaluations. Get the eighth-grade band family contact information early. We send a personal letter from a high school band member to every eighth grader. Eighth graders join the high school graduation band, and we host an online meeting in June to answer high school band questions. —Kevin Knight, Crosby HS
• In addition to a typical middle school band night during marching season, you can also have side-by-side concert band rehearsals with the high school wind ensemble sitting in with your middle school band. I typically treat these as a clinic for the middle school band on their UIL music, utilizing high school players as demonstration models: you play, then we play, then we all play. We often also play some excerpts of the high school UIL music, and the middle schoolers can follow along (or even try playing along).
—Richard Thomas, Angleton HS
• A vertically aligned program from beginning band through high school is beneficial. High school staff regularly assist at the middle school, and vice versa, and this helps students become familiar with the staff who are invested and involved throughout their seven years in the band program. Students feel more deeply connected and comfortable with the process and program. We have experienced a significant increase in continued enrollment since our team implemented vertical alignment practices. — Courtney Villarreal, Teague MS
• High school directors and students being present on the middle school campus makes a big difference. When middle schoolers connect with high school staff and students early on, they are more likely to continue with band. This year, high school students who went to our campus have been assisting with our before-school sectionals. They befriend our students and talk positively about their high school experience, which is awesome. — Carolyn Ireland, Dr. John M. Folks MS
• We focus on a tradition of excellence and the fact that you can be in other activities such as cheer, athletics, ag, and UIL academics and be a part of the band. We take pride in the number of other activities in which band students also excel.
—Lee Brossette, Munday Secondary School
• Involve middle schoolers in concert performances, fundraisers, parades, and any way that they will see they are needed in
the coming years as band students. They also need to experience the surroundings and sounds of high school that are different than middle school. —Herbert Lopez, Retired
• Offer multiple performance opportunities, not just marching band. We play for various organizations in town. We play in hospitals and long-term care centers. My school also supports seven concerts during the year. The greatest thrill in band is the emotional charge we get from performing. It’s not just the applause but also the opportunity to perform and bring joy to an audience. Another reason students continue in band from middle school to high school is the opportunity to perform a varied and challenging repertoire.
—Eric Wharton, Aquilla HS
• Approaching the school year, I invite incoming eighth graders to participate in the high school summer band program. Any who do this can perform in the stands with the high school band at any football game, including when we travel. This helps them make informed decisions about continuing and it eases their transition into high school. With our high school musicians also in football, cheer, and drill team, it’s good to have eighth graders fill in on stand tunes and assist with transporting equipment before and after halftime.
—Stephanie Wlodkowski, New Waverly JH & HS
• Strive to create a community of growth and support. Allow opportunities for all students to encourage, strengthen, and problem-solve in multiple peer-to-peer settings. Support student-led practicing inside and outside the band hall. Lead by example, supporting the learning community, and students will jump at the opportunity to help one another. Build each other up. A rich community forms and the momentum builds in our feeder patterns. —Ryan Mah, Jackson IS
• One challenge to retention is confusion about course selection and scheduling. Some high school counselors are helpful and supportive of students continuing with band and other fine arts classes in high school, while others seem to simply steer students into AP classes. With class rankings being prioritized by many students, it can lead to their dropping music to maintain a higher ranking. It’s important that you fully understand high school schedules and class offerings so you can guide students on how to stay in band and take all the required classes. Create hypothetical four-year high school schedules so middle school students and their parents can understand it’s possible to stay in band and take the other classes they need. —Anonymous
BAND DIVISION
MIKE HOWARD, STATE VICE-PRESIDENT
At the root of it, we want to teach in a healthy environment that leans into the joy of the process, which is measured daily by the students and staff who take part in the music-making.
Measuring Success
As we enter the month of November, I would like to take this opportunity to congratulate all the band directors who have been involved in another wonderful season of Texas marching band! The elevated level of effort invested in planning, rehearsing, teaching, and performing is certainly evident across the state. As we turn the page, many of our middle and high school students will shift gears into TMEA audition season. Then, most of us will continue with UIL Concert Band preparation, solo and ensemble performances, and recording submissions. The band year in Texas is full of performance checkpoints that involve assessment, competition, and comparison. While these events can provide wonderful experiences for our programs, approaching them in a healthy way is critical to the sustainability of our profession. These events can lead to decision-making that is competitively centered and focused on short-term success, rather than the long-term health of our band programs, the directors who teach them, and the students who benefit.
YOU BE THE JUDGE
As teachers, it is important to reflect on how we view success. How do we measure professional success as individual teachers and as a program? Our answers to that question influence our approach, budgeting, and calendar creation. While our individual answers will
In Memoriam
Travis Bryant 1960–2024
Dr. Robert Carnochan 1963–2024
MARK YOUR CALENDAR
check www.tmea .org for updates
November—Renew membership, purchase liability insurance, register for the convention.
November 1, 4:30 p.m. CT—TMEA scholarship online application deadline.
January 11—Area Band auditions.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 5:15 p.m.—TMEA Division business meetings at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
SCHOLARSHIP AUDITIONS
Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music.
SCHOLARSHIP AUDITION DATES:
Saturday, November 23, 2024 1 - 3 p.m.
Friday, February 21, 2025 1 - 3 p.m.
Saturday, March 29, 2025 1 - 3 p.m.
Saturday, April 12, 2025 1 - 3 p.m.
Individual audition dates may be requested if necessary.
For specific qualifications for each award, visit www.tlu.edu/music-scholarships.
TLU SCHOOL OF MUSIC
differ, I encourage us all to embrace the idea that success should be measured by you and your students, not by a judging panel or the nagging pressure of comparison.
I enjoy a good contest as much as the next person, but I’ve also learned that relying on others to define our success can make it difficult to feel genuinely accomplished. Setting short-term and long-term goals for yourself and your program and having a process for self-measurement is the key. Feedback from others is a powerful tool, but it is exactly that—another tool for improvement.
BEWARE OF COMPARISON
As we attend events, competitions, and auditions, we get to experience performances by ensembles and students from our Region, Area, and sometimes statewide! This opportunity is one that can provide joy, musical insight, and new ideas. However, it also can inevitably lead to one of the scariest things when it comes to band director stress and questionable decision-making—comparison
Like the idea of utilizing adjudicator feedback as a tool, we should also embrace
other ensembles’ performances in a similar way. Over the years, I’ve implemented many ideas inspired by the performances of my peers’ ensembles. From sound concepts to visual ideas to concert programming, experiencing those performances shaped many of the decisions I made for ensembles I lead. However, at times those experiences were also a struggle, because I viewed those other groups through a lens of comparison. This inevitably led me to feeling consistently less than those around me.
Ultimately, the needs and successes of any ensemble or program should be based on
what is right for your students and your school. While it is productive to utilize the performance of others for inspiration, it should not be the measuring stick. A keeping up with the Joneses mentality is one we have all fallen victim to from time to time, and it can be unhealthy for teachers and students. Keep the goals for success focused on your students, your staff, and your community.
HEALTHY APPROACH FOR STUDENTS
These ideas regarding a healthy measurement of success extend beyond the teacher. A culture of healthy approaches
2025 TMEA Clinic/Convention
With over 300 professional development clinics, 100 performances, and the lowest prices on all things music and beyond under one roof, you can’t afford not to attend!
The Band Division will host over 65 clinics and concerts that offer incredible strategies and inspiration for immediate implementation. Learn more and register at www.tmea.org/convention.
toward assessment and competition will also permeate into the student mindset within our programs. Thousands of students statewide are currently preparing and detailing etudes for the TMEA audition process. This process can help players develop musicianship and it provides performance opportunities, but it also must be approached in a way that promotes the emotional health of our students. As we work with our students, we must help them set short-term and long-term goals that are self-measurable. They should not rely solely on the audition to determine their level of success.
We often celebrate their successes after they advance or earn an ensemble seat. I instead encourage the approach of celebrating the students prior to the audition taking place. Congratulate them on their work in preparing for the process, which has undoubtedly made them a stronger musician. Congratulate them on having the courage to embark on one of the most storied audition processes in our country—the TMEA All-State process!
At the root of it, we want to teach in a healthy environment that leans into the joy of the process, which is measured daily by the students and staff who take part in the music-making. I sat in a meeting with our district middle school band directors recently and each of them took a moment to discuss the status of their program and students. One of the directors said, “The students aren’t feeling like they’re in a
pressure-filled environment and neither do the teachers. We’re just working hard and teaching band every day . . . and it’s amazing.” As I watched the calm and positive demeanor of the director, I thought to myself, “Bravo . . . that’s what it’s all about.”
CLINIC/CONVENTION UPDATE
We have a wonderful slate of concerts planned for the upcoming 2025 Clinic/ Convention. I am pleased to feature information on our four Honor Bands, whose concerts I know you will not want to miss! Next month’s magazine will be a complete preview of the convention schedule, where you can note their performance times. Continuing in January, I’ll spotlight information on the Band Division’s Invited Ensembles—percussion, jazz, and university ensembles. For a list of all invited and honor ensembles, go to www.tmea.org/2025concerts. Be sure you’ve registered to attend the convention while the prices are the lowest!
CLASS 2C HONOR BAND:
ARBOR CREEK MS HONORS BAND (LEWISVILLE ISD)
The 2024–2025 school year marks the 30th anniversary of Arbor Creek Middle School’s opening in Lewisville ISD. The Arbor Creek MS Band program has been a consistent UIL Sweepstakes award winner and has had great success at the local, state, and national levels. In 2023, the Arbor Creek MS Honors Band was invited to perform at the Midwest Band and Orchestra Clinic. The band has also been recognized as a winner in the Mark of Excellence National Wind Band Honors in 2022, 2023, and 2024. The Arbor Creek MS Band is a proud feeder of the Hebron HS Band Program. The ensemble is under the direction of Kimberly Beene.
CLASS 1A/2A HONOR BAND
TENAHA HS BAND (TENAHA ISD)
Tenaha is a small community located in deep East Texas. Living by their motto “It’s Not Okay to Be Okay,” the Tenaha HS Roarin’ Band from Tigerland has developed an award-winning and state recognized reputation. The band has been named a state winner in the ATSSB OPS State Contest on three occasions and placed fourth at the 2022 1A/2A TMEA State Honor Band Finals prior to being named the current TMEA 1A/2A Honor Band. In 2022, the high school band was named a National Winner in both the Mark of
Excellence and Medal of Distinction contests. The band is a perennial UIL State Marching Band finalist and won the 2A UIL State Marching Band Championship in 2021. The ensemble is under the direction of Brian Sours.
CLASS 4A HONOR BAND: WEST PLAINS HS WIND SYMPHONY (CANYON ISD)
The West Plains HS Wind Symphony is the band program’s premier concert organization and is composed of the top wind and percussion musicians at West Plains High School. The Wind Symphony is currently in its third year of existence and meets during the fall and spring semesters. They were named the Best Overall Band at the 2024 Greater Southwest Music Festival, placed first in the march and concert categories in the 2024 OPS competition, were named a National Winner in the 2024 Mark of Excellence National Wind Band Honors project, and, most recently, were named the 2025 4A TMEA Honor Band. The ensemble is under the direction of Heath Nall.
