January 2015 Southwestern Musician by Texas Music Educators Association

JANUARY 2015

63 FEATURES

JANUARY 2015

TMEA Executive Board Candidates

Instructional Materials Showcase

Practice Like a Pro

VOLUME 83 — ISSUE 6 On the cover: Javier Adame, senior at Rio Grande City HS, practices before seating auditions at the 2014 Clinic/Convention. Photo by Paul Denman.

COLUMNS President’s Notes .............................................. 5 by Janwin Overstreet-Goode Executive Director’s Notes..................19 by Robert Floyd Band Notes .............................................................25 by Andy Sealy

Before you vote, learn about the candidates for TMEA President-Elect and Orchestra, Vocal, and Elementary Division Vice-Presidents. On Thursday and Friday of our convention, you can learn more about the instructional materials available for purchase during the adoption process. Look to the habits of expert musicians to better understand what behaviors can help all students experience success. BY ROBERT A AND AMY L

DUKE

SARAH E

ALLEN

CARLA D. CASH

SIMMONS

Tutti

Five Keys to Classroom Management

Members across the state answer questions about accommodations for students with special needs and the best methods for teaching students to play and sing in tune. With adequate foresight and thorough planning, you can create a classroom routine that supports good behavior and results in a positive environment for learning. BY DEBORAH A

IMIOLO

UPDATES Creating Your Convention CPE Record .........................................................2

Orchestra Notes ...............................................39 by Craig Needham Vocal Notes ........................................................... 53 by Dinah Menger Elementary Notes ...........................................69 by Colleen Riddle College Notes ......................................................81 by Michele Henry

2015 Clinic/Convention: Last Chance to Preregister .................................4 Prepare to Vote Electronically for President-Elect .......................................8 HS Honor String Orchestra Results ........................................................... 43 College Division Fall Conference Images .................................................. 80 Southwestern Musician | January 2015

Editor-in-Chief: Robert Floyd UĂ R\G@tmea.org 512-452-0710, ext. 101 Fax: 512-451-9213

Managing Editor: Karen Cross

kcross@tmea.org 512-452-0710, ext. 107 Fax: 512-451-9213

Creating Your Convention CPE Record

TMEA Executive Board President: Janwin Overstreet-Goode MRYHUVWUHHW JRRGH#Ă&#x20AC;VGN QHW 1406 Frontier Lane, Friendswood, 77546 281-482-3413 x 150/Fax: 281-996-2523 â&#x20AC;&#x201C; Friendswood HS

President-Elect: Keith Dye keith.dye@ttu.edu 6607 Norwood Avenue, Lubbock, 79413 806-742-2270 x 231 â&#x20AC;&#x201C; Texas Tech University

Past-President: Joe Weir joseph.weir@humble.k12.tx.us 19627 Firesign Drive, Humble, 77346 281-641-7606 â&#x20AC;&#x201C; Atascocita HS

Band Vice-President: Andy Sealy sealya@lisd.net 4207 Plano Parkway, Carrollton, 75010 469-948-3011 â&#x20AC;&#x201C; Hebron HS

Orchestra Vice-President: Craig Needham Craig.Needham@richardson.k12.tx.us 1600 E Spring Valley Road, Richardson, 75081 469-593-7028 â&#x20AC;&#x201C; Berkner HS

Vocal Vice-President: Dinah Menger d.menger@sbcglobal.net 1305 Westcrest Drive, Arlington, 76013 817-891-1095 â&#x20AC;&#x201C; Baylor Univ

Elementary Vice-President: Colleen Riddle criddle@aldineisd.org 319 E North Hill Drive, Spring, 77373 281-985-6107 â&#x20AC;&#x201C; M.O. Campbell Ed Center

TMEA members attending our convention have numerous opportunities to receive Continuing Professional Education (CPE) hours. TMEA provides an online method for creating your CPE record after the convention. Follow these steps now so that you will be prepared to return from convention and complete your record.

1. Now: Create a personal schedule online. â&#x20AC;˘ Go to www.tmea.org/convention â&#x20AC;˘ Click on the Personal Schedule link â&#x20AC;˘ Enter your TMEA member ID and password

College Vice-President: Michele Henry michele_henry@baylor.edu 1 Bear Place Unit 97408, Waco, 76798 254-644-0150 â&#x20AC;&#x201C; Baylor University

TMEA Staff Executive Director: Robert Floyd | UĂ R\G@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

70($ 2IĂ&#x20AC;FH Mailing Address: P.O. Box 140465, Austin, 78714-0465 Physical Address: 7900 Centre Park Drive, Austin, 78754 Phone: 512-452-0710 | Toll-Free: 888-318-TMEA | Fax: 512-451-9213 Website: www.tmea.org 2IĂ&#x20AC;FH +RXUV Mondayâ&#x20AC;&#x201C;Friday, 8:30 A.M.â&#x20AC;&#x201C;4:30 P.M.

2. During the convention: Make note of workshops you attend to completion. Active membership, convention registration, and attendance is required for CPE credit to be granted.

3. When you return home: Update your online personal schedule to confirm the workshops you attended and print your CPE form. Submit one to your school district and keep a copy for your records.

www.tmea.org/convention

Southwestern Musician (ISSN 0162-380X) (USPS 508-340) is published monthly except March, June, and July by Texas Music Educators Association, 7900 Centre Park Drive, Austin, TX 78754. 6XEVFULSWLRQ UDWHV 2QH <HDU Â˛ 6LQJOH FRSLHV 3HULRGLFDO SRVWDJH SDLG DW $XVWLQ 7; DQG DGGLWLRQDO PDLOLQJ RIĂ&#x20AC;FHV 32670$67(5 6HQG DGGUHVV FKDQJHV WR 6RXWKZHVWHUQ 0XVLFLDQ 3 2 %R[ Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941â&#x20AC;&#x201C;47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947â&#x20AC;&#x201C;54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music (GXFDWRUV $VVRFLDWLRQ ZKRVH RIĂ&#x20AC;FLDO SXEOLFDWLRQ LW KDV EHHQ VLQFH ,Q WKH WZR PDJD]LQHV ZHUH PHUJHG XVLQJ WKH QDPH 6RXWKZHVWHUQ 0XVLFLDQ FRPELQHG ZLWK WKH 7H[DV 0XVLF (GXFDWRU XQGHU WKH HGLWRUVKLS RI ' 2 :LOH\ ZKR FRQWLQXHG WR VHUYH DV HGLWRU XQWLO KLV UHWLUHPHQW LQ $W WKDW WLPH RZQHUVKLS RI ERWK PDJD]LQHV ZDV DVVXPHG E\ 70($ ,Q $XJXVW WKH 70($ ([HFXWLYH %RDUG FKDQJHG WKH name of the publication to Southwestern Musician.

Southwestern Musician | January 2015

We are Musicians!

Department of Music 2014-2015 Auditions December 6

February 21, 28

May 2

Woodwinds, Brass, Percussion, Strings

All Areas: Voice, Woodwinds, Brass, Percussion, Strings

Non-Scholarship Auditions for: Woodwinds, Brass, Percussion, Strings

The University of Texas at San Antonio 210.458.5333 http://music.utsa.edu

TMEA Clinic/Convention INCLUDING THE TI:ME MUSIC TECHNOLOGY NATIONAL CONFERENCE F E B R U A R Y 11 –14 • S A N A N T O N I O

It’s Your Last Chance to Preregister!

January 22: Final day to preregister online. PREREGISTER & SAVE

Avoid this his line!!

• Active music educators: $50 • Retired music educators: $15 • College students: $20 (included in membership)

• Wednesday Music Technology Preconference: $50 • Family badges: $10 each

HOTEL RESERVATION DEADLINES www.tmea.org/housing January 21: Final day to use the housing system to make a reservation in most hotels (some may continue to be available, but the listing will be limited). January 21: Final day to cancel a hotel reservation without being assessed a $50 penalty. There will be no waivers for this penalty. January 29: Final day to use the housing system to modify a reservation. After that, contact the hotel directly (wait several days, as there is a delay in the hotels receiving their reservation data).

Just one

y! a w a h t n mo

Create an online schedule The convention schedule is available online at www.tmea.org/convention. Create your personal schedule to help you organize your time and to begin the process for creating your official CPE record. The mobile Convention Guidebook will also be available for download from the convention website in February.

