September 2016 Southwestern Musician by Texas Music Educators Association

SEPTEMBER 2016

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V O L U M E

Extreme Teaching: Part One. . . . . . . . . . . . . . . . . . . . 13 In this Àrst of a two part series, we offer some conclusions and strategies provided by TMEA members during this past June’s Urban Music Summer Dialogue. BY KAREN CROSS

Making Music. Making Connections. . . . . . . . . . . . . 26 Music educators have the opportunity to help their students Ànd a voice through music that ignites a meaningful and expressive connection to the people and world around them. BY ALL AN MCMURRAY

Vocal Modeling for the Opposite Gender . . . . . . . . . . 35

columns

Vocal modeling is a fast and effective way to teach proper vocal technique, but it’s important to consider how your modeling should change when teaching students of the opposite gender.

BY CYNTHIA DOUGLAS

Our Kids Can . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Learn how these elementary educators in a culturally diverse, urban, low socioeconomic area have succeeded in teaching their students to reach high standards and realize that just like any others, they can.

President’s Notes ............................................. 6 by Dinah Menger

BY MEREDITH RIGGS AND LOREN TARNOW

Executive Director’s Notes.................... 9 by Robert Floyd

Band Notes ............................................................19 by Joe Muñoz

Orchestra Notes ..............................................31 Vocal Notes ...........................................................41 by Robert Horton

Elementary Notes ..........................................53 by Juli Salzman

College Notes .....................................................56 by Si Millican

updates

by Penny Meitz Renew Your Membership ........................................................................ 2 2017 TMEA Clinic/Convention ................................................................ 4 Congratulations, TMEA Honor Bands and Finalists ............................24 Congratulations, TMEA Honor Orchestras and Finalists ....................33 2017 TMEA President’s Concert: The Real Group ..............................38 Music Is Essential: Share the Video. Share the Message. .................46 On the cover: Ashlyn Maddox, currently a freshman studying musical theatre at Texas State University, rehearses with the Cypress Woods HS Varsity Mixed Choir during the 2016 TMEA Clinic/ Convention. Photo by Karen Cross.

College Division Call for Papers ............................................................60

Southwestern Musician | September 2016

Editor-in-Chief: Robert Floyd rÁoyd@tmea.org 512 452 0710, ext. 101 Fax: 512 451 213

Managing Editor: Karen Cross

kcross@tmea.org 512 452 0710, ext. 107 Fax: 512 451 213

TMEA Executive Board President: Dinah Menger d.menger@sbcglobal.net 1305 :estcrest Drive, Arlington, 76013 817 8 1 10 5 ² Fort :orth ISD

Renew Your Membership! All TMEA 2015–2016 memberships expired June 30. 2015–2016 liability insurance policies expired August 20.

Renew now to ensure you receive the benefits of your TMEA membership for the entire year.

President-Elect: Andy Sealy sealya@lisd.net 4207 Plano Parkway, Carrollton, 75010 46 48 3011 ² Hebron HS

Past-President: Keith Dye keith.dye@ttu.edu 6607 1orwood Avenue, Lubbock, 7 413 806 742 2270 x 231 ² Texas Tech University

Band Vice-President: Joe Muñoz munozj@pearlandisd.org 3775 South Main Street, Pearland, 77581 281 7 321 ² Pearland HS

Orchestra Vice-President: Penny Meitz pjmeitz@mac.com 5407 Coral Gables Drive, Houston, 7706 281 468 25 3 ² St. John’s School

Vocal Vice-President: Robert Horton rhorton@conroeisd.net 3205 :est Davis Street, Conroe, 77304 203 36 70 1200 ² The :oodlands HS

Plan to enter students to an audition? Your membership must be active to do so. Thank you for your membership in TMEA! Our association continues to be the largest state music educators association in the country, and for that we are justly proud. The strength of TMEA, however, is not only in its size but also in the quality of its membership. The strength of music programs in our schools is rooted in the dedication of its teachers, all united in a mission to provide the best music education for all Texas schoolchildren.

RENEW ONLINE TODAY

Just click Renew from www.tmea.org

Elementary Vice-President: Juli Salzman julis@angletonisd.net 625 Milton Street, Angleton, 77515 281 660 4776 ² 1orthside Elementary

Membership

College Vice-President: Si Millican

• Renew Existing Membership

si.millican@utsa.edu One UTSA Circle, San Antonio, 7824 210 458 5334 ² UT/San Antonio

TMEA Staff Executive Director: Robert Floyd | rÁoyd@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: Tesa Harding | tesa@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: Laura Kocian | lkocian@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org Administrative Assistant: Rita Ellinger | rellinger@tmea.org

TMEA OfÀce Mailing Address: P.O. Box 140465, Austin, 78714 0465 Physical Address: 7 00 Centre Park Drive, Austin, 78754 Phone: 512 452 0710 | Toll-Free: 888 318 TMEA | Fax: 512 451 213 Website: www.tmea.org OfÀce Hours: Monday–Friday, 8:30 A.M.–4:30 P.M.

• Become a New TMEA Member • Reset My Password • Update Member Information

Verify and update your email and mailing addresses. Your receipt and membership card are sent to your email address.

Renew now, and remind your colleagues to do the same!

Southwestern Musician ISS1 0162 380; USPS 508 340 is published monthly except March, June, and July by Texas Music Educators Association, 7 00 Centre Park Drive, Austin, T; 78754. Subscription rates: One Year ² 20 Single copies 3.00. Periodical postage paid at Austin, T;, and additional mailing ofÀces. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, Austin, T; 78714 0465. Southwestern Musician was founded in 1 15 by A.L. Harper. Renamed in 1 34 and published by Dr. Clyde Jay Garrett. Published 1 41²47 by Dr. Stella Owsley. Incorporated in 1 48 as 1ational by Harlan Bell Publishers, Inc. Published 1 47²54 by Dr. H. Grady Harlan. Purchased in 1 54 by D.O. :iley. Texas Music Educator was founded in 1 36 by Richard J. Dunn and given to the Texas Music Educators Association, whose ofÀcial publication it has been since 1 38. In 1 54, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the editorship of D.O. :iley, who continued to serve as editor until his retirement in 1 63. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

Southwestern Musician | September 2016

Music is your passion TCU is your school

TMEA CLINIC/CONVENTION February 8–11, 2017 • San Antonio • Henry B. Gonzalez Center

www.tmea.org/convention LEARN

Nothing Can Compare. This annual four-day convention is the largest of its kind in the nation. With over 29,000 attendees (including over 10,200 active music educators), you’ll experience the best professional development, inspiration, networking, and exhibit hall discounts.

GROW

Expert educators will offer over 300 clinics so you can walk away equipped with new insight, information, and techniques to improve your instruction the day you return to the classroom. Learn more about your division’s Featured Clinician in this month’s Vice-President’s columns.

NETWORK

Clinic Preview To review all of the clinics that will be presented during the convention, go to tmea.org/clinicpreview. The full schedule will be published in the December issue.

Important Dates Member housing opens at 6 A.M. CT.

December 31: Mail/fax convention registration deadline.

—Heather Zambrano (12-year attendee) Charles Patterson MS, Killeen ISD 4

Southwestern Musician | September 2016

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PRESIDENT’S NOTES

B Y

D I N A H

M E N G E R

Winds of change

have been privileged to experience some rather substantial paradigm shifts in the last five years while serving on the TMEA Board. With these new life changes, I have garnered some of the most wonderful relationships with people I might have never known. One of those incredible relationships was found in my first semester as a professor at Baylor University. The saying “the student becomes the teacher” describes this strong young woman who exemplifies the universal connection that music provides, leaping over language and geographical boundaries to connect and forge likeminded humans who share the same passions. Giselle Vento, a recent graduate from Baylor University, shared her story with me one day, and I knew I was listening to a future music educator with a huge heart and a past to which many of today’s students could instantly relate. As part of my continuing quest to acknowledge and serve an ever-changing Texas student population, I asked her permission to share her story with our membership. The following words belong to this elegant, intelligent, and artistic young woman. Her story is the story of thousands of our current music students. May Giselle’s words help each of us teach our students with greater awareness and sensitivity: It had been a long day for a kindergartner. Outside the school doors, paleteros (ice-cream men) gathered around to serve their loyal customers on a hot day in Matamoros, Mexico. While waiting for my father to pick me up, I thought I would buy something sweet. I checked my pockets for money but they were empty. So, I made a little deal with the paletero. I told him I didn’t have any money but that my

A grateful heart will become the key that opens opportunity. 6

Southwestern Musician | September 2016

September—Renew your TMEA membership online and preregister for the convention. October 4, 6 a.m. CT—TMEA convention online housing system opens for members. November 15—TMEA scholarship online application deadline. December 31—TMEA mail/fax convention preregistration deadline. January 19—TMEA online early registration deadline. February 8–11—TMEA Clinic/Convention in San Antonio.

father did and he would pay when he came to get me. I did, however, have a commodity for barter: a song. I told him that if he liked my song I could have the popsicle for free, and, if not, my dad would pay when he arrived. The paletero smiled and nodded his head. After listening, he did not charge my father. My first payment for a song was a two-peso popsicle. Not only was my thirst for frozen sweetness quenched that day, but another thirst as well, one that I hadn’t experienced before—the thirst for music. A couple of years later, and to my great delight, my parents enrolled me in a choir. I had the opportunity to perform in the Palace of Fine Arts in Mexico City with the Niños Cantores. I loved my choir family. They were there for me when my parents separated and in many other difficult times. Making music with them was enough to brighten the darkest of days. I have made some of the best connections of my life through choir. These are friendships that stand the test of time and have melded me into the person I am today. I consider myself blessed. I strongly believe God and his angels guide my every step. The majority of these angels have come to me in the form of music teachers. In 2005, my mother married a wonderful man and we moved from Mexico to Waco, Texas. This move brought me into an unknown territory rife with new opportunities. Learning the language was the first challenge. Learning the system was nearly as difficult. Longer school hours, an alien culture, differing social expectations, and discipline all overwhelmed me to say the least. When my counselor asked me what I liked to do, I could only reply that I loved to sing. As she guided me toward the choir room, for the first time, school felt like home. Choir helped me build the confidence to express myself without feeling judged. As a teacher, I am now able to see how important it is for a developing adult to find a safe place where he or she can strengthen their core as a person, for this will be reflected throughout the rest of their lives. Learning English through song was the best way for me to practice alongside this team of people who constantly encouraged me to push myself. This class required student participation to choreograph and plan the shows. I wanted my voice and opinions to be heard. For this to happen successfully, I needed

to challenge myself and leave apprehension about my accent or my occasional mispronunciations behind. In choir I could be myself, I knew my teacher and peers were there to help me grow, because they were my family. To this day, I still have the trophies I was given at the end of the year for best performer and outstanding student. Being part of a choir brought light to my days and it was easily my favorite class, not only because of the songs we would sing, but also for our teacher, who influenced our lives, stories, and directions and who challenged us to succeed to the best of our capabilities.