CLASS 6A HONOR BAND: DAWSON HS WIND ENSEMBLE (PEARLAND ISD)
The Dawson HS Wind Ensemble, under the direction of Aaron Brown, consists of 60 wind and percussion students. The band is a consistent UIL Sweepstakes award winner and a two-time National Winner of the Mark of Excellence award, and they will be performing at the 2024 Midwest Band and Orchestra Clinic. Wind Ensemble students excel individually, consistently placing in Region, Area, and All-State ensembles. In the last three years, Dawson has had 27 TMEA All-State members, with 11 placing in the top 10 of their instruments. Graduates pursuing careers in music have entered prestigious music schools and conservatories across the country, including Eastman, DePaul, Southern Methodist University, University of North Texas, University of Houston, University of Texas, San Francisco Conservatory of Music, and Northwestern University. 0
Mike Howard is the Director of Fine Arts, Music, and Performing Arts at Leander ISD. bandvp@tmea.org
Arbor Creek MS Honors Band
Tenaha HS Band
West Plains HS Wind Symphony
Dawson HS Wind Ensemble
Cultivating Your Small School Band Program
By Josh King and Michelle King
Small school bands face unique obstacles, from limited resources and sparse instrumentation to a scarcity of dedicated musicians. However, with careful guidance, creative approaches, and a strong sense of community, these limitations can be transformed into catalysts for musical growth and personal development. We have been teaching in small schools for over 30 combined years and have been able to create meaningful opportunities that not only benefit our programs but also the students themselves. The following are some of the elements we have found to be essential in our small-school program success.
STUDENT LEADERSHIP
The success of band programs is contingent upon delegation of responsibilities. In small school programs, limited staffing often necessitates student power to fill required roles. While there are practical reasons for this, student leadership is also the highest honor you can grant your students. Create a process for choosing your leadership that will show you not only who is a good fit but also who is willing to work toward their goals. It is important to look beyond those students who always stand out, also considering
those who will lead quietly by example. Some of our best load crew captains and quartermasters have been students who were often hidden behind louder, more confident students. You will find that your students notice those quiet leaders, watching to see what they do. Your student leaders set the tone for the entire year, so make sure you choose wisely. We often have drum majors whose personalities are the yin to the other’s yang. A belief that every student can contribute to the success of the whole is what makes our band families great—even our small ones!
ESTABLISHING GOALS
Goals are a necessity for any successful band program, and how you set them can be a predictor of future success or failure. It’s
As we work to cultivate success in our programs, we must remember there is always room for growth—for our students and for us.
one thing to say that you want to earn UIL Sweepstakes awards, but it’s something entirely different when you add how you plan to accomplish it. Using the SMART goals system can help you create that plan for each goal. At the risk of losing readers who might cringe at the mention of an idea central to T-TESS, there is much we can learn from setting goals that are specific, measurable, achievable, relevant, and time-bound.
Creating measurable goals helps students and directors assess effectiveness of achievement. Include a debrief session to determine whether a goal was achieved,
assess the positive outcomes and opportunities for improvement, and allow students to contribute. Our students often set a goal of qualifying to an All-State Band. If this doesn’t materialize, we make a point of having a student-led discussion where the student builds on the negatives and the positives of the experience. This can be uncomfortable at first, but it benefits both our program and our students’ development into contributing adults!
COMMUNITY PRESENCE
What small-town communities see and hear during Friday night halftime is often the most influential factor in their accep-
tance and support. Very few of them are allowed to be in the room where it happens, so we need to take what we do to them. As the best (and sometimes only) advocates for our programs, we must brave the environment outside our band hall and plan performances in our community. While we might not always believe our ensemble is ready for public performance, it is important that we showcase our students in our efforts to advocate for our programs.
Find many and varied venues where students can perform. Encouraging them to perform for their churches is an excellent way to build their confidence and increase community support for your program. To assist with recruitment, take a drumline or chamber ensemble to the elementary school and play for students as they arrive on campus. The resulting traffic jam will be a positive experience for current and future members of your band family. Think creatively and look for existing community functions where your band or a small group could perform. These performances that aren’t under the bright Friday Night Lights can help grow the reputation of your program and expand your community’s perception of music education.
CURRICULUM RESOURCES
There is no one-size-fits-all music curriculum, especially for small school bands. You must find what works for your students and often adjust existing resources to fit your program’s needs. There is so much wonderful material available, but none of it will help your students advance if you don’t use it effectively.
We utilize as many resources as we can and build binders for our students. You don’t need to distribute an entire method book—doing so can actually be overwhelming to a beginner. While you do need to purchase the full material, you can choose pages that address what you are working on in the now and distribute only those. Depending on your ensemble level or instrumentation, you might need to create your own exercises. Because we know our students and their musical needs better than anyone, this can sometimes be our best option—the right book for your needs might not exist
It should also be noted that each year, you need to remain flexible about curriculum. Young musicians will easily master certain aspects one year and struggle the next.
Regardless, the same major concepts must be addressed: tone, note identification, and rhythm. This is true for both homogeneous and heterogeneous approaches.
BUILDING INCENTIVES
This fact has held true for years—students will do a lot for a sticker. Utilizing practical incentives is an excellent way to plant seeds of motivation that can become intrinsic. All growth deserves celebration! Individual achievements in the early band years will contribute to greater ensemble successes down the road. Incentives can be both personal and public. Giving “brag tags” for scale or rhythmic passoffs is an excellent way to reward achievement. If budget is an issue, recognize achievements by adding students’ names to a poster or banner you display. The most important thing is that you recognize student progress as often as possible.
COLLABORATION IS KEY
Small-school success is highly dependent on students who are involved in many activities. For those students to succeed, we must create and maintain open lines of communication. This includes communication not only with the students, but
also their parents, administrators, other sponsors, and the community. Meeting with other program sponsors and coaches prior to the school year will allow you to construct a preliminary conflict calendar. Understand that this isn’t the sole solution, but with this rough blueprint for the year, you’re more likely to avoid issues throughout.
That said, conflict is inevitable, and how we respond to it reflects on our programs. It is important to resolve conflicts between sponsors, keeping in mind that the students’ best interest should always be at the forefront of the conversation. Remaining calm, honest, and willing to compromise are invaluable traits that will not only keep your blood pressure down but will also benefit the students in the long run.
MENTORS MATTER
If you don’t have a mentor, get one! Even if you’ve been doing this work for years, it’s important to have someone to lean on and to gain advice and perspective from. It must be someone you trust to be honest (and whose honest feedback you will accept). This can be a seasoned band director in your area or someone who worked
as a band director at your school for many years and still happens to live in town. If a predecessor is still in the community, get to know them and include them as much as possible. They will love being included and will sing your praises to anyone who will listen. Invite them to your rehearsals and your beginner classes. Get their feedback on everything they observe. This is one of the best ways to improve your teaching methodology while also gaining a colleague who will always be in your court.
Every small school band across our state is an important part of their school’s educational environment. As we work to cultivate success in our programs, we must remember that there is always room for growth—for our students and for us. Our programs are the heart of what makes Texas bands great, and we should support and celebrate them every day! 0
Josh King and Michelle King are the band directors at Beckville ISD, a 2A district in East Texas.
B.M. in Performance
B.M. in Music Composition
Classical and Film & Game Scoring
B.M. in Music Education
B.M. in Music Therapy
B.A. in Music
GRADUATE MUSIC DEGREES
M.M. in Conducting
M.M. in Performance
M.M. in Music Education
M.M. in Music Composition
M.M. in Musicology
M.M. in Theory Pedagogy
Artist Diploma
Performer’s Diploma
Study with Dallas Symphony Orchestra Faculty at SMU
SMU Auditions 2024-25: December 7, February 1, February 8 & February 22
Our SMU Meadows Division of Music students do it all— start their own ensembles and companies, perform on and off campus, win commissions for new works, and more, all under the guidance of faculty members who are symphony principals, international concert artists, composers, recording artists, authors and researchers. At SMU Meadows many students double major, study abroad and make a difference in the world. Learn more at smu.edu/music.
ORCHESTRA
What techniques or exercises do you utilize to help students develop a consistent vibrato?
• Some students seem to wake up one day and bust out a natural vibrato while others need it broken down step-by-step. Regardless, all need refinement in left-hand mechanics, and consistently incorporating that into warmups is key. Start off by having students rock their left hand sharp and flat to the click of a metronome. Begin without bows, walking around and observing, and make sure that all students have the mechanics down before adding the bow. With the mechanics down, you can begin to rock the hand up to eighth notes, then triplets, and then sixteenth notes. We want to make sure that beyond the basics of vibrato, our students are also learning different vibrato speeds and how to change intensities when necessary. Once you add the bow stick to bowing two measures of whole notes, the left hand focuses on the rocking speed (quarters, eights, triplets, sixteenth notes). —Roger Vasquez, Roy Miller HS & Metropolitan School of Design
• The Jeremy Woolstenhulme Vibrato Basics book is a great resource. Every year, we start from the beginning and do two or three a day. For upper-level students, they spend a minute or so reminding themselves about consistency in speed. For lower levels, this really homes in on what they are supposed to be doing. I also make this a pair and share activity for the lower groups, where their stand partners help with critiques, taking pictures or video, showing and talking them through it. —Adrianna Garza, Klein Forest HS
• We have to make time for what is important, and vibrato is an important part of a characteristic string sound. Many vibrato exercises are silent. I suggest giving exercises a number. While you are making daily announcements in class, hold up a finger number for the exercise you want the students to do. You could easily run through 2–4 silent vibrato exercises during your daily announcements. At the end of the announcements, follow up with vibrato exercises with sound. Once you get into a routine, it will be more efficient. That said, you will still have to remind students to use vibrato when playing literature—even through high school. I suggest starting vibrato exercises by the end of the second year, provided students have correct posture that is set. High school directors need to keep reminding and incorporating vibrato exercises into daily warmup exercises as well. —Jeff Turner, Allen ISD
• As a bass player, I struggled to teach violin vibrato. Then I picked up a great teaching tool from my mentor Colleen Whatley—the magic square. Violins and violas use a small
paper towel square to “polish the string.” They do this without tension in their hand, and it helps establish the motion of vibrato. For cellos and basses, I use a magic band which is two rubber bands looped together that a student uses to hang their arm from the peg and gives the feeling of rebounding their arm after the initial downward motion.
—Hanson Yong, Klein Cain HS
• I love teaching vibrato and shifting simultaneously. The relaxed motion we want students to achieve during the release of the shift is the same type of relaxation we want them to have in the arm when they produce a warm vibrato. This leads to violins and violas starting with arm vibrato and later refining it with the addition of hand vibrato. Start with large motions moving up and down the string with the finger lightly placed (ghost notes) and move toward smaller motions. If tension arrives, uninvited, to the vibrato party, return to larger motions. The detail many students miss once they finally place weight into the string is the flexibility of the knuckle closest to the fingertips (more so for violins and violas). We do exercises in which the student places their fingertip on the thumb and rocks it back and forth, just through the flexibility of the knuckle closest to the fingertip. Demonstrate the difference between a billy-goat vibrato, in which there is no flexibility in that knuckle, and a warm vibrato, in which that knuckle is flexible and rocks back and forth in reaction to movement from the arm. —Anonymous
• One great tip I learned in Woolstenhulme’s Vibrato Basics book was to practice vibrating on the purfling, before even putting fingers on the string. Doing this forces the elbow, wrist, and knuckles to be in the correct position, and the fingerboard acts as a guide, so they vibrate forward and backward (as opposed to left to right).
—Jonathan Roane, Vandeventer MS
• Once they begin learning vibrato, make sure students practice it every day. The hand motion can take students a while to master. Even if they can master it, they won’t be able to incorporate it in the repertoire right away. It is important to start vibrato slow and wide to establish muscle memories, and practice it on daily basis. Then at one point mix fast, medium, and slow speeds in. This way students can always review how to relax their hand when using vibrato.
—Chaul Yang, Linda Jobe MS
ORCHESTRA DIVISION
JENNIFER MARTIN, STATE VICE-PRESIDENT
In the here and now, we need to meet the students where they are and continue to add to their skill progression.
Supporting Student Skill Progression
Buzzwords are a consistent staple of educational lingo. Words and phrases go into and out of style, but they’re always there. They show up on emails, memos, professional development materials, PLC materials, and of course in memes, GIFs, and TikToks. Some of the phrases are thrown around often enough that they can even lose their influence. Vertical alignment is one of those. It is perennially on the top ten list of educational jargon.
We’ve probably all attended some campus-wide training that got into the weeds on aligning the TEKS in STAAR-tested subjects and the related PLC data dives. In a curriculum course I took as a part of my educational leadership master’s program, we went into very detailed tracking of TEKS in math, reading, science, and history across multiple grade levels. It spurred my thinking about how we also do this in music. Students in a high-achieving high school varsity orchestra or mariachi stand on the shoulders of thoughtful skill progression and quality teaching over the years.
This brings to mind the saying that the best time to plant a tree was 20 years ago; the second-best time is now. The best way to build a program is from the bottom up. We need to be proactive and mindful to work to vertically align skills progression from beginners to seniors. In the
MARK YOUR CALENDAR
November—Renew membership, purchase liability insurance, register for the convention.
November 1, 4:30 p.m. CT—TMEA scholarship online application deadline.
November 1–2— HS String Honor Orchestra adjudication.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 5:15 p.m.—TMEA Division business meetings at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
here and now, we need to meet the students where they are and continue to add to their skill progression. You can build from the bottom up on small and large scales. One way to implement this is by aligning at the campus level, pyramid/cluster level, and the district level.
CAMPUS LEVEL (YOUR PROGRAM)
This is the area you are directly responsible for and the area over which you have the most influence and control. If you teach middle school, you likely teach the youngest beginners in the program. You are providing that solid foundation that everything else is built on. The beginner-level instruction sets the tone for the coming years. The pedagogical skills, the culture, and the pace students become accustomed to will be their primary frame of reference in their second and third years. For example, if you invest more of your energy in the varsity groups and tend to take it easy with the less experienced ones, this will hold back your varsity in the coming years. Teach with urgency and energy!
If you teach at the high school level, you probably do not have daily contact with beginners unless you teach both levels or
are able to go to the middle school to team teach. However, the concept still applies to your high school program. Your freshmen are the future of the program. No matter how fantastic your seniors are, your future program is in the hands of the freshmen. Don’t be daunted by this—the freshmen will grow up both as musicians and as young adults.
PYRAMID/CLUSTER LEVEL (SECONDARY)
Your district may refer to it as a pyramid, network, cluster, or some other fun term. Regardless of the terminology, this is the program from the high school down to the grade level where the program starts. This is where collaboration and alignment really come into play. The goal is that there is communication, collaboration, and alignment from bottom to top. Finding the time to do this is always a challenge. I worked in a cluster where we prioritized a start-ofthe-year working dinner to plan dates and
discuss pedagogy. The high school head director followed an agenda to keep us on track, make sure we got through the highest need items, and share the vision and encouragement for the team. High school directors should be mindful to offer credit and appreciation to the feeder directors, personally and publicly. Things work beautifully when both middle school and high school directors are aware of technique goals and technique challenges happening across all levels.
DISTRICT LEVEL (K–12)
This is the level I believe is easily neglected yet it’s so important. Each one of our programs starts with elementary music teachers. Logistically, it’s even more challenging to create time to communicate and collaborate with K–12 than it is at the cluster level. Despite these challenges, it is worth it to keep the lines of communication open and to make sure that you all know each other, even if it’s largely over
2025 TMEA Clinic/Convention
digital communication. Please don’t forget to personally and publicly show appreciation and give credit to your elementary music teachers—they deserve it! I have had the privilege of teaching beginning orchestra on an elementary campus for 15 years. I’ve seen firsthand how much easier my job was in beginning orchestra with a master teacher in place in elementary music.
In my district, we had the opportunity to spend an afternoon of an in-service dedicated to meeting together as a music pyramid K–12, and one of the pyramid elementary music teachers led the session. It was
an opportunity for the secondary teachers to gain more specifics on what the elementary students were learning in their feeder schools. For example, they learned what systems they used to count rhythms and how they progressed from kindergarten to fifth grade. Elementary teachers also had an opportunity to learn more about what all is available to the students musically in middle school and high school so they could better share that info and plant those seeds of inspiration early.
On any given day or any given year, meet your students where they are and create
School of Music
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Voice and All Instruments excluding guitar, percussion and piano
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Voice and All Instruments excluding percussion and guitar
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February 22nd, 2025
Voice and All Instruments excluding piano
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musical experiences and memories. Keep building from the bottom up!
CLINIC/CONVENTION UPDATE
Make sure you register to attend the 2025 TMEA Clinic/Convention. Spending a few days away from our chaotic schedules to invest in our development is so valuable. You can take advantage of early registration pricing through January 16. Go to www.tmea.org/convention for all the details. There is so much to choose from once you are there. Throughout the event there is a full slate of clinics, AllState rehearsals and concerts, Honor/ Invited concerts, and the Invited Spotlight Orchestra Clinic/Concerts. You also won’t want to miss clinics by our division’s Featured Clinician Dr. Charles Laux or the conducting clinic with Larry Livingston.
This month, I’m pleased to share details about three of our four Honor Orchestras, with more to come about other Honor and Invited Ensembles in January. You can look forward to learning when all these groups perform in next month’s issue that will feature a full preview of the convention schedule.
JH/MS STRING HONOR ORCHESTRA: RICE MS ORCHESTRA (PLANO ISD)
Rice MS, located in Plano, was founded in 1999. The Rice MS Orchestra serves as the feeder program to Jasper HS and Plano West SHS and consists of five performing ensembles and three beginning classes. The program has taken four orchestras to UIL Concert and Sightreading evaluation in recent years, each earning Sweepstakes awards.
Director Emily De La Torre and Assistant Director So Jeong Bradley lead the Rice MS Orchestra and are grateful to former Assistant Director Eric Tannenbaum for his contributions. The Rice MS Orchestra has a proud tradition of excellence and was named the JH/MS String Honor Orchestra in 2008 and 2018.
JH/MS FULL HONOR ORCHESTRA: CANYON VISTA MS ORCHESTRA (ROUND ROCK ISD)
Canyon Vista MS, located in northwest Austin, is home to 1,440 students in sixth through eighth grades. Known for its outstanding academic reputation, Canyon Vista MS credits strong parental support, excellent private lessons teachers, and
student dedication and enthusiasm as key contributors to the success of its music programs.
The spirit of collaboration between the Honors Orchestra and Honors Band has a long history at Canyon Vista. Both the band and orchestra independently and cooperatively achieve consistent honors on the state and national levels, including appearances at the Midwest Band and Orchestra Clinic (2023), numerous National Mark of Excellence awards, and previous TMEA appearances as the JH/ MS Full Honor Orchestra (2011) and JH/ MS String Honor Orchestra (2000, 2010, 2013, and 2020).
HS FULL HONOR ORCHESTRA:
TOMPKINS HS SYMPHONY ORCHESTRA (KATY ISD)
The Tompkins HS Symphony Orchestra is a collaborative ensemble featuring students from the band and orchestra programs. Under the direction of Matthew Porter and Stephen Bond, the orchestra includes members of Sinfonia Strings, Sinfonietta Strings, and the Wind Symphony. Rehearsals are held after school on Mondays from January through mid-March. Since its founding in 2013, Tompkins’s music programs have consistently earned top ratings and accolades, while striving to offer unparalleled musical
experiences to the community. The musical pit orchestra, composed of TSO members, was named the Tommy Tune Overall Outstanding Orchestra in 2016, 2022, and 2024. The Tompkins Wind Symphony was a TMEA Honor Band State Finalist in 2022, and Sinfonia Strings earned the title of TMEA Honor Orchestra in 2018 and 2023. 0
Jennifer Martin is the Orchestra/ Mariachi Specialist at Fort Worth ISD. orchestravp@tmea.org
Rice MS Orchestra
Tompkins HS Symphony
Canyon Vista MS Orchestra
It Starts with the Feeling of Family CULTURE-BUILDING
By Sundas Mohi-Truong
Few things are more important than the culture of a program. Culture influences everything we do and how we do it. It shapes how music is prepared, how we interact with students, how students interact with each other, and how the community perceives the program. A positive culture directly supports the success of our performances and the overall experience in the classroom. Building the desired culture can be daunting, but taking daily steps to foster a sense of family is a great place to start. To build this sense of family within our programs, I suggest focusing on the following priorities.
FAMILY MEMBERS NEED TO FEEL LOVED
Building relationships with your students requires intentional effort. Developing genuine connections with as many students as possible is crucial for fostering a positive culture within your program. However, building these relationships doesn’t come naturally to everyone and can be challenging if the initial connection isn’t strong. Nonetheless, it remains the single most important factor in creating a sense of family within your program. In fact, I consider building relationships with my students to be just as important as teaching musical technique, if not more so. This should be a fundamental part of your teaching toolkit, just like the pedagogical knowledge behind any other musical or technical skill. Here are some important points to keep in mind:
• It takes time and effort; there are no shortcuts.
• Every student is unique and responds differently to various strategies.
• Authenticity is key. Students will know if you’re not being genuine. What works for one educator may not work for you, and that’s okay. Finding the right strategies for you will take time.
• It’s a lot of work, but it’s well worth the effort. If you’re not working to get to know your students, you’re missing out on the most rewarding part of our job.
RELATIONSHIP-BUILDING STRATEGIES
Start with small, low-stakes strategies. For example, consider asking a question of the day at the door. It could be related to class music, their favorite food, or a simple this or that prompt. Committing to greet every student at the door even one day a week can significantly impact your classroom’s atmosphere. Everyone feels seen when someone asks them questions about themselves, and being noticed can improve overall engagement and musical performance.
A simple strategy that works for us is distributing a 3H Check-in sheet once weekly during the last five minutes of class—an idea gained from my colleague Taniesha Pooser. The questions are simple:
• What is one highlight in your life?
• What is one hard thing?
• What do you need help with?
Students fill it out and turn it in at a designated location in our room. Through this quick and easy check-in, you’ll learn details about their lives. Some check-in sheets may lead to longer conversations, while others simply give you an opportunity to connect with your students beyond the music in your classroom.
Additionally, leverage your personal strengths to build relationships. For example, I enjoy baking for my students and writing notes of encouragement to them before big performances or auditions.
PERFORMANCE
OFFERING BACHELOR’S AND MASTER’S DEGREES IN MUSIC EMPHASIZING MUSIC EDUCATION OR PERFORMANCE
February 22
March 1
March 8
April 5 (Instrumental Non-music Majors only)
January audition dates are available upon request. Auditions are required of all entering and transferring music majors and minors.
As you think about your classroom culture, answer these questions and consider how they might be impacting your relationship with your students:
• What is your office policy? Can students come and go, or is your space off-limits? If it’s off-limits, is there another space where students can visit with you casually?
• Is there a space to relax in your classroom, like a hangout corner, rug, or couch where students can wait for their other classes or rides home? Making your classroom a welcoming space can eventually turn it into their space.
• Do you utilize surveys or activities to get to know your students? If so, do you read and follow up on the responses? Students often believe their teachers don’t read those about-me activities assigned at the beginning of the year, and those assignments are useless if we don’t follow up with conversations.
Remember, consistency is key. Stick to a few strategies over a longer period and understand that all students want to be seen in different ways. Building rapport takes time, but it’s well worth it.
FAMILY MEMBERS NEED TO BE HEARD
Finding opportunities to give your students a voice within your program is crucial for building a student-centered culture. When students know their voices matter, they perform their best and
become advocates for the program within the community. To start, intentionally ask yourself whether there is any way you can involve students in the task you’re doing right now. Reflecting on this will reveal endless possibilities for student input. Here are some ways I intentionally give voice to my students:
Expectations Chart: During the first few days of school, students are randomly split into groups within each class period and answer three questions:
1. What do [class name] students expect from each other?
2. What do [class name] students expect from their directors?
3. What do [class name] students expect from all students in this program?
The question directors answer is “What do the directors expect from [class name] students?”
Students spend half of the class period brainstorming answers, followed by a class discussion to create and agree upon a collective chart. Because students have significant input in creating the expectations for their class, it is much easier to refer to this chart later in the year if expectations are not being met. In my experience, this approach works better than the traditional handbook-reading at the beginning of the year.
Repertoire Selection: Students know I am open to musical suggestions. They often request to play certain pieces and incorporate popular music into our repertoire
cycle. When I am unsure about a piece of music during the sightreading process, I ask for their opinions before making a final decision.
Sometimes, I even share the skills I am looking for in a piece and ask students to help find one that meets the criteria (for example, a grade-three piece with a spiccato bow stroke). I commonly welcome discourse about music selection—these discussions reveal how deeply students care about the music they are performing. While it can be challenging to relinquish total control over repertoire selection, students perform at a higher level when they have invested themselves in that selection.
FAMILY MEMBERS ARE HONEST WITH EACH OTHER
While maintaining professionalism is essential, I believe that showing vulnerability with our students fosters genuine relationships and creates a sense of family. If you’re having an off day, let your students know—they will often go out of their way to ensure the class runs smoothly.
Transparency about your goals for the class and the program is also important. If you want to enter a festival or competitive performance, ask your students if they’re interested and explain the commitment required before entering. In speaking with colleagues, I learned that some avoid discussing competitive goals with students for fear of creating a negative, competition-centered atmosphere. I believe that by being transparent and modeling a healthy approach to ambitious musical goals, we can help students not only in the short term but also in applying this attitude to other aspirations in their lives.
Developing genuine connections is crucial for fostering a positive culture within your program.
Another aspect of transparency is being honest, firm, and kind when expectations aren’t met. Throughout the year, classes can lose motivation or temporarily fail to meet expectations (e.g., lack of practice, missing assignments, not following procedures). In these moments, it’s important to address the issue and, if you’re comfortable, explain how it affects you. It’s powerful for students to understand that their actions impact others and that you care about their success enough to feel upset by their lapses. When having these discussions, end by reaffirming your belief in the student or class and their ability to meet the expectations set at the beginning of the school year.
Lastly, acknowledging our mistakes and apologizing when necessary is crucial. We can’t expect students to take accountability for their mistakes if we don’t do the same as adults. Modeling sincere apologies and acknowledging that everyone makes mistakes is an essential skill for young people to learn, and it is a vital element in building trust with your students.
FAMILY MEMBERS HAVE FUN WITH EACH OTHER
While we strive for polished performances, we should also let our students see our personality and have fun with them in the process. In my first years of teaching, I was afraid to show too much personality, fearing I might lose control of my class. With experience, I’ve realized that allowing moments of silliness within lessons is necessary, especially when working on tedious details within a repertoire set. Here are some ideas I’ve used to lighten the mood in my class:
Switching places with a student: Let a student conduct a phrase while you play their instrument. This is even more effective if you play on a secondary instrument.
Various alternative seating arrangements: During UIL season, we feature “Twisted Thursdays,” where students randomly mixed themselves into different seating arrangements. They might draw seat numbers or sit shortest to tallest within the ensemble. This not only helped students by breaking up the routine, but also helped them play better together as an ensemble because they were listening to each other in a new seating arrangement.
Sightreading on secondary instruments: With groups mature enough to handle switching instruments, we spend a class period sightreading a grade-one piece on secondary instruments, led by a student conductor (e.g., Dragonhunter by Richard Meyer). This is a great way to mix things up when a break is needed.
Slang list: Ask students to help you learn
ways to incorporate their favorite slang in a musical context and see how many words you can use in one lesson.
We all strive to build a strong culture within our programs that leads to highlevel performances, but nothing can happen until students feel cared for, heard, and valued. I truly believe that if you focus on creating a feeling of family, everything else will follow. This priority has been the cornerstone of my personal cultural vision, and I hope you can adopt one of these strategies for building relationships with your students—you will see the difference! 0
Sundas Mohi-Truong is the Director of Orchestras at Klein Cain High School.
Go to www.tmea.org/nov2024mohi-truong or scan the code for sample class expectations, the about-me survey, door questions, and the 3H sheet.
If you’re the sole choir director, how do you structure your rehearsals to maximize both individual and group learning?
• Being a solo director is tough for this reason of needing to instruct the full choir and its individuals. I structure my weekly rehearsals with my experienced ensembles as A Days and B Days to allow them to have individualized instruction and whole-group instruction. On A Days, students break into their sections and work with section leaders to review specific areas of their music while I work with a single section. They review sightreading, rhythms, and music theory in these separate sections with the section leaders, and it is always student-led. We rotate the sections so that I get the chance to work with every section individually. I sometimes use this time to individually assess voices and skills as well. On B Days, I teach the entire class so we can put together what we’ve worked on in sectionals. While this requires a lot of preparation, it serves my students well and it allows student leaders to develop their skills. —Emily Williamson, Stiles MS
• I begin rehearsals with vocal warmups that allow the students to explore various placings. I then provide an opportunity for the students to engage in sectional group sightreading. Throughout the entire rehearsal, I am walking around, listening and assessing the vocal production of each student. —Precious Chavis Coleman, Holy Name Catholic School/ University of the Incarnate Word
• In a previous job where I was the solo choir director, I used inexpensive, small playback devices and a handheld digital recorder to record sectionals of the literature, often on phrases students are struggling with, as well as whole songs for transition and continuity. Sopranos and altos went to secure areas and practice rooms while I worked with the tenors and basses in the choir room; then we swapped. To do this, you need a setup where you can work with one group while monitoring the other practice groups. Assessing the progress, I adjusted the next day’s rehearsal plan. No solo director can be all the places they need to be, and you may not have the building setup or equipment to support this, but it’s what worked for me. Exercise caution with the length of time and your method for monitoring these split sessions.
—Michael Petrisky, Victoria East HS
• This is my first year, so I am still learning the ropes, but I have been starting with warmups and covering basics and exercises to help with vocal technique. We split into sectionals to work in groups, and the seniors help the younger singers. I visit with each section, and we go through what they are working on. I will often pick something to cover as a full choir based
on what I observe in the sectionals, and when a student needs extra help, I work with them individually. We always end practice time singing together as a group. We have 90-minute classes, so we have the time to support these rotations. —Anonymous
• 5A sole choir director here. This year, I split all classes into separate treble and tenor-bass sections. Each treble section has fewer than 20 singers, and there are 25 in the tenor-bass class. With those numbers, I can do small groups, full-group sightreading and rehearsal, and individual assessment all in one block-length class. Moving to this model increased student skill development, and I saw that reflected in the number of advancements through TMEA auditions. I do full-group warmup and sightreading, with the opportunity to hear small groups and individuals in the group sightreading period. Then we break into sectionals where they work with me or an assigned leader in various spaces, and I rotate who works with me. I have modified the “Rules of Transfer” from Judy Bowers and posted them in my room. We write in which rules apply in the segment we learned in sectionals and then run it together with the rules applied. —Mike Grant, Lone Star HS
• In a perfect world, all section leaders would play piano, and all our practice and ensemble rooms would have pianos or keyboards in them, but that is not my world. So, I create practice tracks and post them on our class instructional website that students can access (Schoology in our case). I assign section leaders (in middle school, it’s important to select students who can get the section going and rehearse without wasting time). As sectionals are happening in the practice rooms, ensemble rooms, and sometimes even in the hallway, I work with a specific section and can provide more individualized instruction. This process rotates until I have heard everyone singing their part on the piece. —Lisa Brown, Grisham MS and Pearson Ranch MS
• After physical and vocal warmups that target specific challenges (e.g., articulation, dynamics), we focus on individual skills in sectional work. Inviting a few members to sing short solo passages while the rest of the choir listens helps develop individual confidence and provides learning opportunities through peer feedback. We move to group learning of repertoire, and I start with one section at a time and then bring the choir together to sing, also working on musicality and interpretation. We discuss the piece’s context, style, and emotional intent and explore varied dynamics. —Anonymous 0
VOCAL DIVISION
JOSHUA MCGUIRE, STATE VICE-PRESIDENT
As we enter this season of gratitude, perhaps we should change our outlook on the goals of the performance. What if it isn’t a season at all, but an educational philosophy.
What’s Next?
Ilove teaching in mid-fall. Not only is the arrival of cooler temperatures a welcome change, but it’s also great to see all the firsts of the year come and go. Most of the choir fees have been received and processed, uniforms have been distributed, the students have set their routines and understand the expectations of being members in our community, the parents support the culture, and we’ve performed the national anthem at football games more times than we could have imagined.
This time of year can also bring a layer of restlessness to our classrooms and rehearsals. There is a constant chase in what we do, from planning to performance. We find ourselves occupied with perfecting solo and ensemble literature, developing individual sightreading skills, and crafting Region audition literature, and all this is in addition to our day-to-day tasks of building musicianship skills and classroom culture.
In between the fall and winter concert is an opportunity to reset, but it is also a challenging time to stop to enjoy the progress we’ve made this year in our programs. My goal is to practice gratitude for our successes and model this philosophy for those I teach.
I’ve always admired how Olympic gymnast Simone Biles has openly
www.tmea .org for updates
November—Renew membership, purchase liability insurance, register for the convention.
November 1, 4:30 p.m. CT—TMEA scholarship online application deadline.
January 11—Area Vocal auditions.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 5:15 p.m.—TMEA Division business meetings at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
addressed failures and successes, her mental health, and her respect for her fellow competitors. With the coming school year on my mind, a comment she made during this summer’s Olympics truly resonated with me. Following one of her medal wins, a reporter asked Biles what she would do next. She responded by asking reporters to stop pushing athletes to project what’s next and instead let them soak up the moment they’ve worked their whole lives for.
Do we take time to enjoy and live in the moment of each opportunity? Are we satisfied with the growth of our programs and ensembles from the previous assessment or event? Most importantly, are we modeling this gratitude and enjoyment for our students?
As we enter this season of gratitude, perhaps we should change our outlook on the goals of the performance. What if it isn’t a season at all, but an educational philosophy. We should offer gratitude and appreciation for the music our students share with our community and celebrate the behind-the-scenes successes we achieved while preparing the performance. Instead of what’s next, can we be encouraged to
acknowledge that what we achieved was what was next?
As I worked with students at summer choir camps, fall workshops, and in the classroom, Simone Biles’s philosophy of living in the now has been at the root of all things. It is great for middle school students to have a goal of earning a Division 1 rating at their solo festival, and it is important for high school students to want to achieve a high placement in their Region Choir audition. However, to break this what’s next mentality, we should align our teaching, lessons, and rehearsals with the sustainable message of loving music, always being grateful for the opportunity to sing meaningful literature with our friends, and enjoying the platform to create and share art for our schools and community.
ACDA NATIONAL CONFERENCE PERFORMANCE
Directors who entered students to a Large School Mixed Choir audition should have received an email from me with details about the March 2025 ACDA encore performance of the TMEA All-State Large
Music Department
School Mixed Choir. Be sure to discuss this opportunity and share the rehearsal and performance details with your students and their parents to ensure a full understanding. Help build the excitement about their potential to enjoy two amazing experiences with this extraordinary choir, led by Richard Bjella.
CLINIC/CONVENTION UPDATE
If you’ve yet to seize the opportunity to volunteer for the 2025 TMEA Clinic/ Convention, there is still time! To register and indicate your area of interest, go to www.tmea.org/vocalvolunteer. We are especially in need of volunteers for Invited Choir and All-State concert sessions in the ballroom. I’m certain you’ll enjoy this service opportunity and expand your network of choir director friends in the process.
This month, I’m pleased to introduce half of our division’s amazing Invited Choirs, whose concerts we can look forward to attending during the convention. Enjoy reading about these ensembles and look to January’s issue for the remainder. Next month, the magazine will feature a preview of the full convention schedule.
Choir • Orchestra Song Keepers Private Lessons
ACTON MS VARSITY TREBLE CHOIR (GRANBURY ISD)
Acton MS is located in Granbury, about 30 miles southwest of Fort Worth. The choir program is directed by Randall Walters and Emily Ross, competes in the CC division, and has approximately 200 students spread over six ensembles. The Varsity Treble Choir is an auditioned group, and ranges between 18 and 24 singers. This ensemble has earned UIL Sweepstakes awards fifteen consecutive years and two consecutive National Choral Honors Project awards. The AMS Choir Program annually collaborates with the AMS Theater Department for the fall musical. Varsity Treble members are in the top 10% of their class and they are involved in volleyball, cheerleading, theater, volunteer work, and church.
The Benbrook Bobcat Choir is a family of ensembles with students in grades 6–12, under the direction of Emily Saenz. The unique campus includes both middle and high school, hosting the entire spectrum of secondary choral education on one 4A/2C campus. Founded in 2021, 24 is a Treble Chamber Choir that performs a wide variety of music, from chant to modern folksong, and examines each piece through the lens of historical research, poetic study, and nuanced musical interpretation. Students are diverse in their skills and talents, ranging from academic scholars to student athletes to honor society members and community volunteers. The power and beauty of their singing is surpassed only by the strength of character and dignity they bring to the Benbrook Middle–High School campus.
JASPER HS A CAPPELLA CHOIR (PLANO ISD)
Jasper HS A Cappella Choir, under the direction of Katie Patel and Cody Alarcon, consists of 68 talented singers representing a variety of cultures and 47 spoken home languages. Representing the two-year campus for freshmen and sophomores in Plano ISD, the A Cappella Choir consistently performs advanced repertoire and has earned consecutive first-division ratings at UIL. Many A Cappella Choir members participate in voice lessons and solo contests and have been selected to TMEA
All-State Choirs. In addition to excelling musically, Jasper Choir students are active in AP courses, speech, debate, and robotics; they have leadership roles in various clubs, spend countless hours volunteering each year, and go on to attend some of the finest universities in the country.
KLEIN CAIN HS CHORALE (KLEIN ISD)
Established in 2018, the Klein Cain HS Chorale is a mixed choir made up of students in grades 10–12. In 2021, Chorale was named both a National Winner in the Mark of Excellence Choral Honors competition and a National Finalist for the American Prize in Choral Performance–School Division. Chorale was invited to the University of Houston Choral Invitational in 2022, and in April 2023, was named second runner-up in the American Classic Celebration of Excellence Choral Festival.
These students serve the Klein community through performances at local schools, churches, and charitable organizations. Chorale represents a vibrant Fine Arts Department, a rich and diverse student body, and numerous cultures from around the globe.
SHADOW CREEK HS VARSITY TENOR-BASS CHOIR (ALVIN ISD)
The Shadow Creek HS Varsity Tenor-Bass Choir is a dynamic ensemble consisting of 35 voices from grades 9 through 12. With students from diverse backgrounds, the choir is known for their unique blend of bravery, loyalty, and dedication, which they strive to channel into their music-making. The students describe themselves as loud, resilient, energetic, determined, and fun. Their favorite thing to do is clap unapologetically for random and seemingly absurd things! Shadow Creek HS opened in 2016.
Acton MS Varsity Treble Choir
Benbrook M–HS 24 Treble Chamber Choir
The program is under the direction of Frankie Espinoza and Jennifer Gallagher, and these students are honored to represent Alvin ISD as the district’s first TMEA invited high school ensemble.
SMITHFIELD MS VARSITY TENORBASS CHOIR (BIRDVILLE ISD)
Located in the DFW Metroplex, Smithfield MS is a 2C campus with a thriving choral department. The Varsity Tenor-Bass Choir is an auditioned group of 45 diverse young men in grades 7–8. These singers are chosen for their musical abilities, academics, citizenship, and leadership qualities. They are actively involved in art, athletics, band, National Junior Honor Society, Students Standing Strong, theater, club sports, and their church youth groups. The Varsity Tenor-Bass Choir consistently earns UIL
Sweepstakes awards, places members in the Region choir, and receives superior ratings at solo/ensemble contest. Under the direction of Jennie Crawford and Hannah Fox, this marks the second TMEA convention performance for the Smithfield Varsity Tenor-Bass Choir, having previously performed at the 2016 convention.
ABILENE CHRISTIAN UNIVERSITY A CAPPELLA CHORUS
The Abilene Christian University A Cappella Chorus is dedicated to artistic excellence, intentional community engagement, and transformative musical experiences. A Cappella Chorus serves as the university’s premier choral ensemble and engages students from a variety of academic backgrounds. Seeking to understand their faith through the things of
the world, members of the choir engage with an array of musical styles and genres, aspiring to sing with honesty and integrity. A Cappella Chorus has performed at state and regional conferences and regularly collaborates with the Abilene Philharmonic Orchestra. In addition to major performances throughout the academic year, A Cappella travels on an extended tour each year and has performed at major venues throughout the country and abroad, including Alice Tully Hall, Lincoln Center, and Carnegie Hall. 0
Joshua McGuire is the Choir Director at Rock Hill HS (Prosper ISD). vocalvp@tmea.org
Jasper HS A Cappella Choir
Klein Cain HS Chorale
Shadow Creek HS Varsity Tenor/Bass Choir
Smithfield MS Varsity Tenor-Bass Choir
Abilene Christian University A Cappella Chorus
ELEMENTARY
How do you incorporate community members into your lessons to provide authentic cultural experiences?
• Our fourth-grade class recently engaged with the Amon Carter Museum of American Art in a story entitled “Drum Dream Girl: How One Girl’s Courage Changed Music.” It was an excellent culmination of our drumming unit! We did this through Connect2Texas, a network of museums, authors, and cultural organizations, and others who provide interactive videoconferencing to deliver live educational programs to students and educators. You can learn more about it at www.connect2texas.net.
—Teresa Francis, Butler Elementary
• Collaborate with local elders and storytellers who can share stories from their culture and link those stories to the music being studied. This can build a bridge between oral traditions and musical expression. This is a great opportunity to explore folk music and how stories are passed down through songs.
—Bobby Jones, Cannon Elementary
• Our campus is diverse, and the needs of our community vary. It is important for students to watch live music and performances so they can have an immersive experience. Many of our amazing community partners share their stories and musical styles. They conduct workshops where students learn about different instruments, rhythms, and cultural backgrounds. The Austin Jazz Workshop is an excellent example of this type of outreach program. The selected composers and songs allow students to be active participants in their learning. They learn not only about the composers within the jazz genre but also their compositions. Students are encouraged to sing along and perform. Having in-person clinics and concerts allows music to be an integral part of wholechild learning. Students evaluate music and make connections to historical and culture awareness and inclusivity.
—Crysta Wohleb, Cowan Elementary
• I have reached out to several parents of students who still perform on various instruments. When possible, I have them demonstrate instrument playing to our students.
—Anne Summitt, Cooper Elementary
• I teach in a city close to the Mexican border. On holidays such as Dieciséis de Septiembre and Cinco de Mayo, our local high school mariachi group visits our school and performs for us. Not only does this allow my students to experience a live performance of music representing the heritage of many in our community, but they also get to visualize their future in music within the community.
—Sophia Salazar, Ruben Hinojosa Elementary
• We work with local performing groups (e.g., Houston Grand Opera, Houston Symphony, Houston Ballet, Ars Nova) to provide experiences for our students in the classroom or on field trips with performances designed for young learners. As events are announced, we collaborate with the organizers to incorporate our students in them or have performers come to our schools. Also, our high school mariachi program goes on tour and shares their culture with campuses within their feeder pattern and our community. Help make these opportunities more accessible for all by working with the performing group’s organizer to support them turning in the required forms to visit the campus. —Julie Boettiger, Fort Bend ISD
• I teach in Shiner where we have a proud Czech and German population. One way we honor this heritage is with our school song, “Shiner Song,” written by local polka musician Joe Patek. When I moved here, local polka musicians helped me understand how to sing the song and how to teach it to my students. Each year, third graders learn to sing the “Shiner Song” in Czech. This year, we plan to have some local polka musicians accompany them on stage.
—Adam Lynskey, Shiner Elementary
• I’ve asked professional musicians from the community to come and talk with my students and play, sing, or dance for them. I video-record their visit to create a library of presentations I can show other classes and to utilize in the future. We always include Q&A time for students to interact with the musicians. —Johnny Ray, All Saints Episcopal, Tyler
• We are fortunate to be located near Ft. Cavazos, home of the 1st Cavalry Division Band. They have played for our students on a few occasions and demonstrated their talents by making engaging and age-appropriate concerts for our kids.
—Lisa Corbett, Montague Village Elementary
• Organize community music events and collaborate with local musicians for school performances, inviting them to join in concerts or recitals. This allows students to experience performing alongside professionals. Local musicians get to perform and interact with students. Focus on musicians representing a variety of genres (folk, jazz, classical, and more) to expose students to the vast diversity in music.
—Kelly Herriage, Barbara Bush Primary 0
ELEMENTARY DIVISION
CHRISTOPHER GILES, STATE VICE-PRESIDENT
Alignment concerts aren’t just a performance opportunity. They are a celebration of our students’ musical journeys.
Nurturing a Lifelong Love of Music
As elementary music educators, we have a unique opportunity to plant the seeds of lifelong music appreciation and engagement in our students. From kindergarten through fifth grade, we witness their growth not just musically but also socially, emotionally, and academically. This growth often differs from what their middle and high school counterparts experience, as the foundational years set the stage for future musical journeys. However, beyond the elementary years, we rarely see the full trajectory of our students’ musical endeavors. This is where alignment opportunities with middle and high school feeder patterns can create powerful connections, not just for teachers, but for students as well.
FOSTERING MUSICAL GROWTH
Elementary music education is about more than teaching basic music literacy, movement, instruments, or vocal technique. It is a holistic approach that encourages students to develop confidence, emotional expression, and social skills. Music provides an outlet for creativity and self-expression, helps children navigate their emotions, and builds teamwork and collaboration skills. The impact extends beyond the music room, affecting their academic performance by enhancing cognitive skills such as memory, concentration, and problem-solving.
check www.tmea .org for updates
November— Renew membership, purchase liability insurance, register for the convention.
November 1, 4:30 p.m. CT—TMEA scholarship online application deadline.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 5:15 p.m.—TMEA Division business meetings at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
For example, music educators often use rhythm and movement to teach younger children how to synchronize their actions with others, reinforcing coordination and a sense of community. Older elementary students often engage in more complex tasks, such as performing in small ensembles, which require them to listen attentively and communicate with their peers. In these movements, students develop a deep connection with music, experiencing it not just as a subject to study but as an integral part of their lives. By the time they leave elementary school, many students have formed emotional ties to music, ties that can carry into their secondary education and beyond.
THE ROLE OF ALIGNMENT CONCERTS
Alignment concerts—collaborative performances between elementary, middle, and high school students—are one of the most powerful ways to bridge the gap between elementary music education and the secondary level. These concerts offer elementary students a glimpse into musical paths available to them after they leave our classrooms, including band, choir,
orchestra, and mariachi. At the same time, they give secondary students the chance to reflect on their musical journeys and share the impact music has had on their lives.
For elementary music teachers, alignment concerts provide a rare and invaluable opportunity to see the long-term impact of their work. Watching former students perform in middle or high school ensembles is a reminder of the foundational role elementary music education plays in shaping students’ future musical endeavors. The sense of pride and continuity these events foster is profound for both the students and teachers involved.
For secondary students, seeing their elementary music teacher in the audience or on stage during an alignment concert can be deeply affirming. It reminds them
of where their musical journey began and gives them a sense of being supported throughout their educational path. Elementary students in turn see older students performing at a higher level, which can ignite their desire to continue with music into their middle and high school years.
FACILITATING ALIGNMENT CONCERTS
Facilitating alignment concerts requires detailed planning and collaboration between elementary, middle, and high school music educators. While these concerts can take place at any point during the school year, the timing can influence their structure and impact. What follows are some suggestions rooted in my experience for making alignment concerts a success.
2025 TMEA Clinic/Convention
Start-of-year concerts: Early in the school year, alignment concerts can serve as a powerful recruitment tool. Middle and high school students can perform pieces that showcase the skills they have developed, inspiring elementary students to envision themselves in those ensembles in the future. This type of event might involve a series of performances, with each ensemble performing separately to demonstrate the progression of musical ability at each level. I have organized these events for my fifth-grade string students and the middle school orchestra program many times. We play in unison at the beginning of the year on our violins, violas, and cellos. When elementary students see that each voicing plays their own part at the middle school level it opens their eyes to amazing possibilities. They also get to see a double bass, which sparks their curiosity and facilitates conversations in subsequent classes.
End-of-year concerts: Alignment concerts toward the end of the school year allow students to reflect on their growth and anticipate future musical experiences. By this point, elementary students have completed a full year of musical instruction and can contribute more confidently to a combined performance. For example, you might arrange for elementary, middle, and high school students to perform a large-scale piece together, with each group taking on different sections or roles that match their skill levels. These concerts are also great opportunities for secondary students to speak to the younger students about their musical journeys—how they got started, what challenges they faced, and why they’ve continued to pursue music. This peer interaction can be incredibly motivating for elementary students, showing them examples of what they can achieve.
Logistics and rehearsals: Organizing a combined concert requires coordination across multiple levels of music programs. It’s important to plan rehearsal times well in advance, ensuring that elementary students are prepared for any joint performances with secondary students. Scheduling rehearsals can be challenging, especially given different school schedules, but even a brief combined rehearsal can make a big difference in the performance quality. Additionally, collaboration between music teachers at all levels is key. Regular communication and joint planning sessions can help ensure that
the concert runs smoothly and that each group is as prepared as possible. Teachers should also work together to select repertoire that showcases the strengths of each age group while providing opportunities for collaboration.
THE LASTING IMPACT
Alignment concerts aren’t just a performance opportunity; they are a celebration of the musical journey students embark on from their first day in an elementary music class to their final performance in high school. Elementary students gain an inspiring glimpse into the future, discovering the many paths they can take as they continue to grow musically. Secondary students proudly reflect on their roots and share their experiences with the next generation of musicians.
As elementary music teachers, we may not always get to experience the full scope of our students’ musical journeys, but through alignment concerts and collaboration with our secondary colleagues, we can witness the powerful impact that early music education has on shaping lifelong musicians and music lovers. These connections enrich the musical community and underscore the importance of music in every stage of life.
CLINIC/CONVENTION UPDATE
I look forward to seeing you in three months at our annual convention! There will be amazing opportunities for elementary music educators to learn and be inspired, so register now while you can pay the lower convention fee. To learn more about it and to register, go to www.tmea.org/ convention. This month, I am pleased to introduce a few of the Elementary Division Invited Ensembles you will have the opportunity to enjoy at our upcoming convention. The remainder are scheduled for inclusion in the January issue. For a list of all Invited and Honor Ensembles performing concerts during our convention, go to www.tmea.org/2025concerts. Look to next month’s magazine for the full preview of the convention schedule—it’s always a popular issue.
FRISCO ISD ELEMENTARY HONOR CHOIR
The award-winning Frisco ISD Elementary Honor Choir serves as an extension of the elementary music classroom and represents each of the elementary and inter-
mediate campuses. Formerly known as the All-City Choir, it was reformed and renamed in 2015 and is now under the direction of Kimberly Wheelock and Eric Plyler, with assistance from Kaleen Dominguez, Angela Landers, and Madi Virden. This auditioned group is made up of over 100 fourth- and fifth-grade students from the Frisco area. The Honor Choir is grateful for the support of the district, each FISD music teacher, and the thriving fine arts community for extending the opportunity to share music within the community and beyond.
VOICE OF TAYLOR CHOIR (ABILENE ISD)
On an eastern hill in Abilene stands Taylor Elementary School, home to 660 students. The Voice of Taylor Choir is proud to represent Abilene ISD at the TMEA Clinic/Convention. The choir was established in 1963 under the direction of Peggy Drennan. In 1973, the choir sang at the TMEA Clinic/Convention and with the singing duo the Carpenters. In 1991, Teresa Graham became the music specialist at Taylor. The choir was reimagined as The Voice of Taylor in 2012, and since then, the choir has performed with local choirs and at community events, nursing homes, businesses and churches. The choir enjoys a fall and spring tour, choir retreats, and shares a love of doughnuts, pizza, and singing.
LAURA BUSH MUSIC MAKERS (PASADENA ISD)
The Laura Bush Music Makers are a percussion ensemble from Laura Bush Elementary in Pasadena ISD. The group consists of 28 auditioned fourth graders who practice before and after school. The ensemble began in 2019 and has become a part of the school’s culture. Their motto is “We are the music makers, and we are the dreamers of dreams.” The ensemble aims to show everyone that with hard work and big dreams, music can be limitless. The group is directed by Aimee Ingalls and Audra Smith and is assisted by Steve Bretzke. This is their first TMEA convention performance, and they are excited to share their music with the membership. 0
Christopher Giles is a K–5 music specialist at Mireles Elementary (Northside ISD, San Antonio). elementaryvp@tmea.org
Frisco ISD Elementary Honor Choir
Laura Bush Music Makers
Voice of Taylor Choir
Culturally Relevant Pedagogy in Elementary Music
By Franklin J. Willis
Istill remember the moment my approach to teaching elementary music shifted. I taught a student, Leticia, who was often disengaged in class. She would sit in the back, barely participating, while her peers clapped, sang, and played instruments with enthusiasm. Despite my attempts to encourage her, she remained on the sidelines. I began to question my methods and assumptions. Why wasn’t my approach working for her?
Then, I attended a professional development workshop on culturally relevant pedagogy. It opened my eyes to how the content I was delivering and the way I was delivering it wasn’t connected to her world. Leticia’s culture, her experiences, and her musical identity weren’t reflected in our lessons. So, I made a change.
First, I conducted a brief survey with my students to find out more about their musical backgrounds, their favorite artists, and what they wanted to learn in music class. From that survey, I learned that Leticia had a brother who was a local hip-hop artist and that she had a deep love for spoken-word poetry. I started incorporating hip-hop rhythms, songs from her cultural background, and storytelling into our lessons. The transformation in Leticia was immediate. She began participating, even leading her peers in activities that resonated with her. This teaching approach illuminated the profound cultural and musical identities my students carry with them into my classroom prior to receiving formal instruction.
This experience changed my teaching philosophy. I realized that foundational skills in music education go beyond mastering scales and rhythms—they are about connecting with students on a deeper level by acknowledging and showing appreciation for their
cultural backgrounds. In this article, I’ll explore how building these expanded foundational skills in elementary music can be enhanced by culturally relevant pedagogy and why this approach is so important.
THE
NEED FOR CULTURALLY RELEVANT PEDAGOGY
As defined by Gloria Ladson-Billings, culturally relevant pedagogy is an approach that encourages teachers to set high academic expectations and make learning meaningful by connecting with each student’s culture, and fostering social-political consciousness, to create a transformative education experience (LadsonBillings, 1995).
Many elementary music programs in the United States still rely heavily on Western European traditions, which, while valuable, often exclude the musical experiences of students from diverse cultural backgrounds. This disconnect can result in students feeling alienated from the curriculum and disengaged from music class. When foundational music skills are taught without considering the cultural backgrounds of students, teachers miss an opportunity to make learning relevant and meaningful.
Like Leticia, when I was an elementary music student, I found it hard to connect with the music we were learning in school. Instead of sparking joy, it left me disengaged. I often ended up being excused from class by the music teacher or left to do busywork in the back of the classroom. When my parents attended a parent-teacher conference, they were surprised to learn I wasn’t participating in music class at all. They were puzzled because music was such a big part of our family life.
BLINN COLLEGE MUSIC DEPARTMENT
The Blinn College Music Department offers the following degree pathways:
• Fully Transferable Associate of Arts Degree in Music
• Co-Enrollment Pathway with Texas Woman’s University for Bachelor of Science Degree in Music Therapy
• Co-Enrollment Pathway with Lamar University for Bachelor of Music Degree in Music Education
Our band and choir are open to music majors and non-majors alike. Schedule an audition and you could perform at world-class venues while living alongside your fellow band members in our Brenham Campus residence halls!
February 1, 2025
February 22, 2025
March 15, 2025
April 5, 2025
May 10, 2025*
* Auditions and Color Guard Camp
Scan the QR code below to schedule an audition.
Every morning, we woke to music blasting from the speakers, Motown tunes played in the background as we did our Saturday chores, and I went to choir rehearsal at church every Wednesday.
Looking back on that experience, I believe my disinterest was rooted in the teaching approach. My music teacher didn’t incorporate culturally relevant teaching methods, and as a result, I didn’t feel seen or appreciated for who I was and the culture I came from. This disconnect led me to lose interest in music and made me want to escape the classroom whenever I could.
Despite my childhood experience, years later when I began working as a music teacher, I found myself utilizing the same ineffective teaching methods that had been at the root of my own disinterest as a student. Following my experience teaching Leticia, I realized that honoring my students’ lived musical experiences, elevating their voices, and listening to their feedback were essential elements to making my music classroom a place where all students can shine. Fortunately, no matter how long we’ve been teaching, we can change our approach.
BUILDING FOUNDATIONAL SKILLS
In traditional elementary music programs, foundational skills often focus on basic rhythmic patterns, pitch recognition, and vocal techniques, primarily through folk songs, nursery rhymes, and classical music. However, foundational skills in music are not just about technical proficiency—they are about developing a deeper understanding of music as a means of communication and cultural expression.
Culturally relevant pedagogy provides a framework to build these skills in a way that resonates with students’ lives. For example, when teaching rhythm, instead of relying solely on quarter notes and half notes from Western music, teachers can use rhythms from African drumming or hip-hop beatboxing to help students understand complex rhythmic patterns in a context they relate to. This not only teaches rhythmic literacy but also promotes a global understanding of music and its cultural significance.
Similarly, teaching pitch and melody can be enhanced by incorporating songs from diverse cultures. Many non-Western musical traditions use scales and modes
For students, learning music that reflects their cultural identities boosts self-esteem and fosters a sense of belonging. They become more engaged, more confident, and more willing to take risks in their learning.
Music teachers can create an inclusive environment where all students see themselves reflected in the curriculum. For example, this might be achieved by incorporating genres like salsa or reggaeton into rhythm exercises or using songs in other languages to help students connect more deeply to the material.
Culturally relevant pedagogy also empowers students by validating their cultural identities. When students see their culture represented in the classroom, they are more likely to engage with the content, participate in lessons, and take ownership of their learning. Ladson-Billings states, “Culturally relevant teaching requires that students maintain some cultural integrity as well as academic excellence” (1995. P. 476).
that differ from the major/minor system commonly taught in elementary music classes. By exposing students to these musical traditions, we can expand our students’ musical horizons while still teaching skills such as pitch accuracy and melodic recognition.
For example, teaching the pentatonic scale often found in a variety of cultures’ folk songs and introducing students to the calland-response structures found in West African music allows them to experience different melodic structures while learning essential music theory concepts. These approaches help students understand that music is global with endless variations, all of which are valuable.
PRACTICAL STRATEGIES
Transitioning to a culturally relevant teaching approach requires intentional planning and a willingness to shift away from purely traditional methods. Here are some practical strategies to consider:
Incorporate a variety of musical genres: Include music from diverse cultures and genres in your lessons, such as African drumming, Caribbean calypso, Indian ragas, or Latinx reggaeton. Use these genres to teach foundational skills like rhythm, melody, and harmony, while highlighting the cultural context of each musical style.
Connect music to students’ lives: Find out what kind of music your students listen to at home and incorporate those elements into your lessons. If a student enjoys hiphop, explore ways to teach rhythm and improvisation through rap. If another student loves gospel music, use call-andresponse singing to teach vocal techniques.
Use Instruments from a variety of cultures: Introduce students to instruments from various cultures, such as djembes, steel drums, or sitars (if you don’t have access to any, this is a good opportunity to ask if students’ parents or other community members have instruments they could bring and demonstrate). Allow students to experience firsthand the sounds and techniques of these instruments, while learning about the cultures from which they originate. This not only builds technical skills but also deepens their appreciation for global music traditions.
Create collaborative projects: Encourage students to bring their own musical traditions into the classroom through collaborative projects. Have them work in small groups to create performances that combine elements of different cultural music styles. This fosters creativity, builds teamwork skills, and allows students to take ownership of their learning.
Incorporate movement and dance: Many cultures integrate music with movement, so include opportunities for students to experience these connections. Whether it’s learning salsa steps while playing Latin rhythms or moving to the syncopated beats of Afro-Cuban music, integrating movement allows students to physically connect with the music they are learning.
Build Relationships with families and communities: To ensure your curriculum is truly culturally relevant, engage with your students’ families and communities. Invite guest artists from local cultural communities to perform or lead workshops. This not only enriches the curriculum but also builds a bridge between the classroom and the community, showing students that their cultural experiences are valued.
THE LONG-TERM BENEFITS
When foundational music skills are taught through a culturally relevant lens, the impact extends far beyond the classroom. For students, learning music that reflects their cultural identities boosts self-esteem and fosters a sense of belonging. All students can become more connected to the world around them as they develop a deeper understanding of and respect for other cultures. Students become more engaged, more confident, and more willing to take risks in their learning. This increased engagement often leads to improved academic outcomes in other areas as well, as students develop skills such as critical thinking, collaboration, and problem solving through music.
For teachers, adopting a culturally relevant approach encourages personal and professional growth. It requires them to reflect on their teaching practices, challenge assumptions, and continually learn about the cultures of their students. This process not only enriches the teacher-student relationship but also leads to more dynamic and engaging lessons. Moreover, teachers who embrace this pedagogy often report a renewed sense of purpose and fulfillment in their work as they see the profound impact their teaching has on their
For a Deeper Dive
Watch Save the Music’s webinar “Culturally Relevant SEL in Music Education.” This session features Dr. Gloria Ladson-Billings and Franklin J. Willis sharing their stories about the impact of culturally relevant teaching. Go to www.tmea.org/2025willis or scan:
students’ lives (Ladson-Billings, 2017).
A CALL TO ACTION
The journey of becoming a culturally relevant teacher begins with you. Implementing the strategies I’ve offered is a great start, but they alone won’t make you culturally relevant. Understanding our biases, preconceived notions, and blind spots is crucial for self-awareness, personal growth, and professional development. Once you make the conscious decision to do this inner work, that transformed teacher shows up and inevitably transforms the classroom.
As music educators, we have the unique privilege of helping students build foundational skills that will last a lifetime—skills that should extend beyond the technical aspects of music. We should empower students to connect with their cultural identities and the diverse world around them, just as we do.
I urge all music teachers to rethink how you approach foundational skills in elementary music. Let’s move beyond a onesize-fits-all model and embrace a culturally relevant pedagogy that honors the
rich musical traditions our students bring into the classroom and that exist throughout the world. By doing so, we can foster not only a love of music but also a deeper understanding of its power to connect people across cultures.
The next Leticia in your classroom is waiting for that connection. Will you make the shift? 0
Franklin J. Willis is the Fine Arts Director at Metro Nashville Public Schools and is a 2025 Elementary Division Featured Clinician.
REFERENCES
Ladson-Billings, G. (1995). Toward a Theory of Culturally Relevant Pedagogy. American Educational Research Journal , 32(3), 465-491.
Ladson-Billings, G. (2017). Beyond Beats, Rhymes, & Beyoncé. In: Sirrakos, G., Emdin, C. (eds) Between the World and the Urban Classroom. Transgressions: Cultural Studies and Education. SensePublishers, Rotterdam. https://doi .org/10.1007/978-94-6351-032-5_7
COLLEGE
How does your institution connect preservice teachers with experienced educators, even before student teaching?
• We invite guest speakers to weekly convocations and classes. We also host a variety of on-campus activities for elementary and secondary students, and we place our preservice students in volunteer roles to connect them with the teachers bringing their students to our programs. We encourage our students to teach private lessons and tech in local schools. At the curricular level, we are revising our curriculum to put students in job-embedded placements as early as the sophomore year, given the new TEA requirements for Early Field Experience (EFE) hours. This will spread those hours more evenly across the curriculum. This also puts the EFE hours in specific contexts (elementary methods, secondary instrumental and choral methods) to support an enhanced educational experience all around. —Eric Branscome, Texas A&M University–Commerce
• I connect preservice teachers with experienced mentors early in the methods sequence, primarily through three tools: observation, field experience, and practice teaching. Students observe high-quality teachers (keep in mind students need preparation and focus to receive the maximum benefits). I teach students the lesson planning process and then ask students to “reverse engineer” the lesson plans of their cooperating teachers. Students identify goals, objectives, procedures, assessments, and management strategies. We then discuss their experiences in class. For field experience, students work with future cooperating teachers in connection with methods courses like elementary, instrumental, or choral methods (or in block education courses). They teach their cooperating teacher’s lesson plans or create their own. Afterward, I ask them to reflect on what went well and what didn’t and to debrief with their cooperating teacher. Because field experience hours are limited, for greater depth and independent experience, I provide practice teaching in other settings (e.g., home school classes or private lessons). I have found these approaches give students valuable teaching experience and boost their confidence so they can enter student teaching with the skills to succeed more quickly and on a higher level.
—Floyd Richmond, Tarleton State Univ
• We connect preservice teachers with experienced educators throughout their academic journey well before they reach the student teaching phase. Our approach is multifaceted and begins early in a student’s educational journey. Experienced Educators in the Classroom: We employ seasoned educators to teach and guest lecture in our music courses and methods
classes. This direct interaction allows students to learn from professionals with real-world music education experience. Diverse Educational Partnerships: We partner with area private and public schools to expose our students to a variety of educational settings, helping them understand different teaching environments and methodologies. Double Major in Music and Education: Through their required College of Education classes, our music education students are introduced to additional experienced teachers from various disciplines. This interdisciplinary approach broadens their perspective on education as a whole. By implementing these strategies, we ensure our preservice teachers have numerous opportunities to engage with and learn from experienced educators throughout their academic journey. This exposure helps bridge the gap between theory and practice.
—Whitney Crowley, Concordia University Texas
• Within the Instrumental Division, we coordinate Music Education Forums to host guest speakers who are expert teachers in Texas and who represent a wide range of backgrounds and teaching areas. Faculty members teaching courses such as Percussion Pedagogy, Instrumental Rehearsal Techniques, and Instrumental Lit and Administration invite local directors and private teachers to share their insight, wisdom, and philosophy with the students. Additionally, individual studios host regional, state, and international guest artists to speak on a wide range of topics including pedagogy, career development, and performance practice.
—Brian Zator, Texas A&M University–Commerce
• We have developed relationships with master teachers, locally and across the state. Preservice teachers have multiple observation and teaching opportunities in districts within 15 minutes of campus, and we coordinate with local music teachers on their preferred classes for observation and on district clearance forms. In their final semester, student teachers request placements in or between Dallas–Fort Worth, San Antonio, and Houston. Our full-time faculty recommend placements where we know the cooperating teacher well and can ensure a high-quality experience. Additionally, we often invite master teachers from the field to our Music Education Convocation series. Cooperating teachers are invited to attend our Mentor Teacher Conference, where they interact with researchers and our students as they discuss current and best practices in student teaching and supervision. —Michael Alexander, Baylor Univ 0
Bobby Francis conducts a performance in VCCH with the TCU Wind Symphony and TCU Mariachi Sangre Royal.
COLLEGE DIVISION
CARTER BIGGERS, STATE VICE-PRESIDENT
By valuing and incorporating student voices, music education programs can create a more vibrant, responsive, and innovative learning community that benefits all stakeholders.
Turning the Process on Its Head
Before this semester started, I began, much like most of us do every year, by preparing my curriculum, concert repertoire, and syllabi. However, as I was working on my repertoire selections for ensembles, I began to question part of my process. So many factors go into selecting music for a concert and a season, but one factor that unfortunately often gets overlooked is our students’ input. Should this be a factor? I believe the answer is yes!
The approach many of us follow has long been a top-down process where we, as faculty members, draw on our expertise and experience to program repertoire and design courses with minimal input from our students. However, there’s a growing recognition that involving students more deeply in these decisions can lead to more engaging, relevant, and effective educational experiences. By turning this process on its head and incorporating student input from the onset, we can foster a more collaborative, innovative, and student-centered learning environment.
Incorporating student voices in curriculum and repertoire decisions offers several advantages. When students have a say in what they learn and perform, they’re more likely to be invested in the material and motivated to excel. Students can also provide insights into current trends, technologies, and challenges in music education that faculty
MARK YOUR CALENDAR
check www.tmea .org for updates
November—Renew membership, purchase liability insurance, register for the convention.
November 1, 4:30 p.m. CT—TMEA scholarship online application deadline.
November 1 —Collegiate Music Educator Award nomination deadline.
January 14— Last day to cancel a reservation booked through TMEA without a fee.
January 16—TMEA convention early registration deadline.
January 22— Last day to utilize the TMEA housing reservation system to book a hotel.
February 12–15—TMEA Clinic/Convention in San Antonio.
February 13, 5:15 p.m.—TMEA Division business meetings at the convention.
February 14, 5:15 p.m.—TMEA Region meetings at the convention.
might not be as attuned to. Additionally, their input can help ensure that course content and repertoire reflect a wider range of cultural backgrounds and musical traditions. Involving students in these decisions helps them develop critical-thinking skills, leadership, and collaborative skills essential for their future careers. Students will feel a greater sense of ownership over their education when they’ve played a role in shaping it.
Implementing a student-driven approach to repertoire selection and curriculum
development requires careful planning and execution. Here are some strategies to consider:
Interest surveys: Begin each semester or academic year with comprehensive surveys, asking students about their learning goals, interests, and preferences in music education and performance.
Student advisory brain-trust: Create committees of student representatives to work alongside faculty in curriculum development and repertoire selection processes.
Clark W Fobes
Collaborative course design: Involve students in designing specific course modules or units, allowing them to propose topics, resources, and assessment methods.
Student-led repertoire selection: Allow ensemble members to nominate and vote on potential performance pieces, with guidance from conductors to ensure appropriate difficulty levels and educational value.
Flexible assignment options: Offer choices in assignment formats or topics, allowing students to tailor their work to their interests and career goals.
Regular feedback loops: Establish ongoing mechanisms for students to provide feedback on courses and repertoire throughout the semester, not just at the end.
While the benefits of student input are significant, there are challenges to consider. We must balance our students’ desires with educational requirements. It’s crucial to ensure that student input aligns with accreditation standards and essential learning outcomes. Additionally, with increased student involvement comes a wider range of perspectives, which can be challenging to reconcile. We as faculty must also guide the process to ensure that curriculum and repertoire choices maintain appropriate academic and artistic standards. Students may need guidance on how to contribute effectively to curriculum and repertoire decisions. Incorporating student input, while rewarding, can be time-consuming and may require adjustments to traditional planning timelines.
To illustrate how this approach might work in practice, consider these hypothetical scenarios:
Curriculum Development: In a music education methods course, students and faculty collaboratively design a unit on integrating technology in music classrooms. Students research and propose various tech tools and applications, while faculty ensure coverage of pedagogical principles and assessment strategies.
Repertoire Selection: A university wind ensemble adopts a system where student section leaders nominate pieces for consideration, and the full ensemble votes on selections from this curated list. The conductor provides context on each piece’s educational value and technical challenges.
Course Creation: Students identify a gap in the current offerings and propose a new elective course on music entrepreneurship. A student committee works with faculty to develop the course outline, bringing in their perspectives on the current music industry landscape.
Adopting a more collaborative, studentcentered approach to curriculum and repertoire selection can have far-reaching benefits for the field of music education. Students who experience this collaborative process are better equipped to implement similar approaches in their future teaching careers. Student input can help music education programs stay current, with evolving musical styles, technologies, and educational approaches. The integration of diverse student perspectives can lead to innovative teaching methods and performance practices. Collaborative decisionmaking strengthens the sense of community within music departments, improving student-faculty relationships.
Turning the traditional process on its head by incorporating student input from the onset in undergraduate music education curriculum and repertoire selection represents a significant shift in approach. While it comes with challenges, the potential benefits in terms of student engagement, relevance, and skill development are substantial. By embracing this collaborative model, music education programs can create more dynamic, inclusive, and effective learning environments that better prepare students for the diverse and evolving landscape of music education and performance.
As the field of music education continues to evolve, this student-centered approach may become increasingly important in ensuring that programs remain relevant, engaging, and effective in preparing the next generation of music educators and performers. By valuing and incorporating student voices, music education programs can create a more vibrant, responsive, and innovative learning community that benefits all stakeholders.
FALL CONFERENCE REPORT
On October 4, College Division members from across the state came together in Austin for our annual College Division Fall Conference. Each year, this event is a wonderful opportunity for us to receive important updates from the TMEA office
COLLEGE DIVISION FALL
CONFERENCE
OCTOBER 4, 2024
TMEA Headquarters
and Executive Board, have an open dialogue about issues and concerns of the day, and meet in our committees to continue the great work for our division. Our thanks go to the TMEA staff for hosting this event and making the membership of our division feel so welcomed.
At this year’s conference we were fortunate to have two guest speakers join us. Marilyn Cook, who has been with TEA for 32 years, presented on the process and updates that took place this year to the TAC 228— Requirements for Educator Preparation Programs. Through the work of so many individuals and their willingness to have an open and honest conversation about the issues, I truly believe our voice was heard and that the changes proposed to the language in the code will greatly benefit our students as well as our supervisors across the state.
TMEA lobbyist Julia Grizzard joined us to provide an informative and enlightening legislative update. With the upcoming election cycle, and subsequent legislative session in Texas, it is critical that we stay up to date with what is going on at the capitol, especially as it relates to public and higher education and the fine arts. A great way to stay informed about arts education in the state and to make sure that your voice is heard is to register your support
with the Texas Arts Education Campaign at www.txartsed.org.
It was wonderful to have this time with colleagues from across the state and I look forward to gathering again in just a few short months in San Antonio.
CLINIC/CONVENTION UPDATE
The 2025 TMEA Clinic/Convention is shaping up to be one of the best yet. With over 300 clinics and performances to choose from, this is one you don’t want to miss.
Our College Division has over 60 sessions with a wide range of topics. From classroom management to culture building, performance practice to private studio instruction, teaching methods to technology, there is something for everyone, including our growing college student membership.
Our division invited clinicians, Dr. Ann Marie Stanley (Penn State University) and Dr. Kamile Geist (Louisiana State University), bring a wealth of experience and knowledge, and you will not want to miss their presentations.
Go to www.tmea.org/convention for all the details, including a preview of the clinics and clinicians as well as the concert ensembles that will be performing.
Next month’s issue will feature a preview of the full convention schedule, and I want to highlight three events as you make plans to attend:
• Thursday’s Research Poster Session: Stop by and check out the amazing work being done by so many wonderful researchers for the betterment of our profession.
• College Fair and Friday’s College Night: Held in the Exhibit Hall, this is a wonderful opportunity for institutions to share what their programs have to offer with prospective students. Learn more at www.tmea.org/ collegeexhibits.
• Friday’s College Reunions: Current students, faculty, and alumni from many of our colleges and universities get together for fun, fellowship, and fantastic updates about their alma maters.
If you haven’t yet registered to attend, be sure to do that now to pay the lowest fee. Go to www.tmea.org/convention to learn more about the event and to register. 0
Carter Biggers, DMA, is Director of Bands and Associate Professor of Music at Texas Woman’s University. collegevp@tmea.org