W W W . T M E A . O R G / C O N V E N T I O N 4

Southwestern Musician | January 2015

Self-evaluation B Y

J A N W I N

O V E R S T R E E T - G O O D E

n the school day following each of our formal concerts, our students each write a post-concert evaluation. We listen to recordings of each ensemble’s performance so that they can hear the concerts from an audience member’s perspective. Students critique their own performance and that of the other ensembles. We provide a written form for each ensemble’s concert that includes prompts and asks for complete sentences with thorough explanations. A minimum of two to four sentences is required for each ensemble. Students cannot simply write, “We were good!” They are expected to provide reasons and evidence for that statement. “Our vowels were consistent across the choir.” “We used a wide range of dynamics in the appropriate places.” Our students are also encouraged to provide constructive criticism for their ensemble as well as for other groups. The same rules apply—there must be an explanation given as a part of each comment. They can’t just say, “The last chord was out of tune,” but instead need to elaborate, such as, “The tuning was poor on the last chord because the altos were flat,” or “The legato feel of the phrase was lost because too many singers were breathing in the middle of the phrases.” We conclude the evaluation by asking the students to suggest areas for improvement for the next concert. The responses to the second topic span from increasing the range of dynamics to improving posture to working on blend and balance. We often find that the students are more critical of their choir’s performance than we are as directors. What is the purpose of this activity? Part of our responsibility as music educators is to teach our students how to be self-critical and self-analytical and how to assess the performance of others in an intelligent and thoughtful fashion. We also need to provide the tools and help them develop the knowledge and skills they need to understand what to listen for. The TEKS state, under critical evaluation and response, that the student listens to, responds to, and evaluates musical performance in both formal and informal settings. Not only should we provide our students with opportunities to participate as audience members in professional, semiprofessional, or community events, we should also play examples

PRESIDENT’S NOTES IMPORTANT DATES January 10—Area Band and Vocal auditions. January 12–13—All-State housing entry. January 21—Deadline to cancel a convention hotel reservation without penalty. January 22—TMEA convention online preregistration deadline. February 11–14—TMEA Clinic/Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.

Part of our responsibility as music educators is to teach our students how to be self-critical and selfanalytical and how to assess the performance of others in an intelligent and thoughtful fashion. Southwestern Musician | January 2015

of exemplary performances for them as a part of our classroom routine. In a similar fashion, music educators should also self-evaluate. Video-record a rehearsal and critique it—assess how much time was occupied by talking, by rehearsing, and by giving instructions. How much time do you spend on the administrative details of the class or program (announcements, collecting money, forms, music)? Research has shown that successful teachers spend 35–45% of rehearsal time talking. However, the more experienced the teacher, the more effective the instruction is. Inexperienced and novice teachers take longer to make the same point that an experienced teacher can make in half the time. Students will be more engaged if the discussion is succinct and to the point. Teachers will also find rehearsals to be more effective if they plan ahead and present well-developed lessons and activities. We must be mindful of classroom dynamics and be prepared to make adjustments accordingly. Students will also be more engaged if we exhibit honest enthusiasm and excitement about the music and the students’ learning process.

Music educators can also self-assess by asking the following questions: Am I pursuing personal growth in my teaching? Am I taking the time to discover new literature? Do I understand the style of the music I am teaching? Do I continue to practice and perform myself? Do I read books and articles on my subject? Do I attend concerts, classes, workshops, and conventions? Do I listen to recordings? Of course the TMEA convention this February is the perfect opportunity to discover new literature and attend workshops and concerts. Continue to educate yourself as a musician and a teacher, and you and your students will reap the benefits. 2015 Clinic/Convention Update Instructional Materials Showcase On Thursday and Friday of the convention, publishing companies will present their new instructional materials to help you make an informed decision about which instructional materials to purchase for your school music program during the adoption process. Each participating company will present one-hour sessions to demonstrate their materials designed

for band, orchestra, choir, elementary, and music theory instruction. This is a great opportunity to learn more and ask questions directly to the publishers. For a full schedule, go to page 22 or find them via the online schedule. If you haven’t already, be sure to preregister by the final deadline of January 22. This will save you time and money when you arrive in San Antonio. Most of all, have fun anticipating this most exciting event of our year. When you attend the convention, make the most of your time by taking in every aspect our convention has to offer—professional development clinics, inspiring performances, and the exciting exhibit halls offering the latest and greatest products from our very supportive music industry partners. To maximize your time while you are in San Antonio, create an online personal schedule at www.tmea.org/convention. When you’re there, be sure to read about the latest feature that will allow you to transfer your online personal schedule to your Convention Mobile Guide when that app becomes available at the beginning of February.

Music scholarships available to non-music majors ■ Faculty who focus on UNDERGRADUATES

think. perform. explore.

■ National and international ENSEMBLE TOURING ■ DEGREES in music education, performance,

and composition ■ MASTER of Arts in Teaching, a 5th year program

with a full year of student teaching and 100% job placement (20 consecutive years) ■ Located in CULTURALLY VIBRANT San Antonio ■ STUDY ABROAD opportunities ■ 16 ensembles

trinity.edu/music June 2014, the Trinity University Music Department was recognized as an ALL-STEINWAY SCHOOL by Steinway and Sons, for its commitment to excellence and purchase of 32 Steinway pianos.

Southwestern Musician | January 2015

D E PA RT M E N T O F M U S I C

UT ARLINGTON ADMISSION AND SCHOLARSHIP

AUDITIONS UNDERGRADUATE

For winds, percussion, strings, and keyboard: Q

Saturday, February 28, 2015

For voice:

Saturday, February 21, 2015 Q Saturday, March 21, 2015 Q Saturday, April 11, 2015

GRADUATE

For all instruments and voice: Q

Saturday, February 21, 2015

Alternate dates by appointment

For applications and more information, visit

uta.edu/music

Executive Board Candidates Election of TMEA President-Elect will be by electronic ballot on February 12. Go to www.tmea.org/election to learn more. Divisional Vice-Presidents will be elected at their Division’s Business meeting, Thursday, February 12, at 5:30 P.M. Orchestra (Room 206); Vocal (Ballroom A); Elementary (Ballroom C1).

Candidates for President-Elect: Dinah Menger and Craig Needham Dinah Menger

Present Position: Conductor and Lecturer at Baylor University (2013–present). Previous Position: Director of Choral Activities, Arlington HS (1995– 2013); Lower School Music Specialist, The Oakridge School (1992–1995); Choirmaster, St. Alban’s Episcopal Church, (1987–1997). Education: Bachelor of music, University of Arizona (1980); master’s in choral conducting, Texas State University (May 2015). TMEA Offices and Positions Held: Vocal Vice-President (2013–2015); Vocal Convention Coordinator (2011–2013); Ballroom A Manager (2009–2011); Ballroom A Facilities Manager (2007–2009); Treble Choir Coordinator (2005–2007); Treble Choir Section Leader (2003); Region 5 Vocal Chair (2005–2007, 1998–2000). Other Offices and Positions Held: TMAA President (2013–2015); TMAA Vocal Vice-President (2010–2013); UIL PML Coordinator (2009–2011); PML Committee Member (2009–2011). Professional Affiliations: TMEA, TMAA, TCDA, ACDA, SAI. Honors/Accomplishments: Selected as an author for Hal Leonard music text (2014); National ACDA Convention Performance (2013); Featured in Choir Director Magazine (2013); Distinguished Colt Award (2012); TMEA Convention Performance (2009); National ACDA Convention Performance (2007); TMEA Convention Performance (2005); State UIL Excellence in Teaching Nominee (2005); AWARE Foundation Secondary Teacher of the Year (2002); Raising three incredible children—Claire, Samuel, Anna (1983, 1986, 1991). Personal Information: Family and friends are of the utmost importance to me. Cooking, having people at my table for a warm meal, fellowship, lots of laughter, and great conversation is what makes my life very rich. My mother is my hero because she raised my brother and me alone after my father died at an early age. She taught me never to accept no for an answer and that working hard is noble. I was lucky in always finding a job doing what I loved—from singing for many years in a band, recording jingles and music for choral publishing houses, having a vocal studio and, ultimately, getting the opportunity to be a choir director. My husband of 35 years is my rock and my most honest critic. He continues to support my adventures and new challenges and is there with me every step of the way. Statement: TMEA is the most outstanding and integrally sound organization that I have ever witnessed. Working side by 8

Southwestern Musician | January 2015

Prepare to Vote Electronically Do the following before January 22! Following the First General Session on February 12, TMEA will email every active member eligible to vote a unique link to their President-Elect ballot. Once a link has been used, any subsequent use of that link will not be processed. To prepare, complete the following steps before January 22. For more information, go to www.tmea.org/election. 1. Ensure the email on your TMEA member record is accurate. Go to tmea.org/memberinfo. Log in. Even if you aren’t renewing your membership, you can update and save your email address so that it is valid. 2. Be sure you can access that email account remotely (on your personal device or over the Internet on computers we provide, if you will be at the convention). 3. To prevent your ballot email from being blocked, add survey-noreply@smo.surveymonkey.com to your safe senders list (do this in your desktop email application or Web interfce). For school email, ask your technology support person for instructions. 4. Advise any other TMEA members you know to take these steps before January 22. After January 22, the online membership system is closed. Update your email address before January 22. W W W.T M E A .O R G/ E L E C T IO N side with the leadership and fellow board members has made me a better person. Honesty, heated debates, challenging thinking, and a progressive vision for the future of all of our children is the motivation behind every decision made at that “marble slab.” However, there would be no need for TMEA if there were no “soldiers” in the trenches taking care of students, ensuring safe environments for self-expression, a demand for excellence, teaching under pressure and with utter exhaustion, creating selfesteem and self-confidence in every young musician, unselfishly giving of time, talent, and personal treasure (often without thanks and in anonymity), tenacious willpower and patience, and unprecedented artistry that defines every Texas music educator. This humbling and gratifying profession makes worlds of differences in students lucky enough to be in Texas music programs. My experience with TMAA has further garnered my respect

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for all divisions within our music education system. Working with our dedicated band, orchestra, and vocal Vice-Presidents as they train and nurture UIL judges in fair and equitable procedures for contests is so very gratifying. Always striving to make things better, more sound, and to create the best possible educational experience for amateur musicians is a passion for each Vice-President and for each director who comes for training. I want to continue to be part of the never-ending quest for solidarity and fellowship among our organization’s members and to help promote music education’s place in the core curriculum in our state. If elected for the position of TMEA President-Elect, I would strive to narrow the divisional gap and promote support, recognition, and collegiality among our membership. Being an ally, an ear, and a voice for each educator is important to me, as is creating an aura of open communication and graceful leadership. Calling myself a music educator is a badge of honor, and working alongside passionate colleagues is an inspiration. Thank you, Texas music teachers, for your selfless and passionate work, and thank you for your consideration.

Craig Needham

Present Position: Director of Orchestras, Berkner HS (2005–present). Previous Position: Orchestra Director for Amarillo HS, Clark HS (Plano ISD), Westwood JH (Richardson, ISD). Education: Bachelor of music (cum laude), University of North Texas (1996). TMEA Offices Held: Orchestra Division Vice-President (2013–2015); Region I Orchestra Division Chair (2002–2004); Region III Orchestra Division Chair (2006–2008); Region I Vice-President (2001–2002); All-State Symphony Orchestra Organizer (2002); TMEA Agenda Committee; Honor Orchestra Committee; Region I and Region III Clinic and Contest Host; Honor Orchestra Judge, Honor Orchestra Judging Host. Other Offices: TODA Executive Board (2007–2011); PML Committee (2011–present); Music Advisory Committee; UIL Sightreading Committee (2005–2006); Assistant Conductor, New Conservatory of Dallas; Amarillo Youth Symphony Board (2000–2005). Professional Affiliations: TMEA, TODA (Past-President), TMAA, and Mu Omicron. Honors/Accomplishments: TMEA High School String Honor Orchestra (2007); Star Teacher of the Year Award, Richardson ISD (2008); Teacher of the Year, Berkner HS (2007); TexAsta Marjorie Keller Young Teacher Award (2003); Nine-time Honor Orchestra finalist (String and Full); 16 consecutive UIL Sweepstakes Awards; Clinician for Region/Area Orchestras in Texas, New Mexico, Oklahoma, and Arkansas. Personal Information: My wife Susan and I have been married for 20 years and are the proud parents of an 18-year-old violinist named Kayla and a 13-year-old pianist/cellist named Sydney. My wife is an accomplished kindergarten teacher at Dartmouth Elementary in Richardson ISD. Statement: I am honored and humbled to accept the nomination of TMEA President-Elect. Since I was a student officer in the TMEA College Division during my college days I have dreamed about one day serving on the “big” TMEA Board. I remember 10 Southwestern Musician | January 2015

fondly my days as an All-State Orchestra member seeing Kathy Fishburn and Royce Coatney come in and address the participants congratulating us on the honor of being selected as an All-State member and instructing us on proper behavior. Those early days at convention cemented my desire to one day serve TMEA. Over the years, I have had the chance to experience the machinery of TMEA as a Region Chair, All-State organizer, and by serving on multiple committees. These last two years serving as the Orchestra Division Vice-President have been a career highlight. I continue to be amazed at the growth of our organization and the quality of our convention and All-State groups. My experiences and friendships made at TMEA have shaped my career and my life. I feel as if I have been preparing for this moment since my first All-State experience. It’s my desire to work tirelessly for TMEA, maintaining our high standards of organization and to present shared ideas to continue the great work of this organization in promoting music education in Texas. I will work to continue to attract world-class All-State conductors and cutting edge, relevant clinicians for our convention. The TMEA board room feels like home, having spent the last five years in TODA board meetings there and another two as Orchestra Division Vice-President, and I am comforted by the opportunity to serve all divisions there once again. I appreciate your support and ask for your vote at the convention. I look forward to serving!

Orchestra Vice-President Candidate Penny Meitz

Present Position: Orchestra Director, St. John’s School, Houston (2006–present). Previous Positions: Orchestra Director, Clements HS, Fort Bend ISD (1999–2006); Orchestra Director, Dobie HS, Pasadena ISD (1996–1999); Assistant Orchestra Director, Memorial HS and Stratford HS, Spring Branch ISD (1995–1996); Orchestra Director, Lamar HS (1990–1995) and Lanier MS (1992–1995), Houston ISD; Adjunct Faculty, Sam Houston State University (1987–1990); Orchestra Director, South Houston HS, Pasadena ISD (1980– 1985); Orchestra Director, Portage Public Schools, Portage, MI (1973–1980). Education: Bachelor of music education, Western Michigan University (1973); master of music, viola performance, Rice University (1987). TMEA Offices and Positions Held: Region 19 Orchestra Chair, (1982–1984); Region 17 Orchestra Chair, (2002–2004). Other Offices and Positions Held: TMAA Orchestra VicePresident (2008–2010); TMAA CSAP Committee (2006–2008); TODA Board (1998–2002). Professional Affiliations: TMEA, TODA, TMAA, ASTA, AFM. Honors/Accomplishments: Lanier MS Teacher of the Year; Midwest International Band and Orchestra Conference; Invited Performing Ensemble (Clements HS, 2000); TMEA Honor Orchestra (Clements HS Symphony, 2002). Personal: I have been married to Mike Mason, church organist and choirmaster, for 12 years.

Summer Music 2015 TCU Percussion Camp June 10 & 11 Brian West, director TCU Harp Workshop June 10 & 11 Laura Logan Brandenburg, director TCU Saxophone Workshop June 22 & 23 Joe Eckert, director TCU Flute Workshop June 24 & 25 Shauna Thompson, director TCU Clarinet Workshop June 29 & 30 Gary Whitman, director TCU All-State Choir Camps Purple Camp, July 12 - 15 White Camp, July 15 - 18 Sheri Neill, director Kenneth Davis, conductor New! TCU String Workshop July 27-29 Elisabeth Adkins, JesĂşs Castro-Balbi, directors ctors

For registration materials, please visit our website at www.music.tcu.edu/smi.asp or contact the TCU School of Music at 817-257-7341

Statement: I am excited to accept the nomination for TMEA Orchestra Vice-President and look forward to the opportunity to serve my colleagues, the orchestra students in Texas, and TMEA. The strengths I can bring to the Board come from a wide range of professional experiences. I have taught in public schools (28 years), private school (8 years), college (3 years), and as a private teacher (40+ years). I have also played viola professionally for most of those years. My experience as Region Chair in Regions 19 and 17 and my five years on the TODA Board have given me an understanding of the workings of our strong professional organizations in Texas. I look forward to the challenge that serving on the TMEA Board will present.

Vocal Vice-President Candidates: Derrick Brookins & Robert Horton Derrick Brookins

Present Position: Director of Choral Activities–Plano Senior HS (2003– present), Plano ISD. Previous Positions: Assistant Choir Director, Travis JH (1995–1996), Irving ISD; Head Choir Director, T.H. Williams HS (1996–2003), Plano ISD. Education: Bachelor of music education, University of North Texas; master of education with secondary administration certification, Concordia University/Texas. TMEA Offices and Positions Held: TMEA Vocal Division Facilities, Convention Clinic, Vocal Volunteer Coordinator (2014–present); TMEA Vocal Convention Ballroom A Coordinator (2012–2013); TMEA Ways and Means Committee (2010); TMEA All-State Male Chorus Organizer (2007–2008); TMEA All-State Mixed Choir Section Leader (2006); TMEA Area C Vocal Chair (2005); TMEA Region 25 Vocal Chair (1999–2001); TMEA Region 24 Vocal Chair (1998–1999); TMEA Region Choir Organizer (2012, 2013, 2014); TMEA Region & Area Audition Site Host; TMEA Region Choir Clinician (various Region MS and HS throughout the state). Other Offices and Positions Held: Adjunct Professor of Music, University of Texas–Dallas (2013–present); Director of Music, St. James Episcopal Church–Dallas (2007–present); TCDA Ways & Means Committee (2000); Southwest ACDA Convention Planning Committee (2004); Multicultural/ Ethnic Music Chair–Southwest ACDA (2003–2004); Coeditor of Common Times Magazine for Southwest ACDA (2003–2005); SWACDA Ways & Means Committee (2004); UIL Concert & Sightreading Contest Host. Professional Affiliations: TMEA, NAfME, TMAA, ACDA, SWACDA, TCDA, PTA (Lifetime Member), American Choristers Guild. Honors/Accomplishments: TMEA Invited Performing Choir–Plano Senior A Cappella Women (2009); National ACDA Invited Performing Choir–Plano Senior A Cappella Mixed (2013); National ACDA Invited Performing Choir–Plano Senior A Cappella Women (2007); National MENC Invited Performing Choir–Plano Senior A Cappella Mixed (2005); Missouri All-State

Honor Mixed Choir Clinician(2014); SWACDA Convention Choral Clinic Presenter; TCDA Convention Choral Clinic Presenter (1999, 2001, 2005); 13 years as a member of the Moses Hogan Chorale; Teacher of the Year Award–T.H. Williams HS (2000); Teacher of the Year Award–Plano Senior HS (2008); Plano ISD Teacher of Excellence Award (2008); Plano ISD Diversity in Leadership Award (2014); Plano ISD Educational Foundation Award( 2012); Texas Congress of Parents and Teachers–Honorary Life Membership; American Choristers Guild, Convention Clinician (2015); Contributing choral author for Brother, Sing On!–Conducting the Tenor-Bass Choir and for Conducting Women’s Choirs–Strategies for Success. Statement: It is with great excitement, enthusiasm, and humility that I accept your nomination to be our next TMEA Vocal Vice-President. I have enjoyed serving the TMEA Vocal Division consistently in various leadership roles for the past 16 years. I believe that a life given to music is a life given to service. Serving the vocal membership of TMEA has afforded me the opportunity to meet and work alongside our state’s dedicated and talented choral educators. I share the joys of our successes and our ongoing search for new ideas and fresh approaches to enhance the growth and further development for our choral students and our membership. As a teacher in this profession, I have seen and experienced firsthand the amazing effect of choral music education in the lives of our students and the global community. I am keenly aware of the necessity for the TMEA Vocal Division to remain vigilant and at the forefront of choral music education for secondary Texas schools and throughout the United States. I will continue working hard to ensure that choral music of the highest quality is selected for the Texas All-State Choirs and that the choir members are afforded the chance to work with our nation’s leading choral conductors. I will engage more activity among our middle school choral programs, whose work is the backbone of our organization, and encourage more high school singers to participate in the All-State audition process. I will work in close partnership with our state’s universities and colleges to motivate and encourage more choral music education enrollment, thus enlarging our profession’s membership. I believe that investing in our choral students is an investment in our future. If elected, I will passionately accept my role as mentor, advocate, and representative for all Texas choir directors, small school or large, rural or urban. I believe that every choral educator deserves service and interaction from the TMEA Board. My service to the TMEA Vocal Division has given me an intimate, hands-on experience and understanding of the complexities of planning a successful convention as well as managing the All-State audition process, which is essential for the Vocal Vice-President. With a passionate zeal, enthusiasm, and love, I will continue to give back to this amazing organization that has given so much to me. I ask for your vote.

Attend Your Division Business Meeting Be informed and vote! Southwestern Musician | January 2015 13

Vocal Admissions and Scholarship Auditions On-Campus Auditions March 7- 8, 2015 Application Deadline: Extended to February 20th

Voice Outreach Auditions Saturday, February 28, 2015 Dallas–Ft. Worth area Colleyville-Heritage High School Register via email: audition@central.uh.edu Application deadline: February 20th The University of Houston, located in a vibrant, arts-centric city, offers one of the strongest vocal music education and vocal performance programs in the country. 713·743·3009 www.music.uh.edu

Committed to becoming an All-Steinway School.

Robert Horton

offices, I have served as an All-State section leader, Region cliniPresent Position: Head Choir cian, ballot counter, and, often, riser mover. Director, The Woodlands HS I understand the logistics necessary to make TMEA function (2004–present). well so that it best serves the students and teachers involved in the Previous Positions: 9–10 Choir audition processes and convention performances. Director, The Woodlands HS (2001– I have had three choirs selected to perform at a TMEA conven2004); Choir Director, McCullough tion: a junior high girls choir in 1996, a junior high boys choir JH (1996–2001); Choir Director, York in 1998, and a high school girls choir in 2013. Additionally, our JH (1992–1996); Choir Director, Klein chamber choir has twice won the madrigal festival, and the varsity Intermediate (1991–1992); General treble choir that I direct with associate Lynn Bull was selected to Music Teacher, Greenwood Forest Elementary (1990–1991). perform at SWACDA in 2014. I have helped 96 students become Education: Bachelor of music education, Sam Houston State All-State choir members and have also been invited to be a Region University (1990); master of music (conducting), Sam Houston conductor or UIL judge in 20 Regions of Texas. State University (2005); doctorate of educational leadership, Sam My leadership experience in choral music has reached across the Houston State University (2012). TMEA Offices and Positions Held: Region 9 Vocal Chair (2004–2006, 2012– 2014); Region 9 MS Vocal Coordinator (1999–2002); Area D Vocal Chair; All-State Mixed Choir Organizer; All-State Choir Section Leader; Ballroom A Venue Manager; Vocal Clinic and Convention Coordinator; Audition Host; Region Clinic Host; TMEA Elections Committee; TMEA Facilities Committee. Other Offices and Positions Held: President, Texas Choral Directors Association (2007–2009); MS/JH Vice-President, Texas Choral Directors Association (2001–2003); Site Chair for Southwest ACDA (2012); Site What’s the difference between a music program at a big school and us? You. Chair for National ACDA (2013). At Texas Wesleyan, our professors will give you professional instruction that Professional Affiliations: TMEA, develops your gifts and gives you the individual guidance and support you need TCDA, ACDA, ATPE, MOWT. to be your best. Whether its performance or education — and anything else — Honors/Accomplishments: Teacher of you will thrive here. the Year (2000); TMEA Invited Choir (1996, 1998, 2013); SWACDA Invited Choir (2014); All-State Conductor, Louisiana (2004, B.M. IN MUSIC EDUCATION SCHEDULE AN AUDITION TODAY: 2009). Instrumental Nov. 15, 2014 Personal: Married 24 years to Connie Vocal Jan. 24, 2015 Horton (JH Choir Director, three-time All-Level Certiﬁcation Feb. 28, 2015 invited TMEA choir director); father of two March 28, 2015 All-State singers Andrea, 21, and Ben, 17. B.A. IN MUSIC Music Associate at the Woodlands UMC Concentrations: since 1996. Performance Statement: I am in my 25th year of Composition teaching in Texas. I earned a master’s degree in conducting and a doctorate in educational Music History leadership. I have taught vocal and choral Conducting music at the elementary, junior high, and high school levels. At every level, I have sought opportunities to serve my colleagues TO SCHEDULE AN AUDITION OR and their students. I have served two terms as INFORMATION SESSION, CONTACT: junior high vocal coordinator and two terms 817-531-4992 as high school vocal chair in Region 9, and I music@txwes.edu have twice been Area Chair. At the TMEA convention, I have served as clinic coordinator and equipment manager, performing 1201 Wesleyan Street | Fort Worth, Texas 76105 | 817-531-4444 | txwes.edu venue manager, and Mixed Choir organizer. In addition to these elected and appointed

THE RIGHT KEYS. THE RIGHT PROGRAM.

TXWES.EDU/MUSIC

Southwestern Musician | January 2015 15

Be a Rising Star in the

School of Music Auditions: November 1, 2014 January 31, 2015 February 21, 2015 March 7, 2015 Request an audition at music.txstate.edu scholarships and assistantships available This advertisement made possible through the Frances Reuser Schneider Endowment at Texas State.

Texas State University is a tobacco-free campus. Texas State University is an equal opportunity educational institution.

state, having served TCDA as Middle School/Junior High VicePresident, as well as President. Further, I have served as a site chair for Southwest Division and National ACDA conventions. So, why elect me? Because of my experience in TMEA leadership? Because of my success as a choral director? Because of my understanding of convention logistics? All these are valuable assets for a state Vocal Chair. I am seeking the opportunity to serve my colleagues because I like people, and I like to work. I have full support of my family and coworkers in this endeavor. I want to see the All-State process continue to be a pinnacle musical experience for the almost 15,000 students who pursue it each year, as well as to see the small school All-State choir be a truly wonderful musical experience for additional students. I want to work with middle school directors to ensure that thousands of students who begin their choral careers as middle school singers have the best possible experiences, to plan relevant professional development opportunities, and select a variety of choirs to perform. The TMEA convention is unique in the world of music, and I want to raise the high standards of excellence we have created in Texas. I would like to serve as your State Vocal Chair. If you feel that I am the best candidate to be our next State vocal chair, please consider electing me.

Elementary Vice-President Candidate Juli Salzman

Present Position: Elementary Music Specialist, Northside Elementary, Angleton ISD (2006–present). Previous Positions: Elementary Music Specialist, East Baton Rouge Parrish Schools (2000–2005). Education: Bachelor of arts, Arkansas Tech University (1993); master of music education, Louisiana State Univ (2004). TMEA Offices and Positions Held: Region 17 Elementary Chair (2007–present); Elementary Division Volunteer (2006– present); Elections Committee (2009, 2011). Other Offices and Positions Held: Red Stick Chapter AOSA Chapter President 2004–2005; Director of Angleton ISD Elementary Music Camp (2013–present); Angleton ISD Technology Trainer (2006–present); Lead Specials Teacher, Northside Elementary; Lead Elementary Music Teacher, Angleton ISD. Professional Affiliations: TMEA, AOSA, OAKE, TCEA, TI:ME, SAIL-On. Honors/Accomplishments: Cofounder, Red Stick Chapter AOSA. Personal: My husband John and I have four children, James, Katie, Trenady, and Justin, and one grandson, Landon. I also am the very proud momma of an African Grey parrot, Guideaux (d’Arezzo). He is my classroom pet and the solfège rock star of my school. In my spare time, I enjoy genealogy and teaching life guarding and CPR for the American Red Cross and Boy Scouts. Statement: It is with great pride that I accept the nomination for TMEA Elementary Division Vice-President. Over the

past seven years, I have thoroughly enjoyed serving TMEA in the capacity of Region 17 Elementary Chair by offering professional development opportunities to my colleagues in my region. As Elementary Vice-President, I would remain very passionate about the issues that face elementary music teachers in the state of Texas. In my career, I have experienced teaching at multiple schools a-la-carte, with class sizes over 60, pullouts for kids who needed to complete their homework or needed tutorials, the threat of a conference period before school hours, and a schedule where I had to choose between a full conference period and lunch. I am fortunate now to have a principal and district administrative team who are very supportive of elementary music. However, I realize there are still many teachers in Texas who struggle with these issues and more. Having experienced these challenges and diplomatically and professionally worked to resolve them, I feel more prepared to help other teachers through the process of making positive changes in their situations. The Texas convention is the largest music education association gathering of its kind in the nation. The skills involved in coordinating such a large event include organization, punctuality, and people skills. As a professional meeting planner at LSU prior to earning my master’s degree, I gained behind-the-scenes experience in planning large conventions for both my university and the State Board of Education. During that time, I developed my interpersonal, time management, and organizational skills into some of my greatest strengths. The Elementary Division has a strong history of bringing highquality performing groups and clinicians to TMEA each February. I intend to uphold these standards by encouraging more groups to submit materials, publicizing the selection criteria, and then sharing positive feedback to groups who apply to perform, whether or not they are chosen. Finally, I hope to find new ways to showcase the outstanding elementary music teachers we have in our state. Through their workshops, choral performing groups, and leadership, there are many Texas elementary music specialists who deserve both our gratitude and recognition. I believe a program needs to be established to accomplish this. We have been blessed with many quality leaders in the Elementary Division. Their example has set our high standards in music education performance, advocacy, and professional development. I am prepared and enthusiastic about embracing the tasks of the TMEA Elementary Division Vice-President and am committed to devote the time, energy, and compassion necessary to fulfill this mission. Thank you for your consideration.

Division Business Meetings Thursday, 5:30 PM Band: Orchestra: Vocal: Elementary: College:

Ballroom B CC 206 Ballroom A Ballroom C1 CC 213

Southwestern Musician | January 2015 17

SPRING 2015

music scholarship and entrance AUDITIONS Saturday, January 24, 2015 Saturday, February 28, 2015 TEXAS WOMANâ&#x20AC;&#x2122;S UNIVERSITY DEPARTMENT OF MUSIC AND DRAMA Undergraduate Degrees in Music Music Education, Music Therapy, Performance, Liberal Arts

Graduate Degrees in Music Music Education, Music Therapy, Pedagogy, Performance

For more information contact the TWU Department of Music and Drama at 940-898-2500 or music@twu.edu. Department of Music and Drama P.O. Box 425768, Denton, TX 76204 www.twu.edu/music

84th legislative session: What’s in store for us? B Y

R O B E R T

F L O Y D

n January 13, the Texas Legislature officially comes to Austin and begins a 140-day period of meetings, hearings, debate, and ongoing efforts to make Texas a better place to live, work, and raise one’s family than it was before they came to town. During that time over 8,000 bills will be filed, of which approximately 25% will be signed into law. The vast majority will get at most a token hearing in committee and will never be heard from again. Per the constitution, the only duty the legislature has to fulfill prior to the gavel coming down at the end of the session is to pass a balanced budget. Any other laws passed are ultimately viewed in the eyes of the majority of the members to better the economy, public education, or make Texas a safer place in a myriad of ways. Actually, when you search the bill filings by topic, there are over 1,300 possible subject areas, of which over 80 are education-related. The 31 Senators and 150 House members have a daunting task ahead of them. So what do we foresee happening of consequence during this session that may affect public education in general and arts education specifically? As I write this in December, it is a difficult question to answer. Certainly school funding will be a huge issue since there are those in leadership positions who believe putting more state dollars into schools is not the answer to improving public education. While much of the funding cuts from 2009 have been restored, we are not yet back to the funding levels that preceded the economic downfall seven years ago, and each year the state is growing by the student population of a Fort Worth ISD. Assuredly there will be a continued emphasis for vouchers and for charter schools, and any such change could negatively impact public education funding. One area of focus for TMEA and its lobbyists is to ensure the Permanent

EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES January 10—Area Band and Vocal auditions. January 12–13—All-State housing entry. January 21—Deadline to cancel a convention hotel reservation without penalty. January 22—TMEA convention online preregistration deadline. February 11–14—TMEA Clinic/Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.

Hopefully you are already working at the local level to obtain funds for music materials that support the new TEKS that drive curriculum beginning the 2015–2016 school year. Southwestern Musician | January 2015 19

Texas Lutheran University School of Music

SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music. For speciﬁc qualiﬁcations for each award, visit www.tlu.edu/music, or scan the QR code at the bottom right with your smartphone.

SCHOOL OF MUSIC DEPARTMENT HEADS

SCHOLARSHIP AUDITION DATES:

Beth Bronk Director of Bands bbronk@tlu.edu

Saturday, January 17, 2015 Sunday, February 22, 2015 Saturday, March 28, 2015 Saturday, April 25, 2015

10:00 a.m. to 12:00 p.m. 1:00 p.m. to 3:00 p.m. 1:00 p.m. to 3:00 p.m. 1:00 p.m. to 3:00 p.m. BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION BACHELOR OF MUSIC IN PERFORMANCE BACHELOR OF ARTS IN MUSIC Accredited by the National Association of Schools of Music

Douglas R. Boyer Director, School of Music and Director of Choral Activities dboyer@tlu.edu 830.372.6869 or 800.771.8521

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu Eric Daub Director of Piano Studies edaub@tlu.edu Eliza Thomason Director of Strings ethomason@tlu.edu

School Fund dollars sent over to the legislature from the State Board of Education—over one billion dollars each year of the biennium—be budgeted to fund instructional materials and technology. We do not want to see this funding simply be placed into the general budget to pay for other non-education-related costs. By law, 50% of those dollars must go to instructional materials and technology, but that should be the absolute minimum. Hopefully you are already working at the local level to obtain funds for music materials that support the new TEKS that drive curriculum beginning the 2015– 2016 school year. The more money the legislature earmarks for the Instructional Materials Allotment (IMA), the better your chances are to get the funds you need for these new materials. Another priority will be to monitor any proposed changes to HB 5, the education reform bill of last session, that defines the new graduation programs and test preparation and remediation pull-out language. Historically, when major education reform language is passed, there are minimal changes other than possible cleanup language in the following session. I anticipate that to be the case this spring. Most of the disappointments and issues with HB 5 implementation are triggered by local ISDs making decisions to retain or add additional graduation requirements, thereby eroding the flexibility and choice for students that were the driving philosophy behind HB 5. Since law defines minimums and not maximums in terms of graduation requirements, local districts have the authority to make such decisions, and thus such concerns must be addressed at the local level. TMEA is already involved in informal meetings at the capitol to discuss the possible elimination of the bifurcation of the required curriculum into foundation and enrichment subjects. We have discussed this issue for many years, but with the new graduation programs that recognize endorsements in enrichment subjects such as fine arts, languages other than English, and career and technology education, it raises the question of why our curriculum is divided into the haves and the have-nots. It simply is no longer a defensible position to take, and it is the logical time to have this discussion. Obviously foundation subjects should

Electronic Voting in Place for President-Elect Electronic voting will be in place during the TMEA Clinic/Convention for the office of President-Elect. After the conclusion of the Thursday morning general session, where nominations may continue to be made from the floor, the ballot will open online for active, retired, and honorary life members to vote. Clinic/Convention attendance is not mandatory. The election will be completed by the second general session on Friday. Details of the process will be posted on the TMEA website and also shared by email three weeks prior to the opening day of the convention. Go to page 8 to learn how you can prepare to receive your ballot. continue to be a cornerstone of a well-balanced education, but rigorous enrichment subject study plays a more prominent role in preparing students to be college and career ready than ever before. The wall should come down! There are other areas of concern at various stages of discussion with either members of the legislature or the State Board of Education. Do we need to more clearly define criteria for community and student engagement evaluations? Are community-based fine arts programs a threat to support for campus-based fine arts programs? Should there be arts-centered performance acknowledgements such as portfolios or juried recitals under the new Foundation graduation program? Should

UIL Concert and Sightreading evaluation be recognized for its educational value and not as a “contest” and therefore fall outside the confines of no-pass-no-play? Should the list of CTE courses that meet the fine art graduation requirement be expanded as the CTE TEKS Review team has proposed? All the above are important questions currently under discussion with appropriate decision makers, and the answers could significantly impact our programs. If you have strong opinions on any of the issues, please email me at rfloyd@tmea.org to share your perspective. The Executive Board represents you, and your opinions are indeed important.

Outstanding Artists, Outstanding Teachers BRASS STUDIES FACULTY (Left to Right) Jimmy Clark-Trombone, Dallas Opera Orchestra, Dallas Winds Daniel Kelly-Trumpet, Dallas Winds Chris Oliver-Trombone, Dallas Symphony Orchestra Jeff Baker-Tuba and Euphonium, Dallas Opera Orchestra Mike Morrow-Horn, Dallas Opera Orchestra, Dallas Winds Brian Davis-Euphonium, Dallas Winds

tamuc.edu/Music

Southwestern Musician | January 2015 21

Instructional Materials Showcase â&#x20AC;˘ EXHIBIT HALL A THURSDAY 11:30 AM

1:00 PM

2:30 PM

4:00 PM

BOOTH 1

McGraw-Hill Education

Click, Sing, Play with McGraw-Hillâ&#x20AC;&#x2122;s Music Studio 2016 for General Music Pre-Kâ&#x20AC;&#x201C;8

McGraw-Hillâ&#x20AC;&#x2122;s Music Studio presents Voices in Concert for 6â&#x20AC;&#x201C;12 Choir

Click, Sing, Play with McGraw-Hillâ&#x20AC;&#x2122;s Music Studio 2016 for General Music Pre-Kâ&#x20AC;&#x201C;8

McGraw-Hillâ&#x20AC;&#x2122;s Music Studio presents Voices in Concert for 6â&#x20AC;&#x201C;12 Choir

Click, Sing, Play with McGraw-Hillâ&#x20AC;&#x2122;s Music Studio 2016 for General Music Pre-Kâ&#x20AC;&#x201C;8

BOOTH 2

Quaver Music.com

TEKS and the Quaver Kâ&#x20AC;&#x201C;5 Curriculum

Quaverâ&#x20AC;&#x2122;s Kâ&#x20AC;&#x201C;5 Curriculum: Customizable and Easy to Use!

TEKS and the Quaver Kâ&#x20AC;&#x201C;5 Curriculum

Quaverâ&#x20AC;&#x2122;s Kâ&#x20AC;&#x201C;5 Curriculum: Customizable and Easy to Use!

TEKS and the Quaver Kâ&#x20AC;&#x201C;5 Curriculum

BOOTH 3

Silver Burdett/ Pearson

Silver Burdett Interactive Music: Click! Engage! Learn!

BOOTH 4

GIA Publications

Awakening the Sleeping Giant: The Development of a Positive, Productive Student Leadership

Habits of a Successful Wind Ensemble

Habits of a Successful Band Director

Jump Right In to Developing Foundational Music Skillsâ&#x20AC;&#x201D;Grades Kâ&#x20AC;&#x201C;2

Jump Right In to Developing Studentsâ&#x20AC;&#x2122; Musical Independence: Grades 3â&#x20AC;&#x201C;5

BOOTH 5

Patti Dewitt, Inc.

Music Magic

The Singing Musician

Music Magic

The Singing Musician

Music Magic

BOOTH 6

Hal Leonard Corporation

Essential Elements/Essential Musicianship Textbooks/Tech/ Resources (Gds 6â&#x20AC;&#x201C;12)

BOOTH 7

MakeMusic, Inc.

SmartMusic as a Textbook in the Band Hall

SmartMusic as a Textbook in the Elementary Music Classroom

Getting Started with SmartMusic

SmartMusic as a Textbook in the Orchestra Program

SmartMusic as a Textbook in the Choral Classroom

BOOTH 8

Learn more about materials available for purchase during the adoption process. Each company will present materials during the session times below. See the convention schedule for full details.

Company 10:00 AM

Themes & Variations

Sing, Dance, and Musicplay!

22 Southwestern Musician | January 2015

Instructional Materials Showcase â&#x20AC;˘ EXHIBIT HALL A FRIDAY 11:30 AM

1:00 PM

BOOTH 1

McGraw-Hill Education

Click, Sing, Play with McGraw-Hillâ&#x20AC;&#x2122;s Music Studio 2016 for General Music Pre-Kâ&#x20AC;&#x201C;8

Click, Sing, Play McGraw-Hillâ&#x20AC;&#x2122;s with McGraw-Hillâ&#x20AC;&#x2122;s Music Studio presents Music Studio 2016 Voices in Concert for for General Music 6â&#x20AC;&#x201C;12 Choir Pre-Kâ&#x20AC;&#x201C;8

McGrawHillâ&#x20AC;&#x2122;s Music Studio for Secondary General Music Grades 9â&#x20AC;&#x201C;12

BOOTH 2

Quaver Music.com

Quaverâ&#x20AC;&#x2122;s Kâ&#x20AC;&#x201C;5 Curriculum: Customizable and Easy to Use!

TEKS and the Quaver Kâ&#x20AC;&#x201C;5 Curriculum

Quaverâ&#x20AC;&#x2122;s Kâ&#x20AC;&#x201C;5 Curriculum: Customizable and Easy to Use!

TEKS and the Quaver Kâ&#x20AC;&#x201C;5 Curriculum

Quaverâ&#x20AC;&#x2122;s Kâ&#x20AC;&#x201C;5 Curriculum: Customizable and Easy to Use!

BOOTH 3

Silver Burdett/ Pearson

Silver Burdett Interactive Music: Click! Engage! Learn!

BOOTH 4

GIA Publications

The Recorder: A Foundation for a Comprehensive and Creative Instrumental Music Program

First Steps in Music: Vocal Development

First Steps in Music: Movement Development

Tuneful, Teaching Beatful, Artful Singing Literacy Through and Movement for Conversational SolfĂ¨ge Upper Elementary and Middle School

BOOTH 5

Patti Dewitt, Inc.

Music Magic

The Singing Musician

Music Magic

The Singing Musician

Music Magic

BOOTH 6

Hal Leonard Corporation

Essential Elements/Essential Musicianship Textbooks/Tech/ Resources (Gds 6â&#x20AC;&#x201C;12)

BOOTH 7

MakeMusic, Inc.

SmartMusic as a Textbook in the Band Hall

SmartMusic as a Textbook in the Elementary Music Classroom

Getting Started with SmartMusic

SmartMusic as a Textbook in the Orchestra Program

SmartMusic as a Textbook in the Choral Classroom

BOOTH 8

Learn more about materials available for purchase during the adoption process. Each company will present materials during the session times below. See the convention schedule for full details.

Company 10:00 AM

2:30 PM

4:00 PM

Themes & Variations

Sing, Dance, and Musicplay!

Southwestern Musician | January 2015 23

It’s time to learn B Y

A N D Y

S E A L Y

ast year at the TMEA convention I arrived late for a double reed clinic. After disrupting the proceedings by merely opening the door, I discovered that, predictably, there was standing room only. I eased myself along the back wall and up one of the sides. After taking up my new station along the wall I took out my trusty legal tablet and began taking notes in an attempt to brush up on my bassoon chops. From this slightly elevated vantage point I noticed how unbelievably young the attendees were and, as the clinic progressed, also noticed I was the only person in the entire room using pen and paper—but that is a subject for another time. As I looked across the room, I found it encouraging that so many young teachers were actively engaged in the topic. Filing out of the room later, I was approached by a colleague from another part of the state. He smiled, extended his hand and heartily announced, “I had no idea you old guys still even went to clinics.” In retrospect, I’m not sure which was more disconcerting—the fact that my colleague was surprised to see me at a clinic or the fact that he thought I was old. Regardless of our age or experience, the TMEA Clinic/Convention offers the best possible concentration of professional development opportunities available to music educators. Providing meaningful fine-arts focused professional development can be frustrating for campus administrators and us. Despite the fact that some educators have to travel with very little or no district financial support, attendance and active participation in the TMEA Clinic/Convention is one of the best strategies to fend off teacher isolation and burnout. Our annual convention provides incredible opportunities for lifelong learners and it reinvigorates our passion for the craft. Each year we are so fortunate to have many of our profession’s finest pedagogues presenting clinics, demonstrating best practices, and sharing band hall tips with the membership. The opportunity to be inspired by the All-State conductors and be amazed by the tremendous musicianship of our students is unsurpassed. The number of showcase performances continues to increase, as does the number of new product, technology, and software demonstrations. Plus, there is no better opportunity to network with our colleagues about

BAND NOTES IN MEMORIAM WAYMON BULLOCK May 27, 1936–November 26, 2014

IMPORTANT DATES January 10—Area Band and Vocal auditions. January 12–13—All-State housing entry. January 21—Deadline to cancel a convention hotel reservation without penalty. January 22—TMEA convention online preregistration deadline. February 11–14—TMEA Clinic/Convention in San Antonio. March 1—Honor Band entry deadline for classes 2C, 3C, 3A, 5A. March 4–5, 2015—Arts Education Days at the Capitol.

Attendance and active participation in the TMEA Clinic/Convention is one of the best strategies to fend off teacher isolation and burnout. Southwestern Musician | January 2015 25

thank them for their support of our organization and of music education in Texas! This month, I’m pleased to preview our exciting lineup of invited collegiate ensembles. Be sure to include their concerts in your personal schedule.

Texas Christian University Jazz Ensemble

solutions to the challenges we face in the rehearsal hall! Our annual convention is a terrific example of a Peer Learning Community in action. And, I bet you’ll even see some old guys, too. 2015 TMEA Clinic/Convention Update Be sure to preregister online by January 22. The convention schedule is now available online. Create a custom-

ized convention schedule designed to take maximum advantage of the daily convention opportunities. This year, we expect you to be able to transfer that data to your convention mobile guide (keep checking www.tmea.org/convention for more about that new feature). Be sure to make time to visit the exhibit halls and check out all our industry partners have to offer, and while you’re there,

Texas Christian University Jazz Ensemble Joe Eckert, Director The TCU Jazz Ensembles have appeared in concert with many notable international jazz artists, including Hank Levy, Don Menza, Urbie Green, Ed Shaughnessy, Pete Christlieb, Ashley Alexander, Frank Mantooth, Roger Pemberton, Roy Hargrove, Carl Fontana, Jon Faddis, Shelly Berg, Rich Matteson, Leon Breeden, John Fedchock, Patrick Williams, Marvin Stamm, Louis Bellson, Clark Terry, Tony Campisi, Peanuts Hucko, the Hal Galper Trio, Chris Vadala, Conte Candoli, Vince DiMartino, Bill Watrous, Allen Vizzutti, Carl Saunders, Wayne Bergeron, Andy Martin, Randy Brecker, and Peter Erskine. This year’s TCU Jazz Festival will feature renowned clarinetist Paquito D’Rivera. The annual event has become one of the most

CONCERT BAND High School & Middle School S

PERCUSSION Symphonic, Marching & Latin

SASi Drum Major, Leadership & Color Guard

26 Southwestern Musician | January 2015

When Mozart was writing his horn concertos

…

…Transylvania was already educating young pioneers, including Stephen F. Austin, founder of Texas.

Mozart lives on through his glorious music. Austin lives on in the spirit of the Lone Star State. Transylvania still prepares young people for self-aware, productive lives.

Music at Transylvania. Mozart, and a lot more.

Disclaimer. This isn’t really Mozart. Or Stephen F. Austin, for that matter. It’s Alex Yaden (music education, Class of 2013), who has a great teaching job in metro Atlanta. We don’t know if he goes to work looking like this, but we wouldn’t put it past him. www.transy.edu/music

prestigious jazz festivals in the state. In addition to the TMEA convention, other notable performances include the Mobile Jazz Festival, Longhorn Jazz Festival (Austin), Wichita Jazz Festival, North Texas Jazz Festival, IAJE Texas Chapter Conference, the JEN National Conference and the UNC/Greeley Jazz Festival. The band has toured internationally, performing in the former Soviet Union, Japan, Austria, Switzerland, Hungary, Denmark, Finland, and Italy. Thus far, the TCU Jazz studies program has produced 20 albums and CDs. In 1993, DownBeat magazine recognized the TCU Studio Jazz Orchestra with a Best Performance Award. In 1995, the band was featured on the Best of College Jazz produced by the Sony Corporation and ATA (America Trans Airline). In 1999, the program was recognized by DownBeat magazine as one of the top 50 collegiate jazz programs in the United States. Three jazz ensemble CDs (Classic Mix, Dream On, and Leap Frog) were recognized by IAJE as one of the â&#x20AC;&#x153;Top-10â&#x20AC;? College CDâ&#x20AC;&#x2122;s of 2002, 2004, and 2006.

Lamar University Wind Ensemble Scott Deppe, Director The Lamar University Wind Ensemble is the premier concert band of the Mary Morgan Moore Department of Music. The ensemble consists of students representing numerous disciplines, including the Texas Academy of Leadership in the Humanities high school program. The Lamar Wind Ensemble has enjoyed a rich history of musical excellence under the batons of Charles A. â&#x20AC;&#x153;Peteâ&#x20AC;? Wiley, James M. Simmons, Barry W. Johnson, Scott A. Weiss, and Bradley Kent. The Lamar University Wind Ensemble will be making its fourth TMEA appearance, and its first appearance under the direction of Scott Deppe, who joined the Lamar faculty as director of bands in 2008. He also serves as a member of the graduate faculty and teaches undergraduate conducting and instrumental methods courses. In addition to its TMEA performances, the Lamar University Wind Ensemble previously performed at the WIBC conference and at the CBDNA Southwest Division convention. Recent and upcoming guest artists and clinicians include Ney Rosauro, David Maslanka,

and Kevin Sedatole. The Lamar University Wind Ensemble performance at TMEA will feature guest conductors Barry W. Johnson (retired) and Eric Shannon, director of athletic bands, as well as guest artist Master Sergeant Scott Gearhart, trumpet soloist, â&#x20AC;&#x153;The Presidentâ&#x20AC;&#x2122;s Ownâ&#x20AC;? Marine Band. Meadows Wind Symphony Jack DeLaney, Director The Meadows Wind Ensemble of Southern Methodist University has performed throughout the United States and Europe. They have earned the acclaim of leading composers for performances that are consistently dynamic and thoughtful, both in concert and on recordingâ&#x20AC;&#x201D; most recently including William Bolcom, Gunther Schuller, Augusta Read Thomas, and Eric Ewazen. Composed of the finest wind, brass, and percussion students from the Meadows School of the Arts, the Wind Ensemble performs a broad and diverse range of literature, and regularly augments its instrumentation to include strings to access the repertory of the modern chamber orchestra. Frequent collaborations with the Meadows Dance

Six reasons to join Texas Jazz Educators Association We are looking for active members who not only have a stake in making sure that jazz is a continued part of our past, present and future, but also members that have a passion for making sure that jazz education never leaves our schools.

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If youâ&#x20AC;&#x2122;re interested in a new membership in TJEA, please email webmaster@tjea.org for a membership application and payment link.

Jazz Director Symposiums â&#x20AC;&#x201C; TJEA hosts several jazz director symposiums each school year. These symposiums are designed for all who desire to increase their understanding of and competency in jazz education. These V\PSRVLXPV VHHN QRW RQO\ WR ÂżOO WKH NQRZOHGJH JDS PDQ\ WHDFKHUV IDFH EXW also to provide an excellent supplemental learning opportunity for everyone. TJEA Newsletter â&#x20AC;&#x201C; You will receive a TJEA quarterly newsletter with articles, news and information about jazz in your community. School Grant Program â&#x20AC;&#x201C; Each year TJEA awards up to ten schools grant money to enhance and grow their jazz program. It is the goal of this program to get money and support into the school music programs to help to facilitate the learning, performing and growth of the Americaâ&#x20AC;&#x2122;s classical music, jazz. TJEA is a Jazz Information Resource â&#x20AC;&#x201C; As a member of TJEA, you will have access to a comprehensive list of jazz artists, concerts, festivals, camps, clinicians and a resource team in your area. Support Jazz Education â&#x20AC;&#x201C; Your dues will help TJEA to fund the many programs that support jazz teaching and learning in Texas. Your dues will also help us to continue to support and be involved in the music organizations in Texas including TMEA, TBA, TODA and TCDA. Become a leader in Jazz Education â&#x20AC;&#x201C; By joining TJEA, you will have a voice and a leadership role in the continued enhancement of jazz teaching and learning in our state. Active members have the opportunity to make their voices heard, share ideas and successes, and become a part of a network of jazz educators in your community.

Southwestern Musician | January 2015 29

Company have further broadened the artistic range of the ensemble. Texas A&M University Wind Symphony Timothy Rhea, Director The Wind Symphony is the top concert organization from within the band department of Texas A&M University. Approximately 1,000 students participate in the band program each academic year, with wind symphony membership chosen through a competitive audition process open to the current A&M student body of 50,000. During Timothy Rhea’s tenure,

the wind symphony has given numerous notable performances, including at the conventions of TMEA, the College Band Directors National Association, the American Bandmasters Association, as well as at the Midwest International Band & Orchestra Clinic and the Western International Band Clinic, at Carnegie Hall, and on five concert tours to Europe. Wind symphony programming ranges from early small ensemble works to the most recent 21st-century compositions for large ensemble. A balance of standard literature, selected quality transcriptions,

The Institute for Music Research at the University of Texas at San Antonio presents

Dr. Betty Anne Younker Intersections of Research and Practice in the Music Philosophy, Psychology, and Education Worlds

DONALD HODGES LECTURE SERIES DONALD

The Donald Hodges Lecture Series features distinguised research presentations in the areas of Music Psychology, Music Learning and Music Technology. The series provides opportunities for students, faculty and community members to engage in discourse with the people doing cutting edge research in these areas. Dr. Younker is Dean and Professor of Music Education of the Don Wright Faculty at the University of Western Ontario. Her research interests include critical and creative thinking within the disciplines of philosophy and psychology. Publications include articles in national and international journals, and chapters in several books. Paper presentations have occurred at state, national, and international conferences.

MARCH 28th 2015 at 7:00 PM free admission 30 Southwestern Musician | January 2015

utsa faculty center assembly room university of texas at san antonio contact: susan.dill@utsa.edu 210.458.5322

and marches is included on all concerts. The wind symphony has released over 20 recordings internationally with Mark Records. Timothy Rhea, Director of Bands & Music Activities, has conducted the wind symphony since 1995. Rhea currently serves as Vice-President of the American Bandmasters Association. For their 2015 TMEA concert, the wind symphony will perform Frank Ticheli’s Concerto for Saxophone, with Timothy McAllister, Professor of Saxophone at the University of Michigan. Texas State University Wind Symphony Caroline Beatty, Director The Texas State University Wind Symphony consists of the most outstanding wind and percussion musicians at the university selected by audition. The ensemble is dedicated to providing students and audiences with compelling performances of the finest wind band repertoire. While celebrating the traditional and core repertoire of the wind band, the Texas State Wind Symphony is also involved in commissioning projects and premieres of newly minted compositions for the medium. Recent premiere performances include Margaret Brouwer’s Pulse, Ryan Chase’s Bad Voodoo, and David Maslanka’s Symphony No. 9. The ensemble actively collaborates with composers and artists through residencies and recording projects including recent events with Margaret Brouwer, John Mackey, David Maslanka, Merlin Patterson, Steven Bryant, Jonathan Newman, David Heckendorn, James Keene, and Daniel Montoya. The Wind Symphony is under the direction of Caroline Beatty, who joined the faculty in 2007. As director of bands, Beatty’s responsibilities include providing administration and oversight of the university band program, conducting the Wind Symphony, and teaching conducting and band literature. Additionally, during the 2014–2015 academic year, she is serving as conductor of the Texas State Symphony Orchestra. Over the years, the Texas State Wind Symphony has been selected to perform at numerous regional and national events held by TMEA, the College Band Directors National Association, the College Music Society, and the Music Educators National Conference.

Lamar University Wind Ensemble

Meadows Wind Symphony

Texas A&M University Wind Symphony

Texas State University Wind Symphony Southwestern Musician | January 2015 31

2015 Jan. 30-31 â&#x20AC;˘ Feb. 27-28 â&#x20AC;˘ March 6-7, 27-28

936.468.4602

Practice Like a Pro by Robert A. Duke, Sarah E. Allen, Carla D. Cash, and Amy L. Simmons

usicians learn when we practice. Sometimes we learn in ways that are advantageous. Sometimes not so much. In music, as in many domains of human skill development, we often presume that practice is inevitably a good thing. Students often hear: Want to get better? Practice. Oh. You’re already practicing? Then practice more. But what exactly do we mean by practice? Repeating something over and over until it gets better? Singing on solfège? Bowing without the left hand? Starting with the metronome on 11? It’s certainly true that effective practice can improve skills. But lousy practice can’t; in fact, lousy practice has the potential to make you worse. And although the important features of intelligent practice are well understood, they’re often not a part of many students’ thinking and behavior when they decide it’s time to practice. After hearing a student insist, following a dismal performance, that he’d spent hours in the practice room, a teacher would understandably wonder what in the world he’d been doing in there. The four of us have spent a great deal of time systematically analyzing the practicing of expert musicians who have generously allowed us to invade their privacy and record their practice sessions. