UTRGV School of Music Magazine - SOUND, Issue No. 2

SOUND

LEADING THE WAY

UNSUNG

H E R O E S

Interview on pages 32-41

LINDA CHÁVEZ (UTB, BME 2014, PIANO)

GENESIS CARPIO-BLANCO (UTB 2013 BME FLUTE)

CHRISTINE MARTINEZ (UTPA 2013, BME VIOLA) ADRIANA TORREZ (UTRGV, BME 2017, VOICE)

Winds, Brass, and Percussion Studies

https://wwwutrgvedu/music/indexhtm

Leading the way: With a never-ending surplus of literature and anecdotes regarding leading and leadership, it is no wonder why the term has become a hackneyed expression In its most concise form, "leading the way" means to go first along a path in order to show someone the way As a part of our journey as educators and mentors, as friends, parents, or good neighbors, we should be doing exactly that (showing others the way) Our words should lead us to take action so that our example can serve others in purposeful and meaningful ways

How, then, are we leading the way? Our faculty are publishing, performing, and presenting in arenas with the highest standards such as Oxford University Press, National Endowment for the Arts, National Association of Teachers of Singing, Texas Music Educators Association, Percussive Arts Society, North American Saxophone Alliance, National Trumpet Competition, the Society for Ethnomusicology, National Flute Association, International Tuba Euphonium Association, and the Golden Classical Music Awards Our faculty’s academic and creative pursuits help facilitate opportunities for our students and community partners to participate and learn from their processes and experiences

Our students are engaging in state, national, and international levels of scholarship and performance and building an invaluable library of experiences that they in turn share with their communities

Our staff goes the extra mile to provide help and institutional support to our faculty, students, and community partners, by facilitating conversations and providing solutions.

This is how we are leading the way. We are a community who leads by example and whose actions serve our campus communities in the Rio Grande Valley, the South Texas region, and beyond

MARK JOSEPH RAMÍREZ, DMA ASSOCIATE DIRECTOR SCHOOL OF MUSIC PROFESSOR OF PERCUSSION

DIRECTOR'S CUT

Greeting and Salutations!

In March of 2020, we dealt with unprecedented challenges fighting COVID-19 Faced with many obstacles, we have forged ahead adapting our program offerings, educational methods, and concert series to connect with our community in new and meaningful ways Since returning to campus face-to-face in the fall 2021, the School of Music (SoM) has continued developing new degree offerings Beginning Fall 2023, we will be offering two new undergraduate degrees in Music Composition and Music Technology The development of new music majors and minors will allow us to continue offering our traditional degree tracks while providing our students opportunities to study and gain knowledge in these new areas of concentration

Additionally, we have created new minors in Music Technology for both music majors and non-majors, a minor in Popular Music for music majors, and a minor for Jazz studies, which are also available to our music majors.

In the spring of 2022, we also celebrated the UTRGV SoM Indoor Winds for becoming Winter Guard International's 2022 World Champions!

In addition to our new major and minor degree tracks, and the UTRGV SoM Indoor Winds WGI World Championship, we are also excited to present to you issue No. 2 of the UTRGV SoM's digital magazine, SOUND!!

Our digital magazine is a first of its kind for the SoM. Since release of issue No. 1 in October 2022, Our digital magazine has had 22,928 reads and 23,899 digital impressions! Our creative team has developed a magazine that will provide opportunities for our faculty, students, alumni, and staff to share and showcase their activities in teaching, research and creative works, and service to the Rio Grande Valley, the entire South Texas region, and beyond Through the pages of SOUND, you will see that the UTRGV School of Music is one of the premier music institutions in South Texas We hope you will find SOUND informative, insightful, and meaningful The SoM offers students opportunities for musical study in a professional and artistic environment that strives to promote the highest level of artistry according to each student’s unique strengths

MOVING FORWARD

When I first visited the campus and the Valley, I was struck by the endless opportunities that lie ahead for our College to connect the university with the Valley I know that there have been and continue to be challenges in UTRGV’s distributed campus model that will continue to be addressed, but the opportunity that we have because of our multiple campuses to serve the people of the Valley through the programs throughout the entire college far outweigh the challenges During my interview, I shared a vision that has been reinforced with meeting the many stakeholders of the College, both internal and external to the university Today, I would like to share a little of that vision and steps that we will be taking to implement it

At the core of this vision is the vital role that we play in providing hope for our students The reason I am in higher education is because the work that we do changes the lives of young people and their families There are few experiences that help shape a person ’ s future more than their experience in college Not only the career opportunities that result from having a college degree but also the opportunity for them to see the world from a new perspective, to experience ideas and cultures from around the world, and to work with you, the faculty, who are experts in your disciplines and have taken the responsibility to serve as a mentor to help these young people meet their goals I will be working with the College Leadership Council as well as the Fine Arts Collaboration Council to recruit faculty and external stakeholders on a number of initiatives

First, we want the College of Fine Arts to be a supportive community where all members are welcomed and free to express themselves freely. Art cannot be created where artists are fearful of taking risks So we are intentionally examining the climate of the College for our students, faculty, and staff To this end, I will be creating an Ad Hoc College of Fine Arts Diversity, Equity, Inclusion, and Belonging Committee to use the Arts to bring people together and to celebrate the distinctness of members of our community I also will create a Student Advisory Board to the Dean, which will be a direct and regular means of communication between me and students from programs across the college. These student leaders will not only share their perspective with me but will also identify areas where College administration and faculty can work with students in moving the College forward

Although I have met a number of faculty and students, I still have a lot to learn about the distinctness of the communities within the College. So, I will continue to find opportunities to visit your classes and rehearsals as well as public events We will schedule monthly College Town Halls that will rotate between the Edinburg and Brownsville campuses with a Zoom link option The purpose of these town meetings will be an opportunity to provide you with updates but also time for you to ask questions or bring up issues for discussion

Second, we will be equipping students with the skills and experiences they need to lead successful careers, achieved through connecting students to external and interdisciplinary partners Additionally, we will be exploring pathways to connect faculty with faculty across the university to foster interdisciplinary teaching and research and creative activity opportunities

To this end, we will be creating an Outreach and Arts Entrepreneurship Council made up of College of Fine Arts faculty faculty outside of fine arts and external partners This group will identify partnerships and projects that align with the mission of the College of Fine Arts and the partnering organization Some of the projects that I will ask this group to begin with is an arts entrepreneurship program in partnership with the College of Business and an Art and Health Initiative funded by the City of Edinburg and in partnership with the School of Medicine and the School of Social Work.

Dr. Jeffrey Ward

New Dean of the College of Fine Arts

Thirdly I feel strongly that higher education is the gateway to the world for our students and that we have the opportunity to help our students see how the Arts have a profoundly positive impact on society To that end, I am looking to create service learning and study abroad experiences and explore how these intersect with Arts curriculum. We will be creating a Council for Service Learning and Global Citizenship to bring fine arts faculty engaged in service learning and study abroad to create curricular and research and creative activity projects to foster global citizenship among our students

Finally, we are investing in new marketing strategies to connect our external patrons and alumni with the work of the College of Fine Arts This week we launched our new brand, UTRGV ARTS, an umbrella of all public events of the College as well as supporting and marketing arts events throughout the university Check out the website at utrgv edu/arts that serves as a onestop shop for all arts events, where patrons can purchase tickets, see the entire calendar, and see all or part of our season filtered by program Additionally, there is a connection for prospective students to learn about our academic programs and we will be building a curated archive of past performances and exhibits The Patron of the Arts program will be rebranded as an exclusive friends programs for donors to support our public performances

The work that I just described will lay the foundation for a future college strategic plan that will align the priorities of the College with the institution and articulate actions to help us achieve our collective goals. To lay this foundation I will be working with the College Leadership Council and the Dean’s Office staff in examining the structure of our college leadership roles and how we can align them with our strategic directions and provide the supports to departments

I am thrilled with the opportunity to work with all of you in helping our students, faculty, and staff achieve their personal, academic, and career goals The teaching that you do, leading students in rehearsal, the creative work that you offer to the public, the research that you do in adding to the body of knowledge, all of this has a profound effect on the everyday lives of people. In higher education we change the lives of students and their families by providing them the tools and mentorship to be successful professionals I want you to know that what you do everyday changes the world The last few years have been very hard, but what I have experienced in the conversations that I have had and the classrooms I have visited has shown me how integral our teaching, art, performance, and research is to the Valley I have met some of our students and these students excite me and give me hope that what we do with them today is going to make tomorrow a more sustainable, equitable, and caring world Thank you for all that you do and all that you will do this year!

A L U M N I S P O T L I G H T

Alumni Spotlight

Mathew Campbell

A native of the Rio Grande Valley, Mathew Aaron “Mat” Campbell (b 1992) graduated with a BM- Education from the University of Texas Rio Grande Valley and received High Honors upon completion of a double MM-Composition and Conducting from Oklahoma City University As an award-winning composer, his works have been performed across the United States As a conductor, he has conducted orchestras, wind ensembles, choirs, and chamber ensembles in world premieres of his and his colleagues’ music at regional, state, and international events. Mat is an aspiring media composer where he focuses on writing music primarily for video games and films of varying length. Mat is currently a Music Engraving and Audio/Video Specialist at C Alan Publications

SOUND: How has your work been altered over the past two years?

MC: Since much of my output has involved concert music such as works for winds, orchestras, and choir, the pandemic has made me fully commit to learning more about commercial music Don’t get me wrong, though I’ve always wanted to immerse myself into the world of scoring films and video games, but the pandemic has been the catalyst to learning about another side of the music industry In this time, I’ve largely focused on a video game soundtrack, multiple film scores, and works for chamber music.

SOUND: What methods have you developed to safely continue performing or teaching music?

MC: I have limited my compositional output to smaller ensembles and used sample libraries (such as those by Native Instruments or Spitfire Audio) to make mock-ups of my works This gives listeners the ability to listen to my music without musicians Live musicians, however will always be my main source of inspiration and collaborative spirit

SOUND: Have you created or performed work that is inspired by the global health crisis?

MC: Yes! I have created tracks for soloists to improvise over (much like a lead sheet) during isolation. Additionally, my wind ensemble piece “As the World Waits” (which was premiered at The 2021 Midwest Clinic) is highly inspired by the beginning of the pandemic and much of the events in 2020

SOUND: What are the greatest challenges in your life right now, musical or otherwise?

MC: Some of the greatest challenges in my career right now consist of things completely external to what I do as a musician - I am constantly considering the well-being of my family and friends Though I have an industry job, I am constantly wondering where my next commission will come from Doing work in a gig- based career has been largely unpredictable, especially because I was a freelancer between March 2020 and February 2021

SOUND: What are you most looking forward to, as it relates to music, after the pandemic is mostly behind us?

MC: I am most looking forward to a free-flowing of inspiration - not just on my own horizons - but across the world I hope for a renaissance of art, music, and every type of creative genre I can’t wait to see what’s just on the other side of the pandemic Perhaps it’s naive of me to say that, but hope is all that we can truly have at this moment of time

tudies

The String Area faculty at the UTRGV School of Music invite you to discover why we are one of the most exciting music programs in the state of Texas We offer a fantastic environment in which to learn and grow as a string player, student, and musician, while enjoying the great experience of being part of the vibrant UTRGV School of Music family

The School of Music is the path to achieving a successful future UTRGV is known for its high-level education, its challenging and creative setting as well as its comfortable and safe learning atmosphere, all geared toward student success With over 32,000 students, UTRGV maintains students and faculty connected in an environment where you are always respected and appreciated

UTRGV has numerous scholarships and graduate assistantships as well as other forms of financial aid available. Music scholarships are based upon musical talent and potential as displayed through a music entrance audition. Audition take place during the spring semester and can also be scheduled at any time during the year by contacting the School of Music and the appropriate applied music faculty member. We offer undergraduate degrees in music performance and music education (EC-12 Teacher Certification) as well as graduate degrees in music education, music performance, ethnomusicology, and conducting.

Tido Janessen Cello

Diana Seitz Violin

Joel Pagan Viola

George Amorin Double Bass N a Director of Orchestral Activities Conductor of the UTRGV Symphony Orchestra

A L U M N I S P O T L I G H T

Alumni Spotlight

Sam Pasqualetto

Samuel joined the Tyler ISD in east Texas in the 2021/2022 school year He is the head director of two middle schools The students are enjoying a academic experience involving concerts at parks, elementary schools, and the regular season concerts at their schools All Samuel`s students that participated in the All-Region Contest were selected to join the Orchestra. Samuel`s focus right now is to prepare the students for the UIL and Solo & Ensemble evaluations

SOUND: What methods have you developed to safely continue performing or teaching music?

SP: I follow the district`s guidelines of safety I try to keep my students safe by maintaining them a bit further apart from each other

SOUND: Have you created or performed work that is inspired by the global health crisis?

SP: I have been talking to my students about how music can bring them closer to their loved ones, even through a computer screen The importance of engaging an audience as a performer and how music contributes to the population`s emotional health is something that we have been working towards as a group.

SOUND: What are the greatest challenges in your life right now, musical or otherwise?

SP: It is to maintain students engaged and practicing their instruments at home How to keep them accountable and aware of the importance of performing live music and participating in the orchestra in a increasingly online world is my greatest challenge right now.

SOUND:What are you most looking forward to, as it relates to music, after the pandemic is mostly behind us?

SP: A regular schedule of music activities such as chamber music concerts, masterclasses, recitals, and Summer camps and festivals.

YOUR

C O L L E G E S T U D E N T E X P E R I E N C E

INTHEUTRGV SCHOOLOFMUSIC

01

Be active in finding opportunities that will allow you to continually develop your skills as an educator, performer, or scholar and that compliment your current coursework. However, don't be afraid to go off the beaten path to develop inter- or across-discipline opportunities. "a jack of all trades is a master of none, but oftentimes better than a master of one "

SET REALISTIC /OBTAINABLE GOALS FOR YOURSELF STAY ORGANIZED AND BETTER MANAGE YOUR TIME BUILD RELEVANT SKILLS, BUT DON'T BE AFRAID TO GO OFF THE BEATEN PATH

02 05

03

When you set simple obtainable goals for yourself, it becomes easier for you to achieve success on a consistent basis In return, it also helps you begin to form good habits and builds confidence in your abilities to complete tasks 04

MAINTAIN A SOCIAL BALANCE

Develop a weekly schedule that balances your academic responsibilities, your social life, and your physical and mental health. Keep your expectations realistic, be flexible, and ask for help when you need it.

DON’T BE AFRAID TO TRY NEW THINGS

A L U M N I S P O T L I G H T

Ian Grey Charlton graduated from University of Texas Rio Grande Valley School of Music with a Bachelor of Music in Percussion Performance, where he studied with Dr. Mark Ramírez and Dr. Marco Schirripa. During his studies, he performed with the UTRGV Symphony Orchestra, Wind Ensemble, Percussion ensemble, and Indoor Percussion Ensemble Ian has also performed and competed nationally and internationally at the Percussive Arts Society's Marimba Competition in Indianapolis, the International Percussion Institute (IPI) Percussion Seminar in Aberdeen, Scotland, and the IPI Marimba Competition.

In addition, Ian has had opportunities to perform and collaborate with peers from The University of Texas at Austin, The University of Michigan, Portland State University, Western Oregon University, Eastern Washington University, Willamette College, Lewis and Clark College,The Royal Danish Academy of Music in Copenhagen, the National Chiayi University of Taiwan, Universität für Musik und darstellende Kunst Graz in Austria, and the University of Aberdeen in Scotland.

Ian is currently residing in Portland, Oregon where he is pursuing a Master of Music in Percussion

Performance at Portland State University School of Music and Theater Ian was awarded a full Graduate Assistantship where he will work alongside mentor Dr Christopher Whyte

Ian Grey Charlton

F A C U L T Y P R O F I L E S

F a c u l t y P r o f i l e s

Ramli has concertized throughout South East Asia, Japan, the Netherlands, Germany, Finland, and the U.S.A. He is the Founder and Artistic Director of the Leland Musical Arts Celebration (LMAC), an annual summer concert series in Leland, Michigan, which features world-class musicians from the U.S. and abroad.

A self-confessed double reed geek, Mezraq is a consultant at Advantage Double Reeds USA, where he assists in research and development of oboe and bassoon products. He is also a consultant with the S. Bulgheroni oboe artisans of Como, Italy for the design of their new “American” model oboe.

Dr. Mezraq Ramli

Assistant

Dr. Mezraq Ramli proudly serves as Assistant Professor of Double Reeds at The University of Texas Rio Grande Valley where he specializes in oboe and bassoon. He also teaches chamber music, sight-singing and ear training Prior to relocating to the Valley, Dr Ramli served on the faculties of Northwestern Michigan College, Saginaw Valley State University and Lubbock Christian University. He also taught double reeds in the Michigan public school systems of Traverse City, Northport, Leland, and Elk Rapids.

Mezraq maintains an active and diverse career as a chamber and orchestral musician, recitalist, and arts administrator. He performs as Principal Oboe with the South Asian Symphony Orchestra in India as well as Second Oboe and English horn with the Baroque on Beaver Music Festival in Michigan He has also performed with the Grand Rapids Symphony Orchestra, Traverse Symphony Orchestra, Great Lakes Chamber Orchestra, Lubbock Symphony Orchestra, Middletown Symphony Orchestra, and Holland Symphony Orchestra

Dr Ramli earned his degrees from Texas Tech University (DMA), Miami University (MM) and Grand Valley State University (BM) where he studied oboe with Amy Anderson, Andrea Ridilla, and Dr. Marlen Vavriková, respectively. His principal bassoon teachers include Richard Meek and John Clapp. Dr. Ramli deems his teachers: Andrea Ridilla, Barry Martin, Lynn Hansen and Elizabeth Tomorsky Knott to be his most influential artistic influences and mentors.

Professor, Double Reeds

y P

Two recordings (CD) with La Cuadra Venezolana, and numerous collaborations that include recitals with renowned classical musicians, as well as productions and recordings of renowned Venezuelan popular musicians, endorse Dr. Nicaulis Alliey as a versatile and sought-after artist

Dr. Nicaulis Alliey

Assistant Professor, Flute

Performing artist, teacher, author and entrepreneur, Dr. Nicaulis Alliey has appeared as a soloist, chamber musician, and flute teacher in France, Venezuela, the United States, and the Caribbean area

First Prize Unanimous at the Ville de Paris Centralized Contest (1994), First Prize at the Latin American Flute Competition (Caracas, 2000), Nicaulis Alliey is an artist with Polyphony Artist Management and part of the Artistic Roster of Cayambis Music Press,

and develops her artistic work as a solo performer, flutist with Music of the Americas Ensemble (chamber music) and with La Cuadra Venezolana (Venezuelan and LatinAmerican music, traditional-jazz fusion)

Nicaulis Alliey has been featured as a soloist with most major orchestras in Venezuela, has been First Flute with Orchestre International de Paris, Assistant Principal Flute with Orquesta Sinfónica de Lara, First Flute with Orquesta Sinfónica de Maracaibo, and flutist with the Lincoln Symphony Orchestra

As a teacher, Dr Nicaulis Alliey has been Flute Professor and Founder Director of the Music School at the Universidad del Zulia, Flute Professor at Universidad de Los Andes, Guest Artist-Teacher at UNET (Venezuela), Flute Instructor at North Park University (Chicago), and guest teacher at El SISTEMA-Venezuela and numerous universities and festivals in the US, Venezuela, Colombia and the Caribbean. Her work "Sonoridad en la flauta traversa: Consideraciones para su estudio y resolución de dificultades técnicas" was published by the Universidad del Zulia (2014).

Nicaulis Alliey is Executive Director of the Music of the Americas Project (Chicago) and holds a DMA from the University of Nebraska-Lincoln, a Maîtrise en Musique from Sorbonne University (Paris), Diploma of Superior Studies in Flute under renowned French flutist Raymond Guiot (France), and a degree of Profesor Ejecutante de Flauta (Venezuela).

To learn more about Nicaulis, please visit her website by following the link below:

www.nicaulisalliey.com

F a c u l t y P r o f i l e s

Dr. Aaron Jensen

Assistant Professor, Trumpet

Aaron Jensen is a recently appointed Assistant Professor at The University of Texas – Rio Grande Valley where he currently teaches applied trumpet and chamber music He previously taught at Tarleton State University, the University of North Texas, and the University of Colorado at Boulder as well as privately in the Dallas – Fort Worth metroplex. While at Tarleton State University, working alongside Dr. Brian Walker, the trumpet studio competed in the quarterfinals of the National Trumpet Competition, in both the undergraduate solo division and ensemble division and participated as a Prelude Ensemble at the 2022 International Trumpet Guild Conference in San Antonio.

Dr. Jensen has taught at the Oklahoma State Summer Music Camps, and presented masterclasses at Brigham Young University, Arkansas State University, Colorado State University, Snow College, and Oklahoma State University.

As a private instructor in the DFW Metroplex, Dr Jensen’s students routinely were members of All-Area and AllState ensembles, auditioned into the National Youth Wind Ensemble, participated in DCI, were members of the Denton Youth Symphony, were awarded Outstanding Soloist at the Texas State Solo and Ensemble Competition, and moved on to major in college music programs.

Dr. Jensen completed his DMA at the University of North Texas where he served as a Teaching Fellow, teaching applied trumpet and coaching chamber music. During his time at UNT he coached trumpet ensembles to the quarterfinals of the National Trumpet Competition and placed students in the One O’clock Lab Band. His students also gained employment as secondary music educators across DFW. He was also a member of the University of North Texas Wind Symphony where he was a featured soloist

Dr. Jensen also holds degrees from the University of Colorado at Boulder, and Oklahoma State University. While at Colorado, he was the Graduate Teaching Assistant for the trumpet studio and held the position of Lecturer of Trumpet for the University of Colorado at Boulder’s College of Continuing Education He frequently served as a guest clinician with the Greater Dallas Youth Orchestra’s trumpet section. As a member of the Oklahoma State University Trumpet Ensemble Dr. Jensen was a finalist in the National Trumpet Competition in 2013. While at Oklahoma State University, he also toured Japan with the OSU Wind Ensemble concluding with a performance at the Japan Band Clinic

As a performer, Dr Jensen has performed with the Monroe Symphony Orchestra, Symphony Arlington, Garland Symphony, the Fort Smith Symphony, Motown legends “The Four Tops”, the Denver Pops Orchestra, Red River Lyric Opera Festival, and since 2015 has been a frequent substitute musician with the Colorado Symphony Orchestra. Aaron has performed and recorded with Grammy award winning “The Indigo Girls” as well as the University of North Texas Wind Symphony in addition to many other projects

Dr. Jensen served as a clinician for the 2022 International Trumpet Guild Conference. In 2017, he served as the Assistant Host for the National Trumpet Competition and has served as a conference reporter for the International Trumpet Guild journal. An advocate of music technology, Dr. Jensen currently serves as Video Coordinator for ITG

Dr Jensen has also produced and engineered albums and video projects for numerous artists and institutions including Caleb Hudson of the Canadian Brass, Jason Bergman, and Ryan Gardner. Aaron is greatly indebted to his primary mentors: Ryan Gardner, Caleb Hudson, Jason Bergman, Justin Bartels, Terry Sawchuk, David Blackinton, Scott Wilson, and Steve Meredith

a c u l t y P r

Previously, Jones was an assistant professor of music education and music education coordinator at Reinhardt University in Waleska, GA He has experience teaching elementary general music, choir, and strings to children in urban and suburban areas. He is a recipient of the SAISD Foundation Inspire award for his work with urban elementary school children and was recognized for his significant contributions to the SAISD elementary strings project

He has presented workshops, research, and clinics on several topics for school districts, state, national, and international conferences, nonprofits, and universities.

Dr. Jason D. Jones

Assistant Professor, Music Education

Jason D. Jones, a native of the Appalachia region, is an Assistant Professor of Music Education. From conducting the Eastman Women’s Chorus to singing shape note songs at a goth bar, Jones’ performance experience is as varied as his teaching and research interests. He earned a Ph.D. in Music Education at the Eastman School of Music where he earned the Shetler Prize.

Jones holds a Master of Music degree from the University of Texas at San Antonio, Master of Education from Emory & Henry College, and a Bachelor of Arts in Music Education and French from Emory & Henry College in Emory, VA Jones is an OAKE-certified Kodàly teacher and has extensive Dalcroze training from the American Eurhythmics Society.

His research interests include motivation in music classrooms, cross-cultural and intergenerational relationships between teachers and students, Sacred Harp traditions and transmission, differentiated music classrooms, and differently abled students in elementary music. His work has been published in the Journal of General Music Education, the book Kaleidoscope: A Collection of Standards-Based Lessons for the K-7 General Music Classroom, and by the American Eurhythmics Society.

SOUND: How long have you been teaching; Where is your current position; and how long have you been there?

LINDA CHÁVEZ (LC): I’ve been teaching privately since I was a junior in college, but I’ve been teaching in public school since 2018. I work at HCISD as an Assistant Choir Director/Accompanist & a Group Piano Instructor.

GENESIS CARPIO-BLANCO (GB): I have been a teacher for 9 years this year. I am currently the head band director at Lucio Middle School in Brownsville, Texas. I have been here for a total of 3 years.

CHRISTINA MARTINEZ (CM): This is my 8th year teaching. Currently, I am the Head Orchestra Director at Cathey Middle School in McAllen ISD This is my 5th year at Cathey I am also the TMEA Orchestra Division Chair for Region XV

ADRIANA TORREZ (AT): I am currently in my 5th year of teaching I was the Head Choir Director at Audie Murphy Middle School for three years My current position is new to me this school year as the Head Choir Director at Fossum Middle School in McAllen.

SOUND: Have you always wanted to be a middle school teacher?

LC: This is a difficult question for me to answer primarily because I was never the type of person who knew what she wanted to do “when I grew up.” I still don’t! I’m simply learning and enjoying this phase of my life that comes with the privilege of teaching music.

GB: My career started at the middle school in the Fall of 2013 with Perkins Middle School. I decided to take a leap and give high school a try in 2017. I was fortunate enough to work under George Trevino at Lopez High School for a couple of years Then, in 2019 I applied and received the opportunity to lead a program at Lucio Middle School

CM: During my student teaching, I worked mostly with the high school orchestras and had such a positive experience that originally, that was my goal. However, it wasn’t until my first year teaching middle school that I just knew that it was the best fit for me. My personality and energy was best suited for it. I also think that it’s the coolest thing to work with my students not only for three years in middle school but also as they continue in high school. You get to see their progression firsthand. They go from not knowing anything about their instrument to becoming mature musicians

AT: Ever since I was a child, I always gravitated towards music I sang in the church choir, took piano lessons, and loved the thrill of performing! So naturally, when 6th grade rolled around and I had to choose an elective, the answer was simple for me, choir! I already had an older brother in the household who was in orchestra, and I saw the struggles he went through with rolling his cello back and forth daily ( no thanks). Seriously, I loved to sing, and I knew it would be a part of my life forever. I just didn’t know in which exact capacity until my last year at UTRGV. As a part of the music education program, we were required to visit local public schools and complete hours of observation before studentteaching for a semester. I always found it fascinating to see the initial “light-bulb moments” happen when things suddenly made sense to beginners whether it be solfege, note identification, or just finding the courage to sing out! It was during this time that I realized I wanted to be a part of the beginning of students’ journey in loving to sing, finding themselves in music, and more specifically, helping kids lay the foundation to what could be (as it was for me) a longterm, life-altering, magically-mundane (but wonderfully rewarding) career

SOUND: What surprised you most about teaching middle school?

LC: The most surprising aspect of teaching middle schoolers is their need for connection Especially after the pandemic, students have a deep desire to “be seen” and acknowledged. Over zoom, in an effort to get students to unmute themselves, I would take attendance by having a question of the day; simple questions such as ‘who’s your favorite superhero’ or ‘what chain has the best French fires?’ Now that we’re in person, students continue to ask for those questions. Yes, we teach concepts and technique and musicality, but I believe that connection is just as important and cultivating an atmosphere where they feel safe is the biggest lesson I’ve had to learn as an educator.

Interview conducted February 2022 by Stacy Kwak - Lecturer III, Piano

THE MOST SURPRISING ASPECT OF TEACHING MIDDLE SCHOOLERS IS THEIR NEED FOR CONNECTION. ESPECIALLY AFTER THE PANDEMIC, STUDENTS HAVE A DEEP DESIRE TO BE SEEN AND ACKNOWLEDGED. OVER ZOOM, IN AN EFFORT TO GET STUDENTS TO UNMUTE THEMSELVES, I WOULD TAKE ATTENDANCE BY HAVING A QUESTION OF THE DAY; SIMPLE QUESTIONS SUCH AS WHO’S YOUR FAVORITE SUPERHERO OR WHAT FASTFOOD CHAIN HAS THE BEST FRENCH FIRES? NOW THAT WE’RE IN PERSON, STUDENTS CONTINUE TO ASK FOR THOSE QUESTIONS!

-LINDA CHÁVEZ

GB: I had to develop patience I was used to seeing the success from the middle schools in Brownsville at the end of each year, but I never understood the process and patience it took. Students are eager to learn and absorb, but the teacher has to be patient to guide them correctly.

CM: You have to expect the unexpected when teaching middle school. Each day can be so different. But that is what makes it exciting! My job is certainly never boring!

SOUND: And what was it like teaching 6th graders how to play an instrument remotely?

LC: It’s made me realize that we can do anything as educators, haha! It was definitely a challenge, and I’d be lying if I said that I was totally successful. I have a few more gray hairs because of it, but all we could do at the time was try! It was a huge learning curve taking simple concepts and finding ways to digitize them. Now that we’re on the other side of it I’m glad it’s over, but I’m also thankful because it’s given me tools that I didn’t have before Silver linings, right?

GB: It was very difficult To be honest, I spent almost half the year teaching music theory because I was afraid of students learning embouchure, posture, and fingerings incorrectly through a computer screen It took a lot of planning on my end. I had to force myself to lean on technology. 30-second loop videos was method I utilized. To check progress, we would use a platform called “Flip-Grid.” I would post up my videos explaining the assignment and the “how-to”. Students then had to record themselves and upload it onto their account. I never saw these students that year, but with the help of “flip-grid”, I was able to track progress and focus on how to best help them. I also was fortunate enough to be able to have students in homogenous classes. If they were mixed instruments, I am not sure how I would have handled that. Although it was scary and hard at first, it was pretty amazing seeing these 6th graders become some of my best 7th grade musicians.

CM: Teaching beginners how to play remotely was probably the biggest challenge of my career It almost felt like I was a first year teacher again I had to plan for things that I knew would be obstacles such as students logging in to class, having the students being able to hear me through spotty wifi, becoming an expert in google classroom, google meet and zoom in a short amount of time, teaching students how to record and turn in assignments, or researching equipment to buy so that the sound of my instrument was heard through the computer. Our job is also very hands-on. In the classroom, we are always moving and adjusting posture and bow position. We are always assessing when they play, but that wasn’t possible in a virtual classroom. Most assessments were visual. So it was vital for cameras to be on. At first, all my students were muted except for myself. I played their music while they followed along.

CM: I had to demonstrate every single detail. I even recorded hundreds of videos for students to look back at or for the students who were absent. Eventually, students were volunteering themselves to unmute and play on the live meet. They were even able to learn to tune their own instruments, know how to practice with a tuner and metronome, and turn in weekly video recordings of their assigned music while demonstrating correct posture. With tons of repetition, good habits were being developed. Now as those students are back face to face as 7th graders, the good habits stuck and they caught up pretty quickly and are doing exceptional!

AT: Teaching 6th grade beginners remotely was not easy How do you teach 6th grade CHOIR, an ensemble that requires blend, balance, physical movement, and togetherness, through a screen that gives technical/visual lagging, audio issues, and an audience of so many colorful dots (Google Meets)? With lots of patience, that’s how! I had options 1 Be upset about the situation and allow it to consume my energy each day, or 2 Do what I could with the circumstances that we were all facing, and try to give these kids a good experience in a much different way than I’d been accustomed to when teaching choir. My goal was to draw these students in via online learning, hope that they’d stay for the following year (assuming things would be back to normal, and then get to show them what in-person choir is really like.

I chose to focus on what could be taught successfully online: note identification, counting rhythms, learning solfege hand signs, learning how to sight-read short 4-8 measure exercises, and singing in unison even though our mics had to be off a majority of the time during class. I would have after school one-on-one lessons online, and also assign FlipGrid assignments where I could assess each student’s voice individually and hear whether they had learned their music from their prior lesson or not, etc, etc It wasn’t ideal, none of it was, but it was a temporary solution to a much bigger problem

I HAD TO DEVELOP PATIENCE. I WAS USED TO SEEING THE SUCCESS FROM THE MIDDLE SCHOOLS IN BROWNSVILLE AT THE END OF EACH YEAR, BUT I NEVER UNDERSTOOD THE PROCESS AND PATIENCE IT TOOK. STUDENTS ARE EAGER TO LEARN AND ABSORB, BUT THE TEACHER HAS TO BE PATIENT TO GUIDE THEM CORRECTLY.

-GENESIS CARPIO-BLANCO

AT: Giving these students an outlet through music became a huge priority during this time. We would have “Fun Fridays” from time to time. I would pick topics such as “Traveling to England” and share videos (phenomenal British young boys' choirs, fascinating sea shanties, and fun folk songs) while we discussed our observations in the chatbox I tried to keep most Fridays as a day that we laid off of the “work work work” mode, and just focused on building connections with these students who were probably all going through tough times at home It was refreshing to have them to listen to & have conversations about some awesome composers, performances, and all types of music. Sadly, something we rarely made class time for pre-pandemic.

To keep them motivated to participate, I would have a monthly gift card competition in which the student with the most points at the end of the month won a gift card from the store/restaurant of their choice, compliments of me! With parent permission, I would personally drop off these gift cards in their mailboxes and make a huge deal about it in class the following day. If I had to spend $20 a month to keep students motivated and willing to participate, it was more than worth it to me during the pandemic. I truly had to reflect and realign my goals and priorities, redefine success, and shift my perspective to keep us all above water

SOUND: Was there a specific moment when you decided ‘I can do this’?

LC: Well, we didn’t really have an alternative It was sink or swim I watched my colleagues, many of them decades into teaching, adapt into this new normal with such grace I am constantly in awe at the resilience of educators and the adaptability they have to make any situation work for the love of their students.

GB: Yes! This happened when my flute students made their first sound on their flute head-joint. I was very excited!

CM: Being a new teacher during the pandemic, was difficult at times. I wanted to be a great teacher, but I felt inexperienced. In my second year teaching orchestra, I made a goal for myself and for my students to take a second group to UIL Concert and Sight Reading Evaluation. This is a group that hadn’t gone to a contest yet. It wasn’t easy. At first, it took them weeks to learn a piece, and struggled to read music on the spot and being able to stay together There were even some days where we felt defeated, but at UIL the students were able to bring back an award I even cried with the students I was so proud of them knowing how far they have come It even gave me a little more confidence in myself to believe that I could do this

AT:There isn’t an exact moment I remember deciding that I can do this.. I firmly believe that what you speak about, you bring about. I strongly feel that when I surround myself with thoughts like, I can do this, it drives me to reflect that attitude towards my students, resulting in bringing my best to the classroom each day Of course, like many things, this is easier said than done especially on mornings when everything that could go wrong goes wrong I’ll never forget the words Professor Dianne Brumley, Director of Choral Studies Emerita, shared with us during a women’s choir festival at UTRGV: “Dress up Show up Never give up ” Those words still resonate with me to this day and are the perfect reminder that I can do this in any situation.

SOUND: How do you deal with all the drama that comes with being a middle school teacher?

LC: The drama was real! At least it is for them. I listened, listened, listened, and listened. Although it might seem trivial to some, it is not to them. Minimizing the drama in no way helps. So as best I could, I tried to validate their feelings and help them understand that their emotions were fleeting.

GB: The band hall will always be their safe space. Some students do not have anyone to lean on at home. I try to be someone they can trust to talk to when the time is needed. I also try to empathize with the students. Although we see it as drama from our adult minds, that drama might be a big deal in their world As teachers, we need to be understanding

I WANT TO CONTINUE TO GROW AS AN EDUCATOR THROUGH MY EXPERIENCES TO HELP BETTER SUPPORT MY STUDENT’S LEARNING. WHETHER IT BE THROUGH PERFORMING, OBSERVING OTHER TEACHERS, JUDGING/HOSTING REGION EVENTS, OR GOING BACK TO SCHOOL TO PURSUE MY MASTERS.

-CHRISTINE MARTINEZ

UNSUNG HEROS

What is your proudest moment so far in your career as a middle school teacher?

LC: It’s difficult to pick only one moment. I would say one of the most impactful memories was the day a student asked if she could study piano in college because she realized how much she loved it, and she didn’t want to do anything else. That’s an unforgettable and memorable one.

GB: Building and maintaining the culture in this band hall even through COVID It has taken a lot of work and patience, but the students have latched on to the idea of being successful These students did not see this class as just band anymore They saw it as their safe space They want to learn and do more I loved seeing their excitement and eagerness to learn more as they continued achieving the small goals I set out for them.

SOUND: How do you deal with all the drama that comes with being a middle school teacher?

AT: Oh, drama! My job would be way less entertaining without it, to be honest. These kids kept us on our toes every day with their endless stories, sudden shift of emotions/attitudes, funny moments, accidentally calling me mom countless times, venting sessions, and tears of frustration We saw and head it all, sometimes in one class period That’s the rollercoaster of the middle school classroom anywhere, I’m sure! So how did I deal with it? 1 No down time With every class being occupied by specific objectives, the drama is lessened 2 Plenty of encouragement and praise during warmups, sight-reading, and throughout the entire class period Kids needed to hear it in order to feel good about singing out. 3. Counselor referrals. If students needed to visit the counselor for their well-being, I was very supportive. As silly as drama might seem to us in the day-to-day, we never truly know the struggles and hardships these students face outside of school. We kept our classroom environment a safe space for all students, and we love when music-making becomes their outlet, but sometimes certain situations just need further assistance from a counselor and that’s okay. We must keep our perspectives in check with the bigger picture of life. C’est la vie.

CM: There were so many moments that I was proud of the my students. My proudest moment is actually a combination of little moments throughout the years. It’s when I see the kids rehearse their music without me having to tell them, when the kids hold themselves accountable and help each other with the lessons I taught them, when they are outside of the orchestra room playing their music for their friends and seeing music bring them joy. Those are the things that make me love what I do. Even when the days are long and exhausting, those are the moments that inspire me to continue.

AT: My proudest moment in my career, so far, happened during my time at Audie Murphy Middle School It was the 2019-2020 school year (my second year at this campus,) and the choir program was still growing To give you an idea, the prior year, my first year there, I had about 80 total students across 6th, 7th, and 8th grade choirs The following year (20192020) those numbers almost doubled, having approximately 135 students enrolled in choir. I was thrilled to see the majority of my past students still enrolled in choir, and a good amount of beginners to start off their choral journey as well.

LIFE HAS CRAZY WAYS OF TOSSING YOU CURVEBALLS AND HOPING YOU’LL CATCH THEM. NOW, THESE STUDENTS BECAME MY DAILY EXAMPLES OF PERSEVERANCE. THEY WERE TEACHING ME TO DRESS UP, SHOW UP, AND NEVER GIVE UP. THEY WERE MY DRIVING FORCE THAT SCHOOL YEAR. THEY KEPT ME GOING. I WAS NOT GOING TO GIVE UP ON THEM NOW, AS THEY SO GRACIOUSLY UNDERSTOOD THAT I NOW NEEDED THEM JUST AS MUCH AS THEY NEEDED ME. WE WERE IN THIS TOGETHER.

-ADRIANA TORREZ

AT: Audie Murphy Middle School opened its doors in 2010, and up to this point in time, the choir department had not brought back a Sweepstakes award at UIL Concert & Sight Reading Contest. Although UIL is not the sole indicator of a choir program’s health and overall success, it definitely builds students’ confidence, morale and pride within the program. I was determined to make it happen for these deserving students who had everything necessary to flourish. They deserved to feel successful, be proud of themselves, and make history for their school.

Nothing worth having ever comes easy, and they quickly learned the meaning of dedication, teamwork, and perseverance It was a long journey of countless extra rehearsals, coming in on weekends, staying late after school, etc, etc You name it, they did it Little did they know, I was personally going through some serious hardships of my own that same school year I had just gotten married to my wonderful husband Carlos, and not too long after our wedding, he was diagnosed with nasopharyngeal cancer C’est la vie.

Life has crazy ways of tossing you curveballs and hoping you’ll catch them. Now, these students became my daily examples of perseverance. They were teaching me to dress up, show up, never give up. They were my driving force that school year. They kept me going. I was not going to give up on them now, as they so graciously understood that I now needed them just as much as they needed me. We were in this together.

Fast forward to UIL, March 2020. All of their hard work was finally about to pay off on that stage and in that sight reading room. They walked onto the stage with their heads held high, their tummies in knots, and their heartbeats racing, but they knew what they were there to do: leave it all on the stage and walk away knowing that they truly did their best

They did just that We all left the stage with tears in our eyes, because this meant so much more to these kids than it does to many This meant possibly making history for their campus This meant having pride in something they worked so hard to achieve This was a moment they had dreamed of all year long and they did it, sweepstakes!! For the first time ever, Audie Murphy MS did it, and I was blessed to be a part of it alongside them, leading them through it all. Witnessing their reactions when they heard their results was just priceless. They celebrated, hugged, cried, and rejoiced over this historic moment. I will never forget that group of students, this moment in my career, and what it meant for us all.

What’s next?

LC: I ask myself this question every day. I love teaching and feel deeply fulfilled by it. However, teaching is one aspect of my creative output. I hope to continue to find outlets to perform and to create opportunities for my students that I myself may not have had. I’m eternally grateful for my job(s) and feel so fortunate to enjoy them & look forward to the new adventures each day brings.

GB: I love teaching middle school. I want to continue growing as a professional in this career and have our program recognized for it. That will come with time, and I am ready for the work.

CM: I want to continue to grow as an educator through my experiences to help better support my student’s learning. Whether it be through performing, observing other teachers, judging/hosting region events, or going back to school to pursue my Masters

AT: What’s next? For the next several years, I really do see myself at Fossum Middle School as the Head Choir Director, continuing with what I’m passionate about, teaching I’m excited to see what the next few years have in store, and I’m so grateful to be safely making music in-person again. There is nothing like music-making, and I’m privileged and blessed to lead these bright, skilled, enthusiastic students each and every day.

S O U N D O P I N I O N

An odd statement, but when I teach beginning guitarists, I share with every student and their family I work with that the worst place for your guitar is in its case My reasoning for this statement is that a guitar, or any instrument for that matter, in a case tends to be forgotten If the instrument is available and nearby, the student will pick it up, play it, reawaken their curiosities, develop their creative footprints, and reignite their passion for their instrument

From March 2020 through Fall 2021, I felt like my guitar was in its case While I have been active as a composer, I felt isolated from my community of musicians, felt cut off from live music-making, and as though our community was in stasis, waiting to be fully reawakened.

As Covid continues to shift to an endemic state, we should plan our reawakening and the rebuilding of our communities. We have begun this process by returning to the practice rooms, rehearsal halls, and concert halls This being said, I have a challenge for you,

I challenge each of you to expand our musical community by exploring and experiencing new works from living composers, seek new venues to perform and/or to experience performances, attend more concerts on campus and in the community, and resume being music ambassadors I realize that I may be preaching to the choir, but Covid was heartbreaking and disruptive It caused many of us to retreat into the seclusion, security, and safety of our homes, away from our musical and greater communities

I look forward to this reawakening, and I hope you do as well. See you at the next concert.

JasonMitchell LecturerI MusicTechnology/Composition

N E W

D I R E C T I O N S

N E W D I R E C T I O N S

This past 2022 spring semester, the UTRGV Opera Theater presented Michael Ching’s Speed Dating Tonight!, a one-act comic opera in three parts based on a concept by Dean Anthony Following the COVID-19 pandemic and an extended period of socially distanced living, this contemporary, 2013 opera was all about meeting people and making connections

The opera takes place in a bar and begins with an opening scene introducing a bartender, waitress, and speed-dating coordinator all preparing for a speed-dating event Through this event, we the audience meet all sorts of different characters, learn about their quirky, fun personalities, and get to guess what kinds of relationships these characters will have with the people they’re paired with The opera ’ s overall concept is unique in that it is bookended by this opening scene and a finale, but the middle section the part that consists of all the “speed dates” follows more of an improvisatory choose-your-own-adventure kind of path. The composer and librettist, Michael Ching, has written more than 90 arias, which from which ensembles can pick and choose and arrange in any order, enabling them to select the numbers that best fit their singers’ abilities and personalities as well as the story they wish to tell.

According to Assistant Professor, Shayna Isaacs, they chose and arranged arias based on chemistry and how funny one aria would be going into the next Associate Professor, Rebecca Coberly added that “ we picked arias based on the students we had and the arias we liked, and partially, to some degree on character and voice We also chose a few ensembles, duets, and trios, and we tried to do as many of them as we liked, to give the students the chance to do that as well ”

For Coberly in Edinburg and Isaacs in Brownsville, the big question at the beginning was, “how is this going to work?” When thinking about how to coordinate between the two campuses, the concern was, “what should we do?” “What would be easiest?” It then turned out that Speed Dating Tonight! was one of the best solutions because both campuses could rehearse their arias and ensembles separately, and then put everything together at the end, preventing unnecessary back-and-forth traveling for rehearsals during the semester

Many of the arias Coberly and Isaacs selected for the UTRGV show were part of the original production cast in 2013 “The way [Ching] has this set up, and one of the reasons there are so many arias to choose from, is that he’s willing to write new material for different ensembles that put this on Some have been specifically written for specific circumstances, specific ensembles, and specific singers, so that has been interesting to peruse through.” This, as one might imagine, made Speed Dating Tonight! a popular choice for many universities and opera companies during the pandemic since the concept is quite adaptable to Zoom. For example, some of the numbers focus on having an online happy hour or a speed date in sweats, and while Coberly and Isaacs did not select those numbers for performance, the UTRGV production did include one world premiere an aria titled “Coffee or Sex” which was performed for the very first time by our students

RebeccaCoberly ProfessorofVoice

ShaynaIsaacs AssistantProfessorof Voice

Article by Rachel Mann

When asked about student reception, Isaacs commented, “ my students were really confused at first because they were like, ‘what’s the story?’ And I told them, ‘You’re the story ’ It’s people meeting people and telling them about themselves Your personalities are the story, and then it ends And maybe you go home with somebody, and maybe you don’t Maybe you go on a second date, and maybe you don’t ”

Isaacs shared how their students really came to love it, especially those who had to step out of their comfort zone at bit with some of the topics they were singing about, since not all the arias were necessarily appropriate for all audiences. For Coberly, her students liked it because it was in English, the language is modern, and the music is current “I know that for the ones I’ve been working with over here in Edinburg, that’s been one of the things they’ve really enjoyed Singing something that’s contemporary feels more immediately relevant to what they’re doing That’s been exciting, but at the same time, they can’t gloss over some of the topics they’re singing about and so that’s been absolutely been a big part of it ”

Though some of the topics may push boundaries for some, the students can all relate to many of the opera ’ s lyrics For example, one of the selected arias, “I’m over you ” , is about a girl who had been broken up with It shows her anger about the person who broke up with her and how she’s moving on, and because it’s set in such a way that the character likes to sing it a little jazzy and a little poppy even it’s actually kind of empowering.

Isaacs also mentioned that their students were a lot more receptive to the opera because, while yes, the music is current it has a lot of jazz and musical theater influence Isaacs thinks they’ve been itching to do some of that, and it made them even more excited about it “I think they like that it’s not all prim and proper No, I tell them there’s lots of different kinds of opera; they love the old stuff, of course, but this is a nice change for them ”

In addition to the scheduled opera performances, the composer, Michael Ching was also in the valley for a week-long residency at UTRGV the week of March 21st. He gave private coachings to the students in the opera and taught a guest class for composition students about composing for opera. According to Isaacs, Ching loved the fact that we had such a big production on our hands, and that he kept saying “There are so many, and this is so exciting!”

Speed Dating Tonight! was funded by UTRGV student service fees that specifically enhance projects on both campuses Coberly and Isaacs were awarded extra funding for striving to bring back both live performances and joint opera productions, the latter of which hasn’t been done since the staging of Bizet’s Carmen in 2019

The UTRGV performances of Speed Dating Tonight! took place last Saturday and Sunday, April 2-3 at the TSC Arts Center in Brownsville and UTRGV Performing Arts Center in Edinburg Visit the UTRGV Arts website at www.utrgv.edu/arts for a cal d f i and musical theater perform

S T A T E O F T H E A R T S

S T A T E O F T H E A R T S

As we speak, we are upgrading some of the equipment at the radio station getting ready to start another year of great local radio programming UTRGV Fulbright Scholar and Professor of Communication W F Strong is going to be lending us in this massive radio experience, artistic voiceovers, and interviews

We are also in the process of rebuilding our website too better upgrade our functionality If you would like to learn more about the Brownsville Society for the Performing Arts (BSPA) follow us on Facebook and Instagram. We hope to see you all at one of our events!

InterviewconductedApril2022by MarkRamírez

SOUND: Dr. Michael Quantz is a University of Texas System Regents' Outstanding Teaching Award recipient and Professor of Guitar at the University of Texas Rio Grande Valley. He also serves as Board President for the Brownsville Society for the Performing Arts (BSPA) Michael, thank you for joining us today to talk about the current state of the arts and to share with us about your work with BSPA

Michael Quantz: Thank you for invitation and for the outreach SOUND is creating for the School of Music and our art communities throughout South Texas! BSPA is a 501 (c)(3) nonprofit that has been around for 28 years, https://brosoperformingarts org BSPA has been a focal point of musical presentations in the Brownsville community for that entire period We host three very large nationally known festivals: the rounds for Latin Jazz Festival; the Brownsville Flamenco Festival; the Brownsville Guitar Festival; plus Christmas concerts and other outreach activities. Our focus is to really engage the community in experiencing the arts in new and meaningful ways. BSPA is currently retooling its operations right now.

SOUND: Thank you for a great overview of the work you are doing with BSPA and éxitos as you continue another year of programming! While we appear to be on the tail end of the COVID-19 pandemic, what observations and experiences have you witnessed that have altered the landscape for the performing arts over the last three years?

Michael Quantz: Really, really great question and emotionally difficult to process because the whole point of performing arts organizations has, and will always be to convene people to experience something unique in life together I am also part of the Texans for the Arts, so I have some contact with all the members, some 60 performing arts and visual arts organizations Make no mistake, the financial hardship has been really hard on the performing arts Had it not been for the cares act, I think most of us would have shuttered and would have had to start under different circumstances that's how hard it's been. If it weren't for those grants and personal philanthropies, we wouldn't be doing anything. I know a lot of venues shuttered and let staff go. BSPA didn't have any work for two years! When we brought down the Latin Jazz Grammy award winners La Investable de Brooklyn under the direction of Emilio Solla,they were practically in tears because it was their first gig in nearly two years Hosting events again has served as a restart in so many ways

MichaelQuantz ProfessorofGuitar UniversityofTexasSystemRegents' OutstandingTeacher

I know a lot of venues shuttered let staff go. BSPA didn't have any work for two years! When we brought down the Latin Jazz Grammy award winners La Investable de Brooklyn under the direction of Emilio Solla, they were practically in tears because it was their first gig in nearly two years. Hosting events again has served as a restart in so many ways.

https://brosoperformingarts org

S T A T E O F T H E A R T S

SOUND: Do you feel the performing arts has lost some of their footing at the primary, secondary levels of education, as well as within our communities

Michael Quantz: There is always a perception of the arts as an aside, right It’s considered, something that is often non-essential The thing that most people view is, can you get a job in it through education But, an arts education really isn't the only part of civics, it's part of understanding how we can get along with each other better It's understanding how we can provide for ourselves and our loved ones better through greater understanding And, it's also part of of learning how to enrich and progress our lives We are hard wired for the arts, whether it's poetry, dancing, music, painting or sculpture We all need art, from the moment we became human we started doing that, as far as we can tell through the archaeological record.

So that's always the perception that we're an ancillary thing an afterthought. Anytime there's a disruption, the arts get a little bit tenuous. But make no mistake, the arts are in a kind of a slightly destabilized position However, as we are on the tail end of the pandemic, as you mentioned, perhaps we will experience a rebirth!

SOUND: What kind of initiatives would you like to see put into place to help refocus and stabilize the state of the arts

Michael Quantz: That is a great fundamental question!! Everything that we have spoken about before is the context that is much harder right now, due to the pandemic First and foremost, we need to be patient, forgiving, understanding, and look at the current situation as an opportunity to be more public and be more engaged in the community When we experience something like a wonderful dance recital or fantastic concert, everybody in that room, at that moment, becomes one in a way that does elevate us beyond our daily frustrations, anxieties and cares

When we experience that together, it allows us respite almost on a spiritual level This is the most important thing we can do, is make sure as many people as possible experience the fine arts so that they understand how completely immersive it is. Experiencing the arts through this lens helps our greater communities understand and allows for the arts to become much more than intuitive. It can becomes a part of their life.

SOUND: What do you feel we have gained from all of our pandemic experiences, and how can we capitalize and continue to develop the various forms of virtual engagement that we have helped to facilitate

Michael Quantz: They say that necessity is the mother of invention! For us, communication and everything involving communication, has experienced a massive change

Prior to the pandemic, do you remember how infrequently we engaged in a computer/Zoom call like we're doing Minimal, right?! Now, virtual chats, Zoom calls, FaceTime, and podcasts have just blown up! The virtual/remote format has allowed us to talk to anybody that is willing to talk to us anytime, anywhere in the world! This has opened the door to some great opportunities that were not always available to us, and it is something we should absolutely continue to develop refine.

R E S E A R C H N O W

CATIONS & TECHNOLOGY FOR THE 21ST CENTURY

ByRachelMann, AssociateProfessorofMusicTheory

Music theorists’ research often focuses on the language and syntax of a particular composer or group, musical genre, or stylistic period More recently, theorists have begun to explore the pedagogy of music theory and how technology can play a meaningful role in the classroom Many students in the UTRGV School of Music are quite familiar with my area of research because it’s an ever-present element in my theory courses As one of the founding developers of Harmonia a music theory software app designed to teach and drill analysis and part writing I get to put my research to work in a classroom setting every day.

Harmonia is the only software available today that combines a music notation editor with a real-time music analysis engine, meaning that the app can analyze, assess, and evaluate notation on a music staff as well as analytical entries such as pitch and interval names or roman numeral labels It’s unique among music ed-tech software in that students can analyze and label melodies and harmonies and complete composition-based exercises such as pitch, scale, interval, and chord-spelling assignments, but they can also part-write more complex SATB chorale settings of diatonic and chromatic chord progressions, figured-bass realizations, and more The app ’ s audio playback capabilities enable students to listen to their work, which is invaluable since so many are unable to complete their theory homework at the piano.

Harmonia allows students to read text, stream instructional videos, study charts or diagrams, but, most importantly, engage with the inapp notation editor and analysis engine Students can watch as Harmonia interprets their responses while they identify or notate a pitch, spell a scale, label a chord, or realize a roman numeral progression in SATB voicing Harmonia will mark incorrect analytical entries and poor part writing, showing color-coded annotations directly on the score Clicking on an annotation will provide even more detailed feedback, which will appear highlighted at the top of the page Most graded feedback is sent automatically to a Cloudbased server, storing it for teacher review

Of course, while no students really enjoy doing music theory homework, teachers, likewise, do not like grading theory homework. The work can feel both slow and tedious and the lag time between when a student traditionally completes an assignment and when they get it back with comments can sometimes be quite long, which can disrupt the learning sequence. The beauty of Harmonia is its self-grading feature

Students no longer need to sit and wonder how they did while they wait for someone to grade their work; instead, they can quickly discover whether they understand a concept since the software can check their work and offer pedagogical feedback immediately after clicking the ‘Grade’ button Harmonia marks and explains errors such as incorrect chord qualities or inversion symbols, and part-writing errors such as parallel fifths and octaves or unresolved sevenths Because teachers or graduate assistants don’t have to grade any additional student work, all exercises can be set for unlimited submission so students can practice and submit for automatic grading as much as they need to learn a concept It is also possible to create folders of practice exercises for students to work out concepts and skills on their own in private without ever having to submit their work to their instructors Thus, students who need little-to-no practice can complete assigned homework quickly and receive instant positive feedback but students who want or need to practice just a little bit more, have ample opportunity to do so.

My role as a music ed-tech software developer is multi-faceted I create all the app ’ s pedagogical content such as topical lessons and exercises that music theory teachers across the country can use in their classrooms Most of this content looks like the material one would find in any traditional paper-based theory textbook or workbook, with the only difference being that my Harmonia content is interactive My students can click on examples to listen to them, move notes around on the staff and see how the software analyzes different spellings of chords Because Harmonia has over 15,000 registered users, I also write and edit support documentation, create how-to videos and blog posts for teachers and students and send software update notifications Much of this work requires testing, and this is where my students play an important role. Because I typically create new pedagogical content as needed for my courses, my students are the first to engage with it. I develop new lessons, create multiple-choice questions and part-writing examples, and add audio streaming examples to form and analysis assignments Only after gaining one, two, or three semesters worth of feedback from my students do I then upload new documents to the Harmonia server and make it available for teachers and students at other universities

I also regularly quiz my students to find out what they like and don’t like about the app and then forward their suggestions to the rest of my development team

Because of students’ suggestions here at UTRGV, the Harmonia app has expanded beyond a desktop-only app to now include versions for iOS and Android tablets, and Chrome books. We also have a webapp that runs on Chrome, Firefox, and Edge web browsers The app now connects to a proprietary Learning Management System, which makes opening and submitting homework more seamless And, because we teach more than just part-writing and analysis of tonal music in theory classes at UTRGV, I have spent the past year building analytical control panels and pedagogical content for first- and second-species counterpoint, as well as content and analytical feedback for modal and symmetrical scales and set-theory and twelve-tone tools Students will soon be able to spell and label octatonic scales; label normal orders, prime forms, and interval-class vectors of sets; and compose transpositions and inversions of given sets Other future updates include Chinese and Spanish translations of the app as well as a complete redesign of our website

To learn more, visit the Harmonia website at https://harmonia illiacsoftware com/ To try it out, you can “Sign In As Guest” at https://webapp harmonia illiacsoftware com/ and play around with any of our free demo exercises.

Harmonia, which combines music notation, automatic music analysis and grading, word processing, multimedia playback, and a sophisticated web-based learning management system

T E C H N O L O G Y N O W

Jamming Across the Internet A Look Back at Building Collaborative Music Performance Tools during the COVID-19 Pandemic

During the most challenging moments of the COVID-19 pandemic I would often find myself pining for the days where communal performance experiences were a regular occurrence Thus my partners Nick Hwang and Eric Sheffield and I came together to build Collab-Hub a tool that helps musicians, artists, and hardware designers share data across the internet during collaborative performances That desire to connect drove me and my friends to recontextualize computers as devices that made communal performance experiences possible instead of hindering them

ByAnthonyT.Marasco,Assistant ProfessorofMusicTechnology& Composition

As an electronic musician, my primary instrument is a laptop computer In both their use a personal entertainment/work machine and a musical instrument, laptops are devices that tend to pull the focus of the user inward and make it difficult to focus on the environment around them in part due to the gigantic glowing screen that at its center Even in live performances with an ensemble comprised of entirely of laptop players, I’ve found that it takes a lot of practice and effort to break that urge for insularity, achieved by exploring methods for building visual and gestural connections between yourself and your fellow

In the Spring of 2020, the three of us begin putting together the core components of the Collab-Hub framework: client scripts that run locally inside of creative music software (such as Max 8 and Pure Data) on each users ’ computer to generate and receive control data, and a web-based server that collects and routes those data streams to the connected users Using the client scripts each of us built a unique virtual instrument that included features designed to be remotely controlled by one another over the internet For example, here in South Texas I patch the output of my hardware synthesizer into a software audio looper that I built with Collab-Hub, and the “Record” button and Loop Playback Speed elements of said looper are controlled by Eric from his computer in Ohio

While I can choose to start and stop my virtual looper, it s my ensemble mate who controls what sonic material from my performance gets looped and how to transform it into new musical shapes before it’s played back to the audience The artistic impacts of relinquishing control of your instrument to someone other than yourself is absolutely a challenge to surmount (image splitting the mental and physical duties of playing a single violin between three different people, two of which are located thousands of miles away!), but it was a welcome challenge Suddenly, the attention-drawing pull of my laptop no longer felt like an insular experience

After performing a few weekly jam sessions streamed live on YouTube we added two more members to our group (musician Jeff Herriot and visual artist Anna Weisling) and dubbed ourselves RE/SHFT/ER, a multimedia ensemble dedicated to creating experimental collaborative art with Collab-Hub as a crucial instrument in our arsenal Since Summer 2021, we ’ ve performed at numerous international conferences such as the Electroacoustic Barn Dance, SEAMUS, the NowNets Festival, the Networked Music Festival, and the Web Audio Conference We were extremely fortunate to be able to continue making music for worldwide audiences throughout the pandemic due to the online nature of our performances, and the ease of sharing control data with Collab-Hub helped to keep the communal nature of ensemble performances alive for us even though we are separated by vast distances

Even now as in-person concert events begin to return to our lives, we ’ ve released Collab-Hub for free to performers and have been holding workshops for new users to teach them how to integrate the tool into their own artistic practices It’s our hope that Collab-Hub continues to serve as a user-friendly way to build shared experiences between software and hardware instruments and performers whether they connected over the internet or located in the same space To learn more, head to www collab-hub io and watch one of our collaborative performances by clicking here

Anthony T. Marasco is a composer and sound artist who takes influence from the aesthetics of today's Digimodernist culture, exploring the relationships between the eccentric and the everyday, the strict and the indeterminate, and the retro and the contemporary These explorations result in a wide variety of works written for electroacoustic ensembles, interactive computer performance systems, and multimedia installations An internationally-recognized artist, his music and installations have been presented across the United States as well as in Norway, Italy, Brazil, Denmark, and Canada

He has received commissions from performers and institutions such as WIRED Magazine, Phyllis Chen, the American Composers Forum Philadelphia, Quince Contemporary Vocal Ensemble, Toy Piano Composers, the Rhymes With Opera New Chamber Music Workshop, Data Garden, Maureen Batt, and the soundSCAPE International Composition Exchange Marasco was the grand-prize winner of the UnCaged Toy Piano Festival's Call for Scores, a resident artist at Signal Culture Experimental Media Labs, and a grant winner for the American Composers Forum’s “If You Could Hear These Walls” project

His works and research have been featured at festivals such as New Interfaces for Musical Expression (NIME), the Web Audio Conference, the Toronto International Electroacoustic Symposium, the Society for Electro-Acoustic Music in the U S (SEAMUS), Electroacoustic Barn Dance, New York City Electroacoustic Music Festival, the International Computer Music Conference (ICMC), the National Student Electronic Music Event (NSEME), Mise-En Festival, Montreal Contemporary Music Lab, Electric LaTex, and Omaha Under the Radar Marasco is an Assistant Professor of Music Technology and Composition at the University of Texas Rio Grande Valley His research focuses on topics such as web audio, hardware hacking, and creating hardware and software tools for networked music performance practices He is a co-developer of Collab-Hub io along with Nick Hwang and Eric Sheffield His dissertation research centered on extending mediated and networked performance techniques to circuit-bent readymade devices through the creation of a hardware/software framework called Bendit I/O

TECHNIQUES FOR HEIGHTENED STAGE PRESENCE AND AUDIENCE ENJOYMENT

ByMarcoSchirripa AssistantProfessorofPercussion

II. Starting and Ending

One virtue I am constantly stressing to my students is that the performance begins before you enter stage, and ends well after you have stepped off. Furthermore, an individual work begins well before the first note is struck, and is not over until the after the applause. When preparing for a concert, I always rehearse what I will do during the applause – walking on and off stage and bowing, along with any speaking I may choose to do in between pieces I also encourage any chamber ensemble of which I am a part to do the same, deciding on the order we will enter and exit stage, which person will lead bows, and so forth. Awkwardness during applause or between pieces is another area where the overall presentation can be compromised, even if by a small amount

Below is a general outline of how a performer or performers may effectively enter and leave stage, derived from Karen A Hagberg’s wonderfully detailed Stage Presence from Head to Toe

a Entering Stage

1. Walk at a moderate pace, with clear intent, to the space where you will play. Focus on your destination and not the audience

2 Focus on confidence and good posture: back straight, eyes on the horizon, arms naturally at your sides

3 Arrive to the spot where you will bow, then turn to the audience

b. Bowing

1. Make eye contact with the audience for 2-3 seconds, showing your gratitude nonverbally.

i Eyes open and not squinted (so visible to the audience)

ii Postive facial expression 1 2 Bow!

i Feet together, body facing the audience

ii. If you walked out with an instrument or beating implements, hold them in a comfortable position You may also place your hand on a large instrument already on stage, such as timpani, a keyboard percussion instrument, or piano

iii Lean forward from the waist, eyes going to the floor

iv. Free hand/hands should be close to the side, naturally sliding down and up during the bow.

THIS TIME ALSO ALLOWS THE AUDIENCE TO RELAX FROM THE NOISINESS OF THE APPLAUSE. BY ENSURING YOUR POSTURE, FACIAL EXPRESSION, BODY LANGUAGE, AND GENERAL PACING REFLECT WHAT YOU ARE STRIVING TO CONVEY, YOU ARE MAKING AN IMPRESSION ON THE AUDIENCE, GUIDING THEM INTO THE EMOTIONAL OR PROGRAMMATIC HEAD SPACE MOST APPROPRIATE FOR YOUR PERFORMANCE.

iv Free hand/hands should be close to the side, naturally sliding down and up during the bow

v Stay down for around two seconds (I like to look at me feet and say, in my head, “These are my feet!” before coming back up.)

vi If applicable, acknowledge accompanist or ensemble and bow again with them

c Leaving Stage

1. After completing the bow, show another 2-3 seconds of gratitude. 2. Turn and exit stage in the same manner you entered

3 Especially during voice or percussion recitals, there may be many different pieces of shorter length In this case, it may not be necessary to leave stage after every single work.

i Plan stage exits to coincide with thematically related works or instances where the stage must be rearranged

ii If you remain on stage following an applause, bow as normal, then move with intent to your next playing area instead of off stage

In between the bows, let us not forget about the actual music It is also valuable to consider, control, and practice ancillary physical gestures that will occur throughout the performance of each piece While there exists plenty of research and clear ideas about how a performer’s physical gestures impact the audience’s perception of the music, this is a broad topic with plenty of debate and room for interpretation, and thus I will not explore it further here, but I will include suggestions for further reading below

We can more objectively discuss, however, the moments before the first note and after the last As mentioned above, it is helpful to consider the music starting five seconds before you actually sound the first note and ending five or more seconds after the last note Almost like in a recording session, I like to leave a few seconds of silence before I approach the instrument to begin to allow myself to start experiencing the mood or emotion I hope to communicate through the piece

This time also allows the audience to relax from the noisiness of the applause By ensuring your posture, facial expression, body language, and general pacing reflect what you are striving to convey, you are making an impression on the audience, guiding them into the emotional or programmatic head space most appropriate for your performance.

While this is another area open for creativity and interpretation, it is important to take into consideration the character of the work while developing your personal “character” for the performance. A dark or sad piece may best be paired with a solemn facial expression and a long drawn out breath before the first note, while a short, fast encore piece maybe pair better with a more informal and less meticulous approach Regardless, it always helps to practice moving gracefully and deliberately and avoiding any sort of sudden twitching, stick/mallet adjustments, or other unplanned visual stimuli during the silence

The conclusion of a piece should be treated similarly

After the final notes, treat the following seconds as still part of the piece, with your gestures reflecting the character of what you just played, whether that involves slowly lifting sticks to mirror the resonance or pulling away from the instrument after and exciting and explosive final passage

1 For more information on facial expression and nonverbal communication, one may reference publications on stage acting or criminal investigation. One such effective text is What Every Body is Saying, by Joe Navarro (Harper-Collins, 2008).

Either way, remain “in character” for several seconds. This will help avoid any awkwardness involving when the applause begins. Especially after slower works or pieces with ambiguous to no tonality, it may not be obvious when the piece has ended based on sound alone Having a moment where the performer noticeably “breaks character” creates a clear cue for applause As a rule of thumb, I like to remain “in character” for a couple seconds longer than it feels like I should, to account for nerves, then wait one or two more seconds once all motion and resonance has stopped, before conclusively ending the performance

Here is a brief checklist on how to “break character” and let the audience know you are finished:

a Eyes

Break focus on your performance and make eye contact with audience. It helps for this motion to be more abrupt than gradual, so there is a clear shift in mood

b Hands

Hands quickly lower to the sides or to a comfortable resting place if performing a handheld instrument

c. Feet

If standing, take a step back from the instrument while your hands and eyes perform their respective duties If sitting, one may lean back, clearly relax, or even stand up from a tall stool

d Multi-movement Works

In between movements, when no applause is expected, avoid making eye contact with the audience. Instead, as you “break character,” either stop to compose yourself, or move to make preparations for the next movement

The audience should never wonder if the piece is over or not!

In closing, conducting oneself with professionalism and rigorous attention to detail can have a profoundly positive effect on the audience’s perception of a performance. As all human senses are connected visual stimuli can and will enhance or detract from one ’ s concert hall experience Looking good helps you sound good! Go out there and sell it!

Originally from Syracuse, New York, Marco Schirripa holds Bachelor’s degrees in Percussion Performance and Music Theory from Ithaca College, along with Master and Doctor of Music degrees in Percussion from Indiana University, where he was awarded the prestigious Performer's Certificate during his first year of study He currently serves as Assistant Professor of Percussion at The University of Texas Rio Grande Valley

Dr Schirripa has performed on international stages, including the U S Navy Band Saxophone Symposium, the International Tuba and Euphonium Conference, Zeltsman Marimba Festival, the North American Conference on Video Game Music, and several Percussive Arts Society International Conventions He was named a finalist in the 2012 Percussive Arts Society International Marimba Competition and took first place in both the 2013 Great Plains and 2014 Southern California International Marimba Competitions

In addition to his university appointment, Marco maintains an active schedule as a percussion soloist, clinician, and chamber musician His recent projects have focused on adapting video game soundtracks for solo marimba and delivering clinics discussing the role of stage presence and extramusical gesture in concert performance He is currently a member of the Heartland Marimba Quartet, a group dedicated to the creation and performance of new chamber repertoire for keyboard percussion

He has also been active in the commissioning and premiering of solo works by composers as diverse as Masahiro Ishijima, Matthew Recio, Kimberly Osberg, Rajna Swaminathan, and Josh Oxford His playing appears on albums featuring the music of Gordon Stout, Dominick DiOrio, Leroy Osmon, and Amaury Leon Sosa Marco’s compositions have been performed around the world and his work is available through C Alan Publications and Keyboard Percussion Publications

Marco Schirripa is an Artist/Endorser for Sabian cymbals, Pearl/Adams percussion, and JGPercussion mallets He is a member of the Percussive Arts Society, Pi Kappa Lambda, and the American Society of Composers, Authors, and Publishers (ASCAP)

Editor Mark Joseph Ramírez

Creative Team Rachel Mann, Stacy Kwak, Jennifer Lemanski, Marco Schirripa, Anthony Marasco, Colin Charlton, Mark Joseph Ramírez

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First Person, Opinion Pieces Anthony Marasco, Marco Schirripa, Jason Mitchell,

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Student and Alumni Profiles Stacy Kwak & Jason Mitchell