Mexico opened my eyes to the sad situation my country was in. Personally witnessing those less fortunate had a profound impact and helped me realize how very thankful I was for the opportunities given to me. Those memories brought a different color to my singing voice and helped me understand the direct connection between our music and our emotions; portraying all that is exposed, human, and bare. I continue to be blessed with a choir family that helps me regenerate my soul when I feel it wear down. My professors at Baylor were guiding lights in my path, showing me countless examples of helping

Choir helped me build the confidence to express myself without feeling judged. As a teacher, I am now able to see how important it is for a developing adult to find a safe place where he or she can strengthen their core as a person, for this will be reflected throughout the rest of their lives. I received a music scholarship to attend McLennan Community College. Like many new college students, I was unsure of what I wanted to pursue. I am so grateful that music, once again, found me, aided in no small part by my college professors who helped me understand I had a mission, one I had never realized, although it had been sowed into my heart as a little girl in Mexico. Their love, time, and devotion inspired me to want to do the same for others. That was it! I wanted to become a music teacher. As always, just when you think you have this whole life thing figured out, the winds of change come, taking you toward a new challenge that will help you grow. I had to return to Mexico in the middle of my college studies to take care of part of the process to become a U.S. resident. Once more, my music family stepped forward to help me in this life-changing situation. My voice teacher organized a group of people to send letters to the U.S. embassy to aid in the process of my return. I was amazed to see the work and love shown from faculty members, students, and other community members. After a year in Mexico, I returned to the United States just in time to sing “I’ll Be Home for Christmas” with my choir family. Everything happens for a reason. When I returned to the U.S. and had the opportunity to transfer to Baylor University, I gained a new perspective. My time in

others selflessly. As life brings new challenges, I know that my God will speak to me and guide me through the choirs, the people, and the most beautiful gift he gives, the one that ties us all together in the first place—music. Thank you, colleagues, for reading this honest and heartfelt story from one of our wonderful new teachers. As you reflect on ways to continue to be a meaningful presence in the lives of your students, may stories like Giselle’s help to heighten your awareness of the varied backgrounds and stories that each one of those students carries with them. Your music programs are crucial for these students in transitioning and feeling welcomed in challenging, new environments. I look forward to sharing another story I’ve received from one of our band directors in next month’s issue. Summer Dialogue Conclusions I invite you to read part one of the incredible work completed by our Urban Music Education Summer Dialogue participants on page 13. Last month, I shared some observations from this wonderful collaboration of urban music educators. Be sure to read through the report created from participants’ conclusions and strategies they use to engage their students. We look forward to offering even more members this same opportunity through sessions on this topic held during our convention. Southwestern Musician | September 2016

B Y

R O B E R T

F L O Y D

EXECUTIVE DIRECTOR’S NOTES

The next step in serving urban programs

n the August issue of SOUTHWESTERN MUSICIAN, President Dinah Menger shared information about the Summer Dialogue we hosted at TMEA headquarters this past June. This gathering of passionate, successful urban music educators was charged with determining how we best serve students in our state through music where changing demographics, multiculturalism, and low socioeconomic status of our families is becoming the norm. In a recent publication of Texas Education News, a summary report based on state PEIMS data stated that 52.2% of our students are Hispanic, 28.5% White, 12.6% Black, and 4% Asian. The data further reflected that 64.8% of Texas students attend a Title 1 school, 58.9% are economically disadvantaged, and 50% are at risk. Finally, 36.8% are bilingual, 8.7% are receiving specialized services, and 2.7% are dyslexic. Quoting a recent report from Texas Impact, Dinah stated that 1 in every 4 Texas children live in poverty and that 27% live in households that are “food insecure.” President Menger went on to share the most important points in dealing with urban students and how we “save our own little corner of the world.” If you have not already, I encourage you to read her column in our August issue (available online at www.tmea.org/emagazine). You will find it both eyeopening and enlightening.

:e hope the next step in this effort to provide support for the above described programs will come from those who teach in these settings. Southwestern Musician | September 2016

University of Mary Hardin-Baylor Department of Music has approximately 100 music majors and fourteen full-time faculty, the department provides a student/faculty ratio of 7:1. Accredited by NASM, UMHB offers the following music degrees:

• Bachelor of Music in Music Education • Bachelor of Music in Vocal Performance • Bachelor of Music in Piano Performance • Bachelor of Music in Church Music • Bachelor of Arts in Music • Music Minor

The various touring ensembles have enjoyed recent trips to China, Europe, Hawaii, Canada, and both coasts - at little or no cost to students. The instrumental program is housed in a fabulous new complex, and the new Performing Arts Center will open fall 2017.

Belton, TX 76513

· 254.295.4686

umhb.edu/music

So what do we do given the fact that the majority of our Texas music programs reside on Title 1 campuses? What can TMEA do to assist these programs, our members, and the students they teach? A first step is this SOUTHWESTERN MUSICIAN issue that begins a series of articles and reports focusing on strategies that work in urban environments. Part I of the Summer Dialogue report is included in this issue as well as an article by successful inner-city school music educators. In addition to continuing to publish similar articles throughout the school year, the 2017 convention schedule will include presentations and roundtables serving the needs of urban teachers. I believe it is only appropriate to interject that those who teach in rural settings will find that they share many of the same challenges as urban teachers, and hopefully their takeaways will be useful and meaningful. We limited the Summer Dialogue attendees to urban teachers only because of logistical limitations and to prevent the charge from becoming too broad-based. Hopefully there will be effective strategies included in these and future articles and clinics that benefit the

programs of all our members—urban, suburban, and rural. Clearly, solid fundamental teaching is the cornerstone of any successful program, no matter the student makeup of the classes. I recall attending a workshop led by a successful teacher in a Title 1 school, all of us in attendance anxious to hear his secrets for success. The clinic, however, focused on all the basics of making any program successful. The charge by the Executive Board to the Summer Dialogue attendees, however, was to focus on successful strategies that are unique to urban schools. That will be our approach throughout the year. We hope the next step in this effort to provide support for the programs described above will come from those who teach in these settings. Please do not hesitate to contact an Executive Board member or me to share your insight on how we can make this year-long effort more effective and meaningful. Election Time Again In fall issues of SOUTHWESTERN MUSICIAN, we will provide more detailed information on a fine arts agenda for the

upcoming legislative session beginning in early January. More critical now are the November elections for the Texas Legislature and State Board of Education. We will be surveying the candidates in mid-September and gathering information on their views on arts education. We will post that information on our website so that you know where your candidates stand on our issues. While many candidates do not participate in surveys, we know they most likely do see the survey and are aware we are monitoring support for our discipline. If a candidate then gets a follow-up contact from a constituent in their district such as yourself, it heightens even more their awareness that the arts community is interested in their arts education position. In the next few weeks I encourage you to attend coffees, neighborhood block parties, or candidate forums and explore the candidates’ views on the role of the arts as a part of a well-rounded education. It only takes a few voter inquiries to heighten their interest and place our issues on their radar.

Think creatively. Collaborate meaningfully.

Bachelor of Music Bachelor of Music Education Bachelor of Arts Minor in Music

Master in Music Master in Music Education Doctor of Musical Arts Doctor of Philosophy in Music

Application Deadlines Undergraduates: November 15 Graduates: December 1

225-578-9291 • music.lsu.edu/admissions Southwestern Musician | September 2016 11

Music is the key! Unlock Your Potential.

Why use Handbells and Choirchimes ÂŽ in your school curriculum? They develop independent rhythmic a nd melodic skills which enha nces other ensemble participation. They engage all students simultaneously. They combine auditory, kinetic & visual learning while stimulating the brain and strengthening memory. The best part â&#x20AC;&#x201C; they are FUN!

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EXTREME TEACHING

by Karen Cross

everal successful music teachers from urban settings across the state recently met with TMEA President Dinah Menger, Executive Board members, and staff to discuss the unique challenges and successful strategies they’ve experienced in their schools. Throughout their discussions, it was clear that many approaches utilized by urban music teachers are used in every high-quality music classroom. However, the group also identified conditions they experience specifically because of the concentration of populations in urban areas that share similar characteristics. They also examined the most important strategies for reaching these students in a meaningful way. (Also be sure to read Executive Director Robert Floyd’s column on page 9 for more information about our state’s shifting demographics and growth of Title 1 schools.) What follows is the first of a two-part series offering these educators’ conclusions from this dialogue. TMEA is committed to exploring this topic and the needs of urban educators and students. We plan to continue to publish content throughout this year on this topic and will host sessions during our annual convention to offer more members the same opportunity to share challenges and ideas for succeeding in urban school music programs. Thanks go to the 16 members for their participation and especially for documenting their experience as urban music educators (see page 16). We hope their observations can be helpful to many other teachers across our state and beyond.

Part One: Conclusions and Strategies Documented During TMEA’s Urban Music Summer Dialogue HOW IS MUSIC EDUCATION DIFFERENT IN AN URBAN SETTING? Examining the instruction and administration delivered by any high-quality music educator would yield many similarities, regardless of school size or location—good teaching is good teaching. And music classes around our state—big and small—include students from diverse cultures and varying economic conditions. However, in densely populated urban areas, the effects of cultural diversity and financial instability are intensified, and this often changes what’s required to provide a quality music education. Music education’s role in an urban setting becomes both musical and extramusical. We must provide a relevant, rigorous, and successful musical experience for each student. But before we can do that, we first have to accomplish our extramusical purpose. For our students, we must first create an environment that offers what they don’t otherwise experience: safety, acceptance, appreciation, love, trust, and self-respect. Fortunately, music educators teach a subject that naturally fosters just such an environment—one that also provides students a much-needed opportunity to connect with and productively express their emotions. For our students, our music rooms may be the only places where they experience safety and acceptance. And while it’s easy to identify what’s needed, it’s another thing altogether to get there. How do we create this safe, stable, accepting environment that leads our students to develop a greater sense of self-worth and respect—and teach music in the process? Southwestern Musician | September 2016 13

The first step is knowing your students—each of them—personally. Our students need to know we care about them as individuals. To achieve this, we have to get to know where our students come from, who their families are, what their cultural backgrounds are, and how all of this has shaped them.

we make meaningful connections with our students when we provide engaging lessons relevant to today’s student experience. We can offer this through a more genuine inclusion of cultural diversity within lesson planning, repertoire selection, special concerts, small ensembles, and more.

must respond to the needs of each particular community.

CREATING CONNECTIONS AND BUILDING TRUST We must recognize and acknowledge what many students face outside of our classrooms. The typical student scenario has changed greatly; it can include homelessness, transient living, a family culture that does not value education, little regard for grades and testing, no preeducation in social behaviors, lack of work ethic, or lack of creativity in thinking and problem-solving.

TEACHING AND CELEBRATING DIVERSE CULTURES We should encourage students to share important aspects of their culture in class and look for ways to connect what they share to what we teach. We should also visit with students and their families to learn more about each student’s perspective and what is important to their family. This also offers us the chance to communicate with parents about the importance of their child’s participation.

• Learn student names and greet them by name when they arrive.

What distinguishes the urban school student is ‘more.’ Urban schools have more diversity of cultures, ethnicities, academic success, and socioeconomic situations. There are more unique situations in the classroom requiring more sensitive, rigorous, disciplined teaching and nurturing. Everything in an urban setting is just ‘more.’ We have found that given this reality, it’s important to create intentional time for open communication, even if that means we’re not teaching music in that moment. Music teachers may be the only people in their students’ lives they are able to trust, so we need to be ready to listen intently to their concerns. We also need to instruct new teachers and veteran teachers alike to make sure that every child feels loved, special, and important each time they walk into the music room. Students will recognize the genuine care you have when you do the seemingly small things like learn their names, keep track of their success, and care about their interests. Insisting that students follow predictable procedures is another way that music teachers can create a safe, structured environment. Like other priorities mentioned here, this becomes even more important when we teach students who come to us from unpredictable home lives. Along with creating this safe haven, 14 Southwestern Musician | September 2016

Opening dialogue with community members such as parents, local business owners, and church leaders can help us develop a better appreciation of the community that will be beneficial to the music classroom. Finding relevant and high-quality repertoire and creating engaging lessons is even more crucial in today’s educational environment saturated with student choices. When we adjust our music selection to support our students’ culture and respond to popular trends, we can gain student buy-in. Once we have that buy-in, we can begin making connections to other styles, including those that have been the lasting foundation of our programs. While seeking meaningful opportunities for your students, it is important to reject the one-size-fits-all approach. Just because you teach Hispanic students doesn’t mean that mariachi will resonate with them. Similarly, we can’t expect all African-American students to want to participate in gospel choir. Our programs

STRATEGIES FOR BUILDING A SAFE, SUPPORTIVE ENVIRONMENT The following are a few of the specific strategies our Summer Dialogue members have utilized to reach their students and deliver culturally-relevant pedagogy.

• Open the rehearsal hall before school/ during lunch/after school to provide a safe space for students (if the situation is conducive, allow their friends to join—your student is responsible for introducing them to you and they must sign in). • Develop a predictable structure with procedures in your room and class day. Set boundaries and teach and practice them repeatedly. • Organize times for group chat—this might be just for girls or boys or the whole group. Start with easy topics and move into deeper issues later. Ensure these are judgement-free zones. • Create a big brother/big sister program to connect students and develop support systems. • If a child’s family culture allows birthday celebrations, sing “Happy Birthday” or have students figure it out on their instruments (it will get better with time). • Create a social contract with students. Have students help compose the contract in a way that will help establish order and a safe setting. • Never show shock at a situation a student raises. • Establish a Reset Corner where students can go when they need to regroup away from others. • Post a quote of the day on the board and briefly discuss with your class. • Always have food at events, especially weekend events. For some students, this will be their best meal. • Consider the impact of the community’s socioeconomic conditions on instrument inventory, repair budget, student fees, uniform requirements, summer rehearsal

schedules, before- and afterschool rehearsal schedules (and transportation), motivational approaches (food, gift cards), and more. If a student can’t afford a fee, can they complete work for your program instead? Can they pay a fee throughout the year? • Expect the best—refer to students as scholars. • Be as vulnerable as your students. From the place of vulnerability comes a common desire to learn. When appropriate, share your story. • Consider the Steven Covey instruction on how to make deposits in your students: understand the individual; keep commitments; clarify expectations; attend to the little things; show personal integrity; apologize when you make a mistake. By following these concepts, we will build a greater connection and basis for trust with our students. • Don’t compare classes. Each has its own reality. • Get to know each human you teach. • Understand that it may take months or years to fully establish a routine and safe environment. STRATEGIES FOR TEACHING AND CELEBRATING CULTURAL DIVERSITY Participants identified these strategies for reaching students of diverse cultures: • Using instrumental music from many styles and cultures creates an environment that encourages nonverbal participation by English learners and an entry to language skills. • Translate information in announcements, meetings, and concert announcements. Have a bilingual greeter at meetings and concerts. Honor existing language barriers and work to help close the communication gap.

Summer Dialogue Participants Thanks go to the following participants for taking time during their summer vacation to share their valuable insights and ideas with us about urban music education. The Dialogue was facilitated by TMEA President Dinah Menger. • • • • • • • • • • • • • • • •

Larry Brown, Cypress Springs HS, Cy-Fair ISD Shaunda Butler, Brashear ES, Dallas ISD Matt Coffey, Ridge Point HS, Fort Bend ISD Nicholas Flood, Indian Ridge MS, Ysleta ISD Kelly Flores, Hudson MS, Garland ISD Chris Gonzales, Dueitt MS, Spring ISD Sam Harris, Fine Arts Administrator, Galena Park ISD Eric Jimenez, Heights HS, Houston ISD Toby Jones, Paschal HS, Fort Worth ISD Michelle Lopez, Martin ES, Alief ISD Denise Pitcock, Fine Arts Administrator, Brownsville ISD Linda Richter, Raba ES, Northside ISD Meredith Riggs, Hart ES, Austin ISD Rene Rodriguez, Holland MS, Houston ISD Sandra Shaffer, Beverly Hills IS, Pasadena ISD Giselle Vento, Crestview Elementary, Waco ISD

• Collaborate in multicultural performances with community groups representing various cultures and performing multicultural repertoire.

• Add verses to traditional songs performed in concert (e.g., get a student and parent to teach students to sing a Vietnamese verse of “Silent Night”).

• Feature music of diverse cultures in concert and marching band programming.

• Attend outside events when invited by students and parents (games, concerts, Eagle Scout ceremonies, quinceañeras, church events, etc.).

• Enhance your opportunity to connect with students of varied backgrounds by expanding their choices of small ensembles that inherently offer a diverse repertoire. • At the beginning of the year, have students and parents complete questionnaires so you can learn more about them. For parents, include questions about how they could help the program (donations, work, food, etc.).

• Learn basic phrases in the languages of your students. Learn to count to four in different languages (get parent or student involvement to help) and count off pieces using different languages.

• Tap into the strength of diversity through curriculum offerings, programming, social events, community involvement, and more. Offer jazz ensemble, mariachi ensemble, world percussion ensemble, Black History Month Jazz programs, Cinco de Mayo Latin jazz and percussion programs, and more.

• Thoroughly research what will resonate with the communities you serve and what will lead them to support your program.

• Integrating pop music into the curriculum is no sin. Use it as a springboard to building connections to the classics.

16 Southwestern Musician | September 2016

• Look for opportunities for your students to connect with community arts organizations—urban schools have an even greater variety of these opportunities. AN EXTREME EXPERIENCE Teaching in an urban setting is often characterized as extreme teaching. And while it does require an extreme approach, our urban music educators also recognize that it yields extreme results—the immense satisfaction of connecting with students in a deep and meaningful way that for many will be life-changing. Next month, we will publish more conclusions from our Summer Dialogue participants regarding goal-setting and motivational strategies for urban students and garnering parent and community support.

UT ARLINGTON

ONE LAST LOOK CHOIR WORKSHOP Saturday, September 10, 2016

TMEA ALL-STATE MUSIC CLINIC For All Woodwind, Brass, And Percussion Instruments Saturday, September 17, 2016

ALL-STATE STRINGS WORKSHOP Saturday, October 8, 2016

MUSIC

UTA.EDU/MUSIC

UNIVERSITY OF NORTH TEXAS

College of Music

2017 Auditions

UNT Campus Auditions

Regional Auditions

(live jazz and percussion auditions offered on campus only)

Saturday, January 28, 2017 Friday, February 3, 2017

Friday, January 13, 2017 Chicago Los Angeles New York City

(Graduate percussion, piano, strings, voice & DMA jazz only)

Saturday, February 4, 2017 Saturday, February 25, 2017

MUSIC.UNT.EDU

B Y

J O E

BAND NOTES

M U Ñ O Z

In Memoriam

DARYLL EDWARD K AIRE October 31, 1952–July 16, 2016

Cultivating a supportive spirit

September—Renew your TMEA membership online and preregister for the convention. September 1—Deadline to submit All-State etude errata to the Band Division Chair. October 4, 6 a.m. CT—TMEA convention online housing system opens for members. October 22—Deadline to upload All-State Jazz audition recordings. November 12–13—All-State Jazz judging. November 15—TMEA scholarship online application deadline. December 31—TMEA mail/fax convention preregistration deadline. January 7—Area Band and Vocal auditions. January 19—TMEA convention online early registration deadline. February 8–11—TMEA Clinic/Convention in San Antonio.

hen our summer band activities come to an end, we begin to settle into the daily routine of the school year. This transition can become overwhelming for teachers at all experience levels, but especially for those new to the profession. Let’s look at a few tools that can help manage the year. New teachers begin to discover that it’s not all about instruction and development of their students. The daily tasks of duty responsibilities, lesson plans, grade book maintenance, and class instruction can become difficult to manage. How can new teachers manage all of these responsibilities on top of simply trying to figure out what is expected of them? You may often hear new teachers say, “Why didn’t they teach us that in college?” Developing a daily action plan can help organize your daily activities to maximize your efficiency. At the beginning, set a “punch list” of items to accomplish each day and week. Inexperienced and veteran teachers alike get overwhelmed when they fail to have a solid action plan. When deadlines start seeming like surprises, this can often lead to a sense of never being able to catch up. Taking a little time at the beginning and end of each day to plan and reflect can help you maintain a timeline that ensures you meet deadlines and stay on schedule. Collaboration can also help us manage our daily activities and professional expectations. Educators sharing lesson plans and methods that have been effective and explaining what didn’t go as planned can be an invaluable resource to teachers at all levels and years of experience. Hearing from our peers also provides us a connection to others in our discipline who might give us a better way to organize and manage our administrative duties. Collaboration is a

Giving each other the gift of time is one of the best ways to ensure the future of strong, robust music programs. Southwestern Musician | September 2016 19

lifeline for a new teacher. New teachers often get frustrated when they can’t find solutions to help students break through performance plateaus. Taking time to meet and discuss instructional strategies can give all of us insights on how to reach our students with creative and effective lessons. This exchange of ideas can also help the new teacher feel like part of an instructional team that values the input of all members regardless of experience. Taking part in an active mentorship can help our less-experienced teachers

feel more comfortable in their first year. Mentoring is a vital part of helping new teachers transition from learning how to be an effective teacher to becoming a tried and true professional in our profession. Having daily or weekly conversations about what is happening in the classroom, management of administrative duties, and curriculum implementation can be the difference in a new teacher’s ability to make it through a first year having a positive experience. Ask any experienced teacher and they’ll tell you how the first

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year of teaching can be one of the most challenging. If we all had to process as much new information as a new teacher has to upon securing a teaching position, we would certainly feel overwhelmed and confused at times. Add being responsible for students for the first time, and you can easily see why the first year can be a blur to the newest members of our profession. Words of encouragement and guidance from a veteran can make a profound difference in the experience of the first-year teacher. A simple “You are doing great!” or “Have you tried …?” can make the day of a new teacher. The mentor also finds areas of growth in their own teaching. Encouraging and advising a mentee can be one of the most rewarding parts of an experienced teacher’s career. Helping a new teacher manage a first year can also give the mentor their own feeling of accomplishment. Seeing and helping the new teacher grow and become more confident can invigorate the experienced teacher. If you’re a veteran teacher and have not yet become a TMEA Mentor, go to www.tmea.org/mentor to sign up. Giving each other the gift of time is one of the best ways to ensure the future of strong, robust music programs. Reaffirming a spirit of support, collaboration, and mentorship cultivates engaging, captivating, and valued teachers. TMEA Clinic/Convention Updates It may seem early, but it is already time to start thinking about attending the 2017 TMEA Clinic/Convention. On October 4, at 6 A.M. CT, the TMEA convention housing for members will be available online. Don’t wait to make your reservations as some hotels sell out in a matter of hours! Be sure to register for the convention when you renew your membership, or if you already renewed, return now to complete your registration so you can take advantage of the lower prices. In September, you can also go to www.tmea.org/clinicpreview to view a list of clinics and clinicians who will be presenting during our convention. Included there, you’ll find clinics offered by our Band Division Featured Clinician Allan McMurray. We are so fortunate and honored to have this consummate educator and conductor present a series of sessions for us. Additionally, be sure to read the feature article written by him in this issue on page 26.

POWERED BY MUSICFIRST, TEXAS ENSEMBLES H EAD T O THE M I DW E S T C LINIC Before hitting the stage in Chicago this December for their Midwest Clinic performances, 13 Texas ensembles will be rehearsing with MusicFirst. Over the next few months, these young musicians will use PracticeFirst, Sight Reading Factory and Noteflight as they develop their playing ability, sight reading and more. We are honored and excited to be a part of this musical experience! Congratulations to these schools for being selected to perform: School Creek Valley Honor Winds Hebron High School Wind Symphony Artie Henry Middle School Honors Band Faubion Middle School Honors Orchestra Cockrill Middle School Honors Band Berkner High School Symphony Orchestra Roma Middle School Symphonic Winds Round Rock High School Trombone Choir Ridgeview Middle School Percussion Ensemble Lady Bird Johnson High School Forza String Orchestra Spring Wind Ensemble Dulles High School Honors Orchestra Dulles Middle School Symphony Orchestra

Director Kimberly Cooley Andy Sealy Robert T. Herrings, III Kari Zamora Gary Williams Craig Needham Corey L. Graves David Mobley Megan Wike Karen George Gabe Musella Michael Alan Isadore Sally Kirk

Location Lewisville ISD Lewisville ISD Leander ISD McKinney ISD McKinney ISD Richardson ISD Roma ISD Round Rock ISD Round Rock ISD Northeast ISD Spring ISD Fort Bend ISD Fort Bend ISD

Email keith@musicfirst.com to find out more about this program.

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Allan McMurray Featured Clinician Allan McMurray is Distinguished Professor and Emeritus Professor of Conducting at the University of Colorado Boulder College of Music. He served for 35 years as Director of Bands and Chair of the Conducting Faculty before retiring from the university in 2013. Prior to this position he was on the faculty of the University of Michigan, Southern Illinois University Edwardsville, and the University of Wisconsin-Whitewater. Considered one of the worldâ&#x20AC;&#x2122;s leading teachers of conducting, McMurray has guest-conducted and taught conductors in 48 states and 16 foreign countries. He has been a featured

guest conductor at over 200 universities and conservatories internationally. McMurrayâ&#x20AC;&#x2122;s internationally acclaimed published series on the Art of Conducting includes three DVDs. Conducting from the Inside Out: Gesture and Movement provides an innovative approach to the basics of expressive movement in conducting and incorporates aspects of theatre, dance, and mime into the teaching of conducting. Conducting from the Inside Out: Conductor and Composer with Frank Ticheli examines the relationship between the inspiration of the composer and the informed intuition of the conductor in preparation and performance. Kindred Spirits is a collaborative DVD with well-known conductors Richard Floyd, H. Robert Reynolds, and Craig Kirchhoff, revealing four different approaches to rehearsal of wind

ensemble music. McMurray remains active as a guest artist around the world. Next month we will preview our AllState Conductors, so be sure to read that issue to learn more about these great clinicians who will be working with our AllState students. Honor Band Congratulations go to the students and directors of the TMEA Honor Bands and finalists in Class 1C, 1A/2A, 4A, and 6A (see page 24). We look forward to Honor Band performances during the 2017 TMEA Clinic/Convention. Also, look for performance biographies on these wonderful ensembles in upcoming issues of SOUTHWESTERN MUSICIAN.

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Ensuring Program Success and Longevity a conversation with Jason Tucker Located in Plano, TX, Rice Middle School boasts an annual enrollment of approximately 1,150 students; 900 of which enroll in their campus music programs each year. Under the direction of Jason Tucker, the Rice Middle School Band was named the 2012 Outstanding Texas Band Program by the Texas chapter of the American School Band Directors Association.

What do you believe sets the Rice program apart? The Rice Band community of students, parents, directors, and administrators have incredibly high standards for student achievement. We take great pride in the program and it’s because of these community efforts that our band has been a four-time TMEA Honor Band state finalist. Jason Tucker, Director of Bands and Music Department Chair, Rice Middle School

What role do you believe that equipment plays in the overall success of your program? Musical performance is a symbiotic product of the performer and the equipment he or she uses. For a student to succeed, he or she needs to put forth the necessary work to progress. At the same time, having the best available equipment, commensurate with the student’s level of development, is critical for student success. Young players become very frustrated and lose interest in their instrument quickly if they struggle. Quality equipment from the start improves their odds of early success and, consequently, their probability for continued growth and interest. Developing players likewise need equipment that will allow them to realize their potential without creating obstacles. As teachers, we guide students and their families in a manner that will maximize the rewards of their effort.

What products have your students found success with? We currently use the Vandoren M13 Lyre mouthpiece for our clarinets and the Vandoren AL3, TL3, and BL3 Optimum mouthpieces with our saxophones as well. I have been very pleased with the new Vandoren M|O ligatures for both clarinet and saxophones, and we have begun to transition our students to these ligatures in the past year. We use Vandoren Traditional reeds for all of our single-reed instruments as our baseline reed type. Many of our more advanced clarinetists prefer the V•12, and a few use the 56 Rue Lepic. Our saxophonists who play in jazz band often use the Java reeds. They particularly enjoy trying the available Vandoren jazz mix cards of different jazz cuts. We selected Vandoren mouthpieces in particular because our students are more likely to produce a good tone

The success of these Vandoren products for us are consistency, stability, durability, and value. with reliable intonation from beginners to our most advanced students. In terms of cost, the Vandoren mouthpieces we use are fairly priced with competing products, making them a good value for our students. In my experience, students with basic knowledge of reed care are able to perform particularly well on Vandoren reeds. We do have students who will sometimes purchase a different type of reed, but the ones they use for auditions and performances always seem to be their Vandoren reeds. I think this alone speaks to the quality of the product.

For more on Vandoren and how it can benefit you and your students, visit www.bit.ly/vandorenusa

Congratulations, Honor Band Finalists & Winners Join TMEA in congratulating the directors and students of the following outstanding programs!

Class 6A Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14

School/ISD ........................................................ Directors Lopez HS/Brownsville .................................George Trevino Flower Mound HS/Lewisville......................... Brent Biskup Oak Ridge HS/Conroe ............................. Dana Pradervand Spring HS/Spring ........................................Gabriel Musella Plano West SH/Plano ....................................James Hannah Langham Creek HS/Cypress-Fairbanks ...... Gloria Ramirez Friendswood HS/Friendswood ....................... Gregory Dick Plano East HS/Plano .................................. Evelio Villarreal Brazoswood HS/Brazosport ..............................Brian Casey Reagan HS/North East .............................. Daniel Morrison Clements HS/Fort Bend ............................ Daniel Galloway Central HS/Keller........................................Kevin McNulty Richland HS/Birdville .......................................... Jason Bird Martin HS/Arlington ..................................... Brad McCann

Class 1A/2A Rank 1 2 3 4 5 5 7 8 9 10 11

Class 4A Rank 1 2 3 4 5 6 7 8 9 10 11 12

School/ISD ........................................................ Directors China Spring HS/China Spring .......................... Pam Hyatt Argyle HS/Argyle.......................................... Kathy Johnson Fredericksburg HS/Fredericksburg.............John Rauschuber Grulla HS/Rio Grande City .........................Oscar Gonzalez Port Isabel HS/Point Isabel ..........................Scott Hartsfield Reedy HS/Frisco ................................................ Levi Chavis Alvarado HS/Alvarado ..................................... Patrick Dietz Cleveland HS/Cleveland ...................................Kristy Jones Bellville HS/Bellville ......................................John Pritchett Kennedale HS/Kennedale ....................................Erol Oktay Canton HS/Canton ......................................... Mike Bartley Anna HS/Anna ................................................. Justin Wallis

School/ISD .......................................................Directors New Deal HS/New Deal ............................... James Nance San Augustine HS/San Augustine ................. Craig Haynie Union Grove HS/Union Grove.............. Brandon Garmon Holland HS/Holland ..............................Elizabeth Kriczky Somerville HS/Somerville .............................. Carl Idlebird Carlisle HS/Carlisle ............................ Christopher Clifton Canadian HS/Canadian ............................Jennifer Webber Forsan HS/Forsan ............................................. Jim Rhodes Knox City HS/Knox City-Oâ&#x20AC;&#x2122;Brien ................ Mark Tucker Ganado HS/Ganado .......................................... Joe Barrow Olney HS/Olney .......................................Rodney Bennett

Class 1C Rank 1 2 3 4 5 6 7 8 9 10 11

School/ISD .......................................................Directors Mineola MS/Mineola ................................... Melissa Fisher Mauriceville MS/Little Cypress-Mauriceville ...Kathy Smith Littlefield JH/Littlefield ................................... Anna Muela Randolph MS/Randolph Field ..............Stephen Giovanoni New Boston MS/New Boston ...........................Aaron Holt Lorenzo de Zavala MS/Amarillo .................Britni Nuckols Jourdanton JH/Jourdanton..................Babatunde Onibudo Sonora MS/Sonora........................................ David Andrus Crane MS/Crane ...................................................Sara Hill Florence MS/Florence ....................................Thomas Pena Kountze MS/Kountze....................................William Long

Thanks go to the TMEA members who served as Honor Band Judges and Panel Chairs for ensuring a successful process. To view these and previous yearsâ&#x20AC;&#x2122; results online, go to: www.tmea.org/honorbandhistory 24 Southwestern Musician | September 2016

Making Music.

Making Connections. by Allan McMurray

conflict, love, and tragedy of Bernstein’s West Side Story. Music s I write this article I have just encountered the news of the with text creates interplay with artful sounds and artful words, day: brutal attacks have left a stunned America grieving for while instrumental music’s evocative potential stirs the imagiinnocent people who needlessly lost their lives. Tragically, nation with wordless expression. And whether it is a lullaby, a acts of violence seem to be increasing in their ferocity and national anthem, a school song, a wedding march, or taps, many their frequency. It is in this world in which we find ourselves meaningful moments in a lifetime are shared with music. teaching music. And every day that we go to our schools, we need It is not surprising that people are moved by music, but what to remind ourselves that we have a responsibility to recognize is more important is that life’s experiences need music. Joy needs and encourage the ways in which our art can help bring students music! Celebration needs music! Grief needs music! And even together in a shared, communal spirit. Music has the capacity to conflict needs music! Yet, in most music rehearsals, it is not expose the depth of our grief and the power to offer hope, and we music of the heart that is being explored. It is far more common must exploit that potential. to find rehearsal priorities focused on cleaning technique instead Music can challenge us to consider new possibilities or remind of striving to awaken students to the passion of an art form that us of our world. Music can be written for purpose or for pleasure, could be relevant and meaningful to their shared time together. but music is connected with the human condition and the human The kind of meaning I am talkspirit. Music lives because we ing about is the connection with live. the world around them in an When one imagines how evocative way. music has served as a reflecThere is a giant sleeping in tion of humanity, many examIt is the shared humanity of your students your ensemble. It is the shared ples come to mind. Songs and humanity of your students waitdances have stirred emotions waiting for an opportunity to reveal that and set people in motion. Sacred ing for an opportunity to reveal they care about the world around them that they care about the world music has served as a tribute to and the people in it. It is our job to find around them and the people in belief and connection with the it. It is our job to find a voice for supernatural. Opera and music a voice for them through music that has them through music that has the theatre have highlighted a myrthe potential to ignite a meaningful and potential to ignite a meaningful iad of human interactions rangand expressive connection. ing from the humor and antics expressive connection. When we isolate our rehearsal of Mozart’s Don Giovanni to the

There is a giant sleeping in your ensemble.

26 Southwestern Musician | September 2016

Success is when music students have learned to use the language of music to express something they feel deeply about and strive to give that gift to the people around them so they can feel it too. hall from the world outside, we are not serving music or our students. When we focus our energy and attention on playing a technically challenging piece of music that requires thinking without feeling, we miss the potential of connecting with music’s ageless power. When we avoid bringing the tragedies of today’s world into a purposeful rehearsal of a poignant composition that speaks to the conflict— the intensity and the hope that we all feel—we miss connecting our students to the relevancy of our art. Some wonderful conductors and teachers have commissioned works as living memorials to a student or a teacher. Other commissioned works have provided windows into the emotions following a school shooting, a military conflict, a lost loved

one, or an oppressed people. There is no topic, deserving of reflection, for which a piece of music will not deepen that meaning and unite a community of musicians together in a shared enriching, living experience. It is through expressive music that reveals, where the greatest opportunity for teaching art exists. And it is in times of greatest strife, when that experience is needed the most. Throughout my life, music has been a caring soul mate, listening to my thoughts, welcoming my feelings and encouraging me to seek a connection with the world around me. For me, music has always been relevant because I have sought to find a spiritual window in every composition that has its source in human experience.

Invest in the Future Sta r t a er t p a h c ll! t h is fa www.tmea.org/tfme Texas Future Music Educators is a TMEA-sponsored program that offers students who have an interest in music education an opportunity to provide service to their school music programs and to prepare for entry into college music programs. 1. Go to www.tmea.org/tfme to create a chapter—it’s easy!

4. Request a grant to help your chapter get started.

2. Market TFME to all high school music students.

5. Support TFME members and enjoy the signiÀcant return on your investment!

3. Submit your chapter charter and dues to TMEA. If you have any questions about TFME, email kvanlandingham@tmea.org 28 Southwestern Musician | September 2016

It is in this context that I believe every music teacher must ask: “Is there an opportunity in the music I have selected to explore human experience and emotion with my students? Is there music in our folder that can embrace the grief we feel, or the conflict we abhor, or the hope we desire?” Music with words or music that has been inspired by words offers us the introductory and most obvious opportunity to engage our students in the relationship between descriptive word and the imagination of musical sounds. But just as composers of opera portray characters and events in evocative sound, performers can bring intent to wordless music by seeking a personal, artistic connection with each composition. As we prepare a score, we digest the composer’s compositional language and prepare an informed point of view that transforms the music from organized sound to an artistic, evocative experience. We are supersizing the inspiration of the composer and seeking a personal, passionate connection with that inspiration. This is called “interpretation,” and it is the conductor’s creative opportunity to awaken the ensemble to the heart of the music and to awaken the music to the hearts of the ensemble. I believe that every conductor must form a spiritual connection with the music and the ensemble. Measuring success in the arts is a difficult proposition. Some believe that awards are the reward. Others believe that, in music, the number of students involved measure the quality of the teaching. For me, it matters little what is on the shelves or on the walls of the rehearsal room or how many chairs are on the floor. For me, success is when music students have learned to use the language of music to express something they feel deeply about and strive to give that gift to the people around them so they can feel it too. Success in music is not about being impressive; it is about being expressive. And success for the music teacher and the music student is not about getting love; it is about giving love. It is the way that music helps the world heal. Allan McMurray is Emeritus Professor of Conducting and Distinguished Professor at the University of Colorado-Boulder.

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The power of positivity September—Renew your TMEA membership online and preregister for the convention. September 1—Deadline to submit All-State etude errata to the Orchestra Division Chair. September 15—HS String Honor Orchestra online entries due. October 4, 6 am CT—TMEA convention online housing reservation system opens. October 22–23—First and second round judging of HS String Honor Orchestra CDs. October 29—Protected date to record for All-State String auditions. November 12–13—First and second round All-State CD judging. November 15—TMEA scholarship online application deadline. December 31—TMEA mail/fax convention preregistration deadline. January 7—Area Band and Vocal auditions. January 19—TMEA online early registration deadline. February 8–11—TMEA Clinic/Convention in San Antonio.

positive attitude can go miles toward student learning and teacher attitude. It’s not too difficult to begin a new school year with an optimistic outlook about new students and new challenges. It can be more of a challenge, however, to maintain that stance as we trek through the reality of day-to-day challenges. A positive point of view is not something that just happens for most of us, but a state of mind that can be thoughtfully pursued. Here are some ideas that may help you keep a can-do spirit as you travel through the school year. I have learned for myself that one of the basic components of keeping an optimistic outlook is being well-rested. Though never one to pull all-nighters, there have been many times I’ve burned the candle at both ends. As I’ve aged, it has become increasingly important that I follow an evening winding-down routine and go to bed at a regular time, early enough to log at least seven hours of sleep. When I’m sleep deprived, the first place it shows is in a negative, defeated, impatient attitude. I’m impatient with myself, with my colleagues, my family, and my students—not a pretty picture, as some of you have likely seen. Manifestations of positivity in the classroom start with the language we employ in our interactions with our students, as well as with the atmosphere we create in our classrooms. It begins when each class enters our rooms. On the days my classroom is ready before students arrive—chairs arranged, seating determined, and rehearsal order on the board—students are more

A positive point of view is not something that just happens for most of us, but a state of mind that can be mindfully pursued. Southwestern Musician | September 2016 31

likely to come in with a greater sense of purpose. Conversely, the days that are disorganized and I’m flying by the seat of my pants, many of my students sense my lack of focus, and mirror it with their own flaky behavior. It’s not always practical to

greet every student as he or she enters the room, but when you can, station yourself at the door as the students enter. This can be an excellent opportunity to convey initial instructions along with a greeting. “Good morning! Be ready to tune today

when the bell rings.” “How are you today? We are starting with a short video today. Unpack and stay in your seat.” During rehearsals, it’s so easy to slide into negative talk. It’s our job to correct students. It’s our job to make the ensemble sound better. I am a product of oldschool teaching, and I remember several of my teachers approached correcting a student from a negative slant, or, worse yet, through shaming a student for their mistakes. On many occasions, my dad recalled sitting in the waiting room outside the studio of one private teacher and hearing my teacher shout, “No! No!” Is it any surprise that I have tearstains on my violin from those early days? A later private teacher would say things like, “My dear, you are going to play this so beautifully!” This comment was usually made several lessons after beginning a new piece. Is it any surprise that I did everything in my power to live up to her prediction? As my own teaching has evolved, one habit I’ve been working to develop is finding and calling out a student who is quietly doing what’s been asked or taught. Saying things like, “Way to go, Lisa, for playing that at the frog!” or, “I can tell how softly Eric is playing by how he’s using his bow.” Comments like this are often all it takes to get an entire section conforming

300+ Clinics 100+ Performances 500+ Exhibitors TMEA.ORG/CONVENTION 32 Southwestern Musician | September 2016

to the correct articulation or interpretation. To this day, every time I use this approach, it surprises me how readily the students conform to what I want them to do! And, being that old-school student, I’ll admit that now as a teacher I must mindfully work to do this in class. It is becoming more natural, but it still is a conscious decision. It is so easy to slip into a pessimistic mood and mindset. Our jobs are by nature difficult, and as much as we love our students and what we do, we all have had and will have days when it’s difficult to smile. Find and utilize the strategies that work for you in helping get through the rough days. Recognize those days for what they are, get a good night’s sleep, and try to start tomorrow with a smile. Honor Orchestras Congratulations to the finalists of the MS/JH String, MS/JH Full, and HS Full Honor Orchestras. Selecting these outstanding ensembles was difficult because there were so many excellent orchestras entered in the contests. Each one of the finalists is worthy of a performance spot at our convention. See the listing of finalists and winners here, and look to a future issue of the magazine for more details on our winners who will perform at our convention in February. The finalists and winner of our HS String Honor Orchestra will be announced in our January issue. TMEA Clinic/Convention Update I hope this finds you looking forward to attending our convention and that you’ve made room on your calendar to attend for the full event, February 8–11, 2017, in San Antonio. In just a month (on October 4 at 6 A.M. CT), our convention housing for members will be available, so be sure you’re ready to make a reservation. Don’t hesitate, as many of our hotels sell out very quickly (some within hours!). If you haven’t already renewed your membership, you can register when you do that. Otherwise, you can go to www.tmea.org/ register to complete your convention registration. As you anticipate attending, listening to our Honor Orchestras, and furthering your knowledge as an orchestra teacher, learn more about our Orchestra Division Featured Clinician, Scott Laird, who will offer valuable insights into proven orchestra pedagogy.

Honor Orchestra Finalists & Winners High School Full

Rank School/ISD ....................................................................................... Directors 1 Martin HS/Arlington................................................Michael Stringer, Brad McCann, Jamie Ovalle, Samuel Branch 2 Taylor HS/Katy ....................................................... Clinton Capshaw, Mike Ary 3 Plano West SHS/Plano .............................................. Ryan Ross, James Hannah 4 Klein HS/Klein .....Creston Herron, Brian Towner, Tanya Chanphanitpornkit 5 Plano SHS/Plano .............................. Brian Coatney, Jason Lewis, Tara Cesario 6 Clements HS/Fort Bend............Ginger Wolfe, Daniel Galloway, Neal Springer Rank 1 2 3

Middle School/Junior High Full

4 5 6

School/ISD......................................................................................... Directors Hill Country MS/Eanes ........................................Rachel Horvitz, Cheryl Floyd Curtis MS/Allen .......................................................Amanda Su, Monika Bartley Otto MS/Plano........................................................Anu Daniel, Briana Reitenga, Abby Villarreal, Matthew Edwards Ereckson MS/Allen .................... Joanna DeVoto, DJ Vaccarezza, Hannah Hong Rice MS/Plano .............................................................Barbara Fox, Jason Tucker Doerre IS/Klein............................................................ Rowina Torres, Matt Fehl

Rank 1 2 3 4 5 6 7

School/ISD......................................................................................... Directors Kealing MS/Austin .............................................................................David Jarrott Rice MS/Plano .................................................................................... Barbara Fox Ereckson MS/Allen ..............................................Joanna DeVoto, Hannah Hong Sartartia MS/Fort Bend .........................................................................Ann Victor Doerre IS/Klein.................................................... Rowina Torres, Anna Clement Otto MS/Plano.........................................................Anu Daniel, Briana Reitenga Robinson MS/Plano...................................................................Mary Havenstrite

Middle School/Junior High String

The High School String Honor Orchestra finalists and winners will be included in the January issue.

Scott Laird Featured Clinician Scott Laird, a native of Indiana, Pennsylvania, is on the faculty of the North Carolina School of Science and Mathematics, where he is Fine Arts Coordinator and Instructor of Music. He earned his BS in music education and his MA in violin performance from Indiana University of Pennsylvania. He has been an active string educator, clinician, and conductor for over 30 years, and his orchestras have been recognized for their superior and musically mature performances. Laird is in demand as a guest conductor, has conducted many honors orchestras throughout the United States, and has presented at numerous regional, state, and national conferences, including Indiana All-State Orchestras and at Interlochen Summer

Arts Camp. Laird was the recipient of the North Carolina Symphony’s 2016 Maxine Swalin Award for Outstanding Music Educator and the 2015 NCSSM Excellence in Teaching Award. He earned his National Board Certification in 2004 and recertified in 2013. He has served as President of the North Carolina chapter of the American String Teachers Association and chair of the NCMEA Orchestra Section. He has chaired ASTA’s National Committee on School Orchestras and Strings and was co-chair of ASTA’s 2013 National Solo Competition. He was a founding member of the Board of Directors for Kidznotes, an El Sistema USA program in Durham, N.C. Laird is an active performer on acoustic and electric violins and is known for his ability to lead and perform in both the classical and improvisatory arenas. Southwestern Musician | September 2016 33

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Vocal Modeling for the Opposite Gender by Cynthia a Dougllas s

ne aspect of vocal performances that any audience member can easily assess—regardless of their music education background—is tone. With that, and because it is on the UIL Concert and Sightreading rubric, tone is one of those things choir directors often talk about. We know the tone we want from our students, and we usually know how to make it ourselves. Yet it often is so difficult to effectively explain it to our students. How do we describe a desired timbre, a vibrant tone, an interior physical sensation that requires the most minute adjustment? Often the best way to teach proper vocal technique is not to describe it, but to show it. If a picture is worth a thousand words, then vocal modeling during a choral rehearsal is worth a million. Vocal Modeling in the Choral Classroom Vocal sounds or noises are often the best model and are usually faster and more effective to deliver than the director singing in their finished, mature tone. Use normal, recognizable sounds, or even silly sounds that students will be able to quickly mimic and that require the same physical set as beautiful, healthy singing. Some examples: • Speaking through a singing set. Relax your lips and jaw, flatten and groove your tongue, making certain it is relaxed and forward, touching your teeth. Open your throat for a neutral laryngeal position, and then speak. It sounds

somewhat “yawny” and inarticulate, or “mush mouth.” However, this is not about how it sounds, but about how it feels. Try giving an entire set of instructions in this voice and watch your students begin to empathize with your relaxed jaw and open throat while they listen. You can actually see them relaxing their lips and jaws while you model! I tell my students, “This is me speaking in my singing voice. It sounds funny, right? So does singing in your speaking voice!” • Use silly character voices from television, movies, and video games. Princesses, heroes, and even animal sidekicks can be good examples of vocal sounds you either want or don’t want. Most of us have used Mighty Mouse as an example of tongue tension. I like to use Janice, Chandler’s annoying girlfriend on Friends, as an example of extreme forward resonance for belt technique. • For modeling the correct space in a [u] vowel, with the right balance of forward and pharyngeal space, try the sound of an owl, or a ghost. • Any kind of noise, really, can work. For example, I like to use the sound of electronic beeping to model the relaxed forwardness of [i]. By using these techniques, you are modeling what the student should feel, not how the student should sound. When you make sounds that are not completely sung sounds, you avoid the students’ preconceived notions about what singing should feel like, Southwestern Musician | September 2016 35

the students more readily empathize with your vocal set, and they are better able to change their own vocal set. Modeling is fast and very effective. When we model a sound for our students, we are showing them pages of vocal pedagogy in an instant. This can, however, pose a challenge when our students are the opposite gender of their teacher. Males and females approach some aspects of singing differently, in particular in the area of resonance. The sensations we feel are different, and the sound we produce is different in timbre. Guiding Male and Female Voices Female choir directors might find that their young male singers have a sound that is too dark or “woofy,” because they naturally model their sound after their female teacher. Male directors might find that their young female singers have a sound that is too bright and “edgy,” because they naturally model their sound after their male teacher. The basics of proper support, vibration and onset, and articulation are all the same for both genders, and can be taught using the same teaching strategies.

However, because of the different pitch ranges that we sing, and the differences in our bodies, teaching proper resonance to opposite gender students is not always the same. The basics of resonance for male and female are in some ways the same, but are also subtly and essentially different. Basics that are the same: • Relaxed to slightly lowered laryngeal position. • Flat, grooved, relaxed tongue, with the tip of the tongue resting behind the bottom teeth. • Relaxed and dropped jaw. Basics that are required for each, but are slightly refined and specific to gender: • Pharyngeal space (lifted soft palate) is necessary in both. However, females place their sound more directly toward this space as they move through their middle and upper range, resulting in a warm tone that is easy to unify across the section and minimizes edginess. Males place their sound more forward, even encouraging “edginess” (or “bite”) to brighten a naturally dark sound.

Vocal Modeling for Males Female teachers modeling for male students should emphasize forwardness, especially in the lower and middle to upper-middle ranges. It is not ideal for a female to model for changed-voice males in her chest voice, at pitch with the men. A female singing in her chest voice feels like she is singing low. She may even put tension in her modeling in order to make her own voice sound manlier. There is no need for the director to try to sound exactly like her male students should sound. Remember, we want to model how the sound feels. Don’t be afraid to use words like “edgy” or “snarly.” Some other tricks include: • Show your teeth. • Bright eyes, lifted apples of cheeks, “Disney kid face.” • Shout “Hey!” • A princely “Aha!” • Humming—universal for bringing tone more forward. Vocal Modeling for Females Male teachers modeling for female

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36 Southwestern Musician | September 2016

students should emphasize warmth and roundness of tone, especially in the middle and upper-middle ranges. It is not ideal for a male to model for females in his falsetto. Falsetto is unique to the male voice and feels nothing like any sound that females are capable of producing. Females’ middle ranges are more calllike, employing more pharyngeal space to create warmth, increasingly so as pitch raises. As girls approach their upper break, less and less mouth or chest resonance is employed. This is a big difference from the guys. While a guy’s high D should be quite forward, and have “edge,” this isn’t a good word to describe a female’s desired high D. These are some of the strategies employed by my colleague and friend Nicholas Likos when he models for his female students: • Speak in an over-covered set. • Emphasize lifted soft palate. • Emphasize relaxed set (mush mouth). • For high register: over-covered modeling in a lower octave. • Hand motions such as a cupped “softball hand,” with one’s wrist next to or above one’s head. The Daily Warm-up: The Daily Voice Lesson The daily warm-up is the perfect time to give fundamental instruction on proper vocal technique and to assess and refine the ensemble’s tone. For vocal instruction, warm-ups should be: • Simple, so that the students can truly focus on the objective and can actively listen and assess.

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Vocal modeling in rehearsal does take some guts. However, your students are more likely to be brave enough to take a risk and make a change if they see that you, too, are unafraid to use your voice. • Repetitive, so that the student can work on their form, in much the same way golfers or tennis players do. • Easily altered with very simple vowel or interval modifications to fight “autopilot.” • Based on primary vowels, incorporating voiced or unvoiced consonants depending on objective. • A mix of legato, marcato, and staccato articulations, and a mix of ascending and descending patterns. • Designed to provide the singer an opportunity to practice a variety of vowels in a variety of vocal registers, negotiating breaks smoothly. • Girls and guys together in a mixed ensemble, all with the same instruction from the same director. It is important that they learn to balance timbres in unison singing. If the girls need gender-specific tone instruction, the director can simply tell the guys not to listen, and vice versa. • Fast-paced, with the vocal instruction occurring in quick spurts and noises as the exercise continues. Most of the instruction is through modeling only, without any spoken instruction at all. • In short, nothing special or particularly cute. There is no magic warmup that makes singers sound better. Any warm-up is far more effective when coupled with a clear objective and careful assessment of the resulting ensemble sound. Good warm-ups are routine, but they are definitely not rote. A Few Words About Vowels Vowels carry the tone; therefore, beautiful vowels are beautiful tone. Communicating a desired tone to the opposite gender can be easier when one is

very specific about vowels, using all of the IPA symbols available to us. Using more closed vowels can bring the tone forward. For more warmth in upper ranges, vowel modification is a big part of creating proper resonant space for both guys and girls. As pitch raises, vowels can be modified by being formed more in the pharynx than the mouth, and tend to modify to a more open version, more uh-like. A good way to put the concept into words for your students: “Shape uh, think ah,” or, “Put a little uh in that vowel.” Scales Every Day! Scale singing engages actuation, vibration, articulation, and resonance on a variety of vowels, employing a variety of consonants, and on a pitch set that guarantees a register shift for every singer—plus, it includes sightreading vocabulary. What’s not to love? Singing scales well is a skill not to be underestimated. Vocal modeling in rehearsal does take some guts. However, your students are more likely to be brave enough to take a risk and make a change if they see that you, too, are unafraid to use your voice. We should all be like brass players and percussionists. They will make any sound on their instrument, any time, and in front of anyone! Be brave. Imagine what the sound you want from your students must feel like. Try to make yourself feel it. Show them what it looks like and feels like, in any way you can except by singing, and your students will find success in manipulating their instruments in much the same way. Cynthia Douglas is the head choral director at Cypress Ranch HS in CypressFairbanks ISD. This article is based on a presentation with signiÀcant contributions by Nicholas Likos, head choral director at Cy-Fair HS. Southwestern Musician | September 2016 37

Announcing the 2017 TMEA President’s Concert Featuring:

Wednesday, February 8 at 8 p.m. • Lila Cockrell Theater • $10 tickets Purchase your tickets online through TMEA convention registration. In constant development since its formation in 1984, The Real Group is one of the leading forces in the world of vocal music today. This professional a cappella ensemble’s combination of perfection, personal touch, and wide repertoire have made it possible for them to collaborate with symphony orchestras, jazz groups, pop bands, and international artists. The Real Group also focuses on education, and through workshops and coaching, aims to inspire singers and teachers around the world. Listen to The Real Group at www.therealgroup.se in the gallery. 38 Southwestern Musician | September 2016

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In a season of change

September—Renew your TMEA membership online and preregister for the convention. October 4, 6 am CT—TMEA convention online housing reservation system opens. November 15—TMEA scholarship online application deadline. December 31—TMEA mail/fax convention preregistration deadline. January 7—Area Band and Vocal auditions. January 19—TMEA online early registration deadline. February 8–11—TMEA Clinic/Convention in San Antonio.

y now, you are likely into your fall semester, having already worked so hard to establish your processes to ensure the best-quality learning experience for your students. So, I challenge you to ask yourself some questions: How is it going so far? Are there things you already want to change? Are there new ideas you want to implement? One of the greatest opportunities we have as teachers and conductors is to continually reinvent ourselves and make adjustments. This constant cycle of growth helps us remain true to the process of learning. When we regularly assess, both formally and informally, we can use the data not just to be an assessment of learning, but also for learning. Good teachers have high standards. Great teachers help students learn how to achieve those high standards. And as we reinvent ourselves in our roles as music educators, we also find ourselves in a season of change as TMEA Vocal Division members. Any time we face change, we often return to the basic questions of who, what, when, where, why, and how. As we move into the fall semester, I would like to take time to offer answers to some of these questions as members of the Vocal Division begin navigating some changes. Small School Mixed Choir Audition Changes After its first year of existence, a steering committee of small school TMEA members examined the Small School Mixed Choir audition process and recommended changes to the pilot program. This past spring, the TMEA Executive Board charged me with forming another steering committee to

Good teachers have high standards. Great teachers help students learn how to achieve those high standards. Southwestern Musician | September 2016 41

further refine this valuable experience. From our in-depth discussions, two main changes were recommended: • Students in the Small School Mixed Choir audition process should have an additional round of auditions to prepare them for Area, and • The alternate policy needed revision. Based on these recommendations, each Region will now need to provide Small School Choir students with a three-round audition process that mirrors that of the Large School Choir. Specifically, Round 1 can be an initial selection round. Round 2 can serve as a pre-Area round, in which the Area candidates are selected and have the opportunity to sightread in the same format as the Area round. Round 3 is the Area round. At Small School Choir Area auditions, no alternates will be used. Instead, the top four candidates in each voice part (for example Soprano 1 and Soprano 2) are combined to eight singers on one part (Soprano). This change allows students to know earlier whether they will be auditioning at Area. Your Region Chairs were trained on this information at their July TMEA Region training session in San Antonio. If you have questions about these changes, please contact your Region chair or me. All-State Audition Changes This June, based on numerous requests over the past several years from TMEA members, the TMEA Executive Board voted to remove gender designations from voice parts. As I reported in my column last month, the Board has renamed the previous Women’s and Men’s Choirs to the All-State Treble Choir and All-State Tenor-Bass Choir to reflect the voice parts included in each. Students should be entered on the voice part that most accurately reflects the student’s vocal range. We need to make every effort to protect the physical and mental health and safety of all students when we sponsor students in the All-State process. We must also ensure that we consider the long-term vocal heath and sustainability of choosing an audition part for every student, with careful consideration of the student’s vocal range and timbre as it relates to the audition literature. For the 2016–2017 audition process, the ranges of the audition literature are included on the TMEA vocal audition materials webpage.

Additionally, of primary importance in this process is remembering that the TMEA Code of Ethics affirms that, as educators, we shall not grant any advantage, deny benefits, or unfairly exclude any student from participation in any program on the basis of race, color, creed, gender, disability, national origin, marital status, political or religious beliefs, family, social, or cultural background, or sexual orientation. It is the Board’s hope that this change will give more opportunities for students and teachers to have dialogue about the vocal development that occurs during an

audition process, and that vocal health is a primary consideration, as well as the best path to ensure vocal health and long-term well-being. You can read the complete and updated version of the audition policies from the online audition entry page. Realignment With our realignment and apportionment process in place, I’m sure some members still have questions about these changes. Please know that the Executive Board is committed to examining each as ongoing processes. Your feedback and insight over the next few years will be

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invaluable as we continue to move TMEA forward to better address the needs of our students and teachers. It is my sincere hope that with these and other changes and adjustments that continually make up our “new normal,” we never lose sight of why we do what we do. During the TCDA convention, a colleague said that with racial unrest, economic uncertainty, and the political climate in our world today, he was just ready to start school so that he could go into his room, close the door, and start teaching. I encourage you to take some time and reflect on why you chose to pursue this career. I know that for me it was because of people who encouraged me and believed in me. They taught me so much that I never knew about myself. They encouraged me when I did not even believe in myself. I encourage you to consider the amazing opportunity that you have to do the same for a student. Some days are harder than others, as are some classes, choirs, and people. We can’t all change the world, but we can all have a positive impact on lives of the young musicians with whom we interact. Each day we have the opportunity to teach

44 Southwestern Musician | September 2016

a generation of students what it means to be cooperative, vulnerable, and more human. By the nature of what we do, we show young people why it is so critical to listen deeply to one another, as well as let their own voice contribute to the greater good. We have the amazing gift to do this through the medium of music. TMEA Clinic/Convention Update It’s not too early to make plans and preregister for the event! Preregister when you renew your membership or after by going to www.tmea.org/register. Our convention offers hundreds of hours of professional development opportunities by renowned clinicians from Texas and beyond. This month, I’m pleased to introduce our Vocal Division Featured Clinician. Be sure you take time to attend her incredible sessions! Andrea Ramsey Featured Clinician Conductor, teacher, and composer Andrea Ramsey serves as the associate director of choral studies and assistant professor of

conducting at the University of Colorado Boulder. She conducts the University Choir and Men’s Chorus and teaches undergraduate and graduate conducting. Prior to her appointment at CU, she held an appointment in choral music education at the Ohio State University. With a doctorate from Michigan State University, Ramsey studied conducting with David Rayl, Sandra Snow, and Jonathan Reed. Prior to university teaching, she enjoyed considerable public school and children’s choir teaching experience. An ASCAPlus award-winning composer, Ramsey has over 70 published choral works in print. In demand for regular commissioned works, she also enjoys guest residencies with choirs and continues to serve as composer-in-residence to the Allegro Choirs of Kansas City where she has toured with the choirs to Austria, Czechia, and Italy. Ramsey is honored to guest-conduct all-state and honor choruses and to present sessions of interest to conductors and music educators in the United States and Canada.

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Share the Message: Music Is Essential for Ever y Student Share the video on social media and on your website Advertise the video in your concert programs Play the video before a concert or parent meeting Meet with your administrators and show it to them Find even more at tmea.org/advocacymaterials

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Our Kids Can by Meredith Riggs and Loren Tarnow ave you ever heard a teacher say, “That’s great, but my kids can’t do that”? Since we’ve heard it multiple times in varying scenarios, we presume you’ve probably heard it too. Perhaps you’ve even said it. To anyone who has considered it to be true, we’d like to explain why we are fully confident that this phrase should simply never be spoken, regardless of where or who you teach. We teach in low-socioeconomic schools on the east side of Austin and we know our kids can. The majority of our students are Hispanic bilingual; we have a large African-American population and an ever increasing refugee population from Congo, Burma, Thailand, Tibet, Iraq, and Nigeria, just to name a few. We even have some students whose languages have still not been identified, and our kids can. We teach many transient students, students who live in Section 8 housing, and homeless students, and our kids can. Our parents work multiple jobs and go to school to support their families, so we don’t enjoy the benefit of a significant parental presence on our campuses, but we still know our parents care. Regardless of their situation, their home lives, their community, we owe it to our students to hold them accountable to the same standards as students at any other school in any other neighborhood. They need some extra love, and we can give it. Giving that extra love and maintaining accountability to high standards, we continue to experience that our kids can. This does, however,

48 Southwestern Musician | September 2016

require more than this simple belief. The following are some of our strategies that have proven essential to achieving what we believe is possible. Creating a Safe Space The first thing we have to accept when we walk into our schools every day is that we don’t know what our students are going through, and we have to love each one of them without judgment every day. There have been multiple longitudinal studies that show children who live in poverty have higher levels of stress, which increases negative behaviors. Cognitive scientists have reported that when the mind is in a constant state of anxiety or stress, higher-level thinking is not accessible by the brain. This has a huge impact on our students’ development. Before students can learn and embrace creativity, we have to help them feel safe and give them strategies for acknowledging their emotions. Getting students into an emotional place where they can learn is crucial for success in the urban and rural music rooms. Across the state, districts utilize a variety of methods to foster this supportive environment: CHAMPS, Leader in Me, Social Emotional Learning, and Mindfulness. Mindfulness is an approach we highly recommend exploring if you teach students with persistent anger or frustration issues (for more details go to www.mindfulschools.org).

Our kids are successful because we plan well, have high expectations for them, build relationships with them, and create an excitement about the repertoire. It’s daunting, but knowing every student’s name is important. Greeting everyone by name when you see them in the hallway or as they enter your space lets them know you care. Taking a brief moment at the end of class to ask students questions about their lives is another a way to show you value them. Don’t be afraid to tell students that you love them, because some of them may not hear it every day. Another way we keep a positive classroom environment is that we do not have rules. Instead, we promote the Five Tenets of Musicianship: Being musicians means that we are performers, we are critical thinkers and problem solvers, we are stewards of our cultural and musical heritage, we are listeners, and we are creative human beings. When redirecting students, we refer to these guidelines

and remind students what being a musician should look like. We recorded a video demonstrating the five tenets and we show it at the beginning of the year and any time we need to regroup. This has been effective because students can clearly see positive goals to achieve rather than a list of things to not do. Repertoire Choices One of the common misconceptions about African-American and Hispanic children is that they sing too low. In their everyday lives they might sing lower than other children, but they are physically able to sing in their head voices as well. We have found that pitching everything even higher than you typically would makes it easier for students to match pitch and cre-

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50 Southwestern Musician | September 2016

ates better tone. Try moving everything up a step or two. We generally sing in the A3–D4 range. We also spend time making them conscious about different styles of singing. One would not generally use an operatic voice to sing a blues song, or a jazz voice to sing a cowboy song. We take time to experience folk songs in the styles in which they were intended to be sung. When teaching new repertoire to our students it is important to sell it. In our efforts to get them excited about a song, we sometimes choose songs because they are weird and interesting. We overact songs with younger students and give detailed backstories to older students to communicate the text and build a deep appreciation for the song. We choose songs and games from a wide variety of cultures, not ever focusing on one culture, but teaching a general openness to all cultures. When we can, we’ll play archival recordings or songs that have sampled/quoted our repertoire to give students a better reference. Imagine street-savvy fifth graders singing Spanish lullabies and rocking stuffed animals, dancing to silly sea shanties in 6/8, and begging to play African-American tag games—all of this inside a tiny portable.

The tag games are hilariously chaotic at times, but our students will do anything we ask of them because of those games and the connections we’ve made to their lives. Sequence and Consistency We find it extremely important to give students transition time from being in a regular classroom setting to the music classroom. Our students learn in very rigorous, high-stakes environments all day. Recess time progressively gets shortened. Breakfast and lunch are usually high in sugar and starches, and sometimes sleep is not the priority at home. These factors combined create a perfect storm of wiggly, hyper bodies. For this reason, every lesson begins with movement. This helps students release energy and transition into the lesson, preventing classroom behavior issues from spilling over into our precious time. Sprinkling games and movement throughout the lesson incentivizes hard work and focus toward the tougher tasks. The pace of our lessons is very quick, and we try to give the majority of our directions through nonverbal cues. Using nonverbal signals prevents opportunities for minds and bodies to wander and helps the English Language Learners (ELLs) know exactly what to do. For example, with hands facing the ceiling, raise both arms to signal standing and the opposite for sitting. A lasso motion signals students to make a circle. These can be done while students are singing so you don’t interrupt the music. (The larger the movement, the better the results.) Each lesson has the same structure so students are familiar with the general agenda, allowing our students to feel more comfortable and confident. After movement, we sing familiar songs to set up students for success before challenging them. We sing these songs on neutral syllables (loo, moo, koo, nyah, noh) to warm up the voice and teach proper technique. This also removes the language barriers and aids in language development. For curriculum, any method will work as long as you present it thoughtfully and consistently. We were initially drawn to the Kodály method because it requires zero resources, and like most first-year teachers in urban schools, that’s exactly what we experienced. We use Kodály Today and the Kodály in the Classroom handbook series by Houlahan and Tacka for our lesson

Using all of these strategies has helped our students feel a sense of accomplishment, and this motivates them to learn more. planning because of the rigor, balance of focus and movement, and musicianship required of the students. Our basic lesson structure is: movement; vocal warm-up; review; new repertoire introduction; kinesthetic, aural, or visual awareness; game or movement activity; and then reading, writing, or improvisation using the previous concept. We close with a listening activity (connected directly to the reading, writing, improvisation concept, or the new song), finally reviewing the new song. We appreciate the separation of each of the preparation stages. The kinesthetic stage purely shows the focus pattern with the body, helping the learner internalize in a deep way the rhythm or melodic contour of the song. The aural stage is wonderful for differentiation and helping ELLs. There is no visual aid, so students rely on their aural memory and audiation. The questions about the music follow a prescribed sequential order, and students who have experienced previous concepts

are able to anticipate the next steps. In the visual stage, students are creating a representation of what they hear in their own way, allowing for creativity and self-expression. Using all of these strategies has helped our students feel a sense of accomplishment, and this motivates them to learn more. When you work in a school setting like ours, things are not always easy. We take personal days. We do yoga to keep our sanity. We read books and articles and listen to podcasts for help and inspiration. Our kids are successful because we plan well, have high expectations for them, build relationships with them, and create an excitement about the repertoire. And because we have experienced directly that our kids can, we know your kids can too! Meredith Riggs is a Music Specialist at Hart Elementary and Loren Tarnow is a Music Specialist at Graham Elementary, both in Austin ISD.

Suggested Resources We have found the following resources to be particularly helpful in our work as music educators, and especially as music educators in an urban setting: www.mindfulschools.org Hold Fast to Dreams by Denise Bacon For White Folks Who Teach in the Hood...and the Rest of Y’all Too by Christopher Emdin Teaching with Love & Logic by Jim Fay and David Funk Urban Music Education by Kate Fitzpatrick-Harnish The Wonder of Boys by Michael Gurian Winding It Back: Teaching to Individual Differences in Music Classroom and Ensemble Settings by Hammel, Hickox, and Hourigan Kodály Today and Kodály in the Classroom by Houlahan and Tacka The Newcomer Student by Louise H. Kreutzer Hidden Brain, podcast The Whole Child, podcast TED Radio Hour, podcast (search for installments on education) TED Talks Education, podcast (search for installments on education) Southwestern Musician | September 2016 51

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ELEMENTARY NOTES

S A L Z M A N

Planning for instruction in T-TESS

n this second installment of my “Stress Less T-TESS” focus, I am offering suggestions for the second domain, Instruction. According to the Texas Education Agency, the most important aspect of this domain is the teacher’s ability to model new information and communicate expectations. The five dimensions are: Achieving Expectations, Content Knowledge and Expertise, Communication, Differentiation, and Monitor and Adjust. In achieving expectations, it is imperative that you break down your lesson into steps. Provide students with a picture (may be figurative) of what the final product will look like. Even if the lesson is a multi-day project, plan so that at the end of the lesson, there is attainable evidence of mastery of the steps. Ask open-ended questions to aid students in reaching the goals. If you are teaching in a STEM/STEAM environment, the content knowledge and expertise will be the focus of your program. In this dimension, you not only demonstrate your knowledge of the subject but also its relationship to other subjects and real-world experiences. Thinking is the key idea here. You are modeling and teaching the students how to think about the subject analytically, practically, creatively, and through research. Communication is vital for success in teaching. Begin with your objectives clearly posted somewhere in your room, whether in print or projected on a screen. Embrace failures in your classroom and welcome opportunities to question and adjust when mistakes are made. This leads to a student-centered classroom where the teacher communicates clear expectations and the

The most important aspect of the Instruction domain is the teacher’s ability to model new information and communicate expectations. Southwestern Musician | September 2016 53

students are on a path of discovery. To aid in the discovery process, provide labels, guidelines, analogies, and illustrations. In addition to the traditional options for differentiation of instruction (auditory, visual, kinesthetic) in a student-centered classroom, there should be options for the final product to show their understanding, such as the choice to create a song, PowerPoint, or video. If the students are working on an original composition, allow them to choose the medium. If they are presenting information based on research of a composer, let them decide how to present it. Monitor progress to address the learning, social, and emotional needs of your students as they work and make sure everyone is involved. As you progress through your lesson, monitor and adjust with the use of questioning and feedback. The T-TESS appraiser handbook lists five components of quality feedback: • Feedback relates to the lesson objective or sub-objective. • Feedback causes students to think. • Feedback is specific. • Feedback is timely. • Feedback is varied to meet the unique needs of the students and classroom. TMEA Clinic/Convention Update Make plans early to attend and get the most out of the TMEA Clinic/Convention in San Antonio at the Henry B. Gonzalez Convention Center, February 8–11, 2017. If you have not already done so, renew your membership and register to attend at www.tmea.org/renew. The online housing system opens October 4 at 6 A .M. CT. With over 14,500 TMEA members expected to attend this year, our discounted hotels for members will fill quickly (some within hours!). Bring a friend to TMEA and earn bling for your badge! This year, each Elementary Division member who brings a friend who hasn’t attended a TMEA convention in over five years (and is not a new teacher) will receive a “recruiter” ribbon to attach to their badge in the Elementary Division office at the convention. As you look forward to the convention, learn more about our nationally recognized Elementary Division Featured Clinicians, who are bringing their exper54 Southwestern Musician | September 2016

tise to San Antonio in 12 clinics targeted to your pedagogical development as elementary music educators. Patrick Ware Featured Clinician Patrick Ware is an active Orff-Schulwerk clinician and choral conductor at the local, state, and national levels. A 19-year veteran teacher, he holds a BA in music from Westfield State University, an MSEd from Radford University and a DMA from the Shenandoah Conservatory of Shenandoah University. Ware is a national board-certified teacher in music/elementary and middle childhood. He completed his Level III Orff-Schulwerk certification and movement apprenticeship at George Mason University and is subsequently completing his basic pedagogy apprenticeship at University of Nevada Las Vegas. He teaches movement and recorder for the Central Florida University Orff Certification Program and basic pedagogy for the Virginia Commonwealth University/Collegiate School Orff Certification Program. He is a former President of the Virginia Elementary Music Educators Association. Ware has several compositions in print through Beatin’ Path Publications, including works for treble choir and works for Orff Ensemble. Ware teaches K–5 general music and chorus in Prince William County Virginia. Special focuses in his classroom and courses include jazz in the elementary setting and the use of children’s literature. Micheál Houlahan Featured Clinician Micheál Houlahan is a professor of music theory and aural skills and chair of the department of music at Millersville University of Pennsylvania. After graduating from St. Patrick’s College, National University of Ireland, he was awarded an Irish Arts Council Scholarship for graduate studies in Hungary and a Fulbright Scholarship for doctoral studies at the Catholic University of America in the United States. Additionally, his research has been

supported by an International Research Exchange Grant awarded through the National Endowment of the Humanities. He holds a PhD in music theory with a minor in Kodály studies from the Catholic University of America, a Kodály diploma from the Franz Liszt Academy of Music/ Zoltán Kodály Pedagogical Institute of Music in Hungary and the Kodály Center of America, and fellowships in piano performance from Trinity College and London College of Music, London. Along with his administrative and editorial board responsibilities, he has lectured extensively on music theory and Kodály studies in Ireland, Italy, Denmark, Finland, Hungary, Estonia, the Netherlands, and England. In March 2016 he, along with Philip Tacka, was awarded the Organization of American Kodály Educators (OAKE) Lifetime Achievement Award. Philip Tacka Featured Clinician Philip Tacka received his doctorate from the Catholic University of America and completed postdoctoral work at the Kodály Pedagogical Institute of the Franz Liszt Academy in Hungary. He is a professor of music at Millersville University of Pennsylvania. His research interests center on all the aspects of music education, though he has a particular emphasis on music perception and cognition. He has served on editorial boards and is currently a grant evaluator on the American Fellowship Panel for the American Association of University Women. Prior to his current position, he taught music in the department of art, music, and theatre at Georgetown University and worked with the Georgetown University Medical School’s Institute for Cognitive and Computational Science in the neuropsychology of music perception. He regularly presents papers and workshops nationally and internationally on aspects of music education, music perception and cognition, and Kodály studies. In March 2016 he, along with Micheál Houlahan, was awarded the Organization of American Kodály Educators (OAKE) Lifetime Achievement Award.

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COLLEGE NOTES

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Learning the Àne art of rejection

ne of the best pieces of advice I received as a new collegiate teacher was to be mindful of the demands on my time. I was told not only that I needed to carve out time to do the teaching, research, and service that were required of my job, but also that I needed to prioritize these activities based on my professional, personal, and spiritual goals. That’s easier said than done. If, like me, you are sometimes conflicted about whether to accept a new project or assignment, it might help if you follow the advice I received from one of my collegiate mentors: • You don’t need to answer right away. When I am asked in person to help with some project or event, I will tell that person that I’d love to help if I am able, but to please send me more information about the project in an email. I really do want to check my calendar to see if I am able to help, but I also want to see if this activity is something I need to accept without the pressure of answering this person right away. It is also sometimes easier to craft a nice email declining their invitation to help rather than trying to come up with a polite rejection of their offer on the spot. • Compare the request to your list of priorities. Making a list of important professional, personal, and spiritual goals can help guide your decisionmaking. Whenever I get a request for my service, I often will look at this list to see if an activity helps me move toward one of those goals or if it

By using a carefully considered list of goals as a benchmark in making these decisions, we can ensure we thoughtfully evaluate requests and commit ourselves when we can truly make a meaningful contribution. 56 Southwestern Musician | September 2016

September—Renew your TMEA membership online and preregister for the convention. September 1—Online submission of poster session proposals available. October 4, 6 a.m. CT—TMEA convention online housing system opens for members. October 7—College Division Fall Conference in Austin. October 15—Poster session proposal deadline. November 1—Deadline to nominate students for the new Texas Collegiate Music Educator award. November 15—TMEA scholarship online application deadline. December 31—TMEA mail/fax convention preregistration deadline. January 19—TMEA online early registration deadline. February 8–11—TMEA Clinic/Convention in San Antonio.

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takes time away from other priorities. • Leave the door open. When I tell a colleague that I can’t help them with a project, I always thank them for thinking of me, and I often ask them to please keep me in mind for future opportunities. This often helps soften the sting of rejection. It’s difficult to say no to a project because we may empathize with the person asking us to help, or we may feel pressured to complete an activity based on our job requirements. By using a carefully considered list of goals as a benchmark in making these decisions, we can ensure we thoughtfully evaluate requests and commit ourselves when we can truly make a meaningful contribution. College Division Fall Conference In just a little over a month, you have the opportunity to join with your colleagues from around the state at our annual TMEA College Division Fall Conference on Friday, October 7, at the TMEA headquarters in Austin. Thanks to the work of my predecessors, this event has grown into a highly productive, action-oriented work session that has

been fruitful in addressing the needs and concerns of our division. This year TMEA President Dinah Menger will share insights from the TMEA Summer Dialogue on Urban Music Education held this past June. We will also get a preview of the upcoming state legislative session and reports on the latest news from the Higher Education Coordinating Board, the Texas Board for Educator Certification, and the Texas Education Agency. We will have several short breakout sessions to share ideas and issues important to you and your colleagues. This is a great way to network with colleagues from public, private, two-year, four-year, large, and small institutions as we work through the issues and challenges of our profession. Lunch is provided, and we ask that you share your intent to attend by sending an email to si.millican@utsa.edu. TMEA Clinic/Convention Update As you read this, our Executive Board is working to finalize the planning of events for the 2017 TMEA Clinic/Convention. If you haven’t already, be sure to register online at www.tmea.org when you renew

your membership. If you already renewed, return to register now. Convention housing for members opens the morning of October 4 at 6 A.M. CT. Get prepared to make your reservation so you have a better chance of staying in the hotel of your choice! As the convention schedule becomes public, I hope you will make a special point of encouraging your students and colleagues to attend the sessions presented by our two College Division featured clinicians. Colleen Conway Featured Clinician Colleen Conway is Professor of Music Education at the University of Michigan. She taught elementary general and instrumental music in upstate New York before beginning a career in higher education. She holds degrees from the Eastman School of Music and Columbia University and has written extensively on preservice and in-service music teacher education. Conway has published over 80 research articles in music education. Book publications include: Great Beginning for Music

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think. perform. explore. 58 Southwestern Musician | September 2016

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

Elizabeth Lee Asst. Professor, Cello Patricia Lee Asst. Professor, Piano Wei Chen Lin Asst. Professor, Piano

Beth Bronk Director of Bands bbronk@tlu.edu

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Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Daniel Scott McDonald Instructor, Saxophone & Jazz Band

Eric Daub Director of Piano Studies edaub@tlu.edu

Carla McElhaney Asst. Professor, Collaborative Pianist

Eliza Jeffords Director of Strings ejeffords@tlu.edu

David Milburn Instructor, Double Bass

FACULTY Mark Ackerman Instructor, Oboe

Ilan Morgenstern Instructor, Low Brass Joseph Palmer Asst. Professor, Guitar

Adam Bedell Instructor, Percussion

Keith Robinson Instructor, Tuba & Music Education

Mary Ellen Cavitt Asst. Professor, Horn

Jill Rodriguez Instructor, General Music

Carol Chambers Instructor, Music Education

Robert Mark Rogers Asst. Professor, Bassoon

Ashley Cooper Instructor, Violin

Eric Siu Asst. Professor, Violin

Joseph Cooper Asst. Professor, Trumpet

Robert Warren Asst. Professor, Piano, General Music & Music History

Paula Corley Instructor, Clarinet

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Teachers: A Guide to Mentoring and Induction (Rowman & Littlefield, 2003); Handbook for the Beginning Music Teacher (GIA, 2006); Teaching Music in Higher Education (Oxford, 2009); Handbook for the Music Mentor (GIA, 2010); Handbook of Qualitative Research in American Music Education (Oxford, 2014); and Musicianship-Focused Curriculum and Assessment (GIA, 2015). Her most recent book, The Oxford Handbook on Preservice Music Teacher Education in the United States, will be available from Oxford in 2018. Conway will present best practices for helping our students and their mentors at several crucial phases of their development as novice educators, including the student-teaching semester, their first years of teaching, and navigating the micropolitics of the typical school campus. Barbara Freedman Featured Clinician Named the 2012 National TI:ME Technology Teacher of the Year, Barbara Freedman has been teaching Electronic Music & Audio Engineering at Greenwich HS in Connecticut since 2001 and is the author of the book Teaching Music Through Composition: A Curriculum Using Technology, published by Oxford University Press. She is a technology trainer, professional development leader, graduate course instructor, and consultant to schools and districts seeking to create technology labs and integrate technology into curricula. Barbara is on the music technology education advisory boards for MusicFirst, Spotify, and the International Baccalaureate Organization and is the Co-President of the Connecticut Chapter of TI:ME. She holds a bachelor of science and master of music in performance from Brooklyn College Conservatory of Music and City University of New York, and Professional Studies Diploma from the Mannes College of Music. She studied conducting at the Hartt School of Music, Westminster Choir College, and the Juilliard School. Best known as a music technology educator and trainer, Barbara’s motto, “Teach music. The technology will follow,” has become the rallying cry for music technology teachers around the world. Call for Research Poster Presentation One of the highlights for many of us 60 Southwestern Musician | September 2016

at the annual convention is the Research Poster Session. I encourage you and your colleagues to submit your original research proposals to be considered for this session. Please visit www.tmea.org/ papers to submit your abstract proposal online by October 15. Email any questions to Amy Simmons at asimmons@ austin.utexas.edu. TMEA Collegiate Music Educator Award Through this new TMEA program, Texas college faculty can recognize their elite music education graduates. Award recipients should represent the finest and most dedicated future music educators across the state. Designation as a Collegiate Music Educator award recipient should be an indication of potential quality for those looking to hire outstanding new teachers. Applications will be reviewed for completeness by the TMEA staff. One active TMEA member from each institution is responsible for the nomination and award distribution process for that institution’s qualified students. By nominating a student, the faculty member confirms the student meets the qualifications. A student may be nominated only

once, during their graduation semester. Online applications open in September at www.tmea.org/collegiateaward. Qualifications: • Current TMEA member. • Undergraduate music education major/concentration (pursuing certification in EC–12 music). • 3.5 or better overall grade point average (GPA) at the close of the previous semester. • Student has provided non-mandatory music instruction or has been significantly involved in the local music education community. Application Deadlines: Fall graduation: November 1; spring/summer graduation: March 15. Recognition: Award recipients receive a congratulatory letter, printed certificate, regalia cords, and inclusion in a listing on the TMEA website. All recognition materials will be sent in a single mailing to the designated TMEA member at the institution who will distribute them to each student. If you have any questions about this new program, email Si Millican at si.millican@utsa.edu.

Call for Papers: October 15 The Research Committee is pleased to announce the call for proposals for presentations at the TMEA Clinic/Convention Research Poster Session. The committee encourages submissions from current members in all TMEA divisions, including college students. Selected authors present their research during the annual TMEA Clinic/Convention.

Go to www.tmea.org/papers to submit online.

www.tmea.org/papers

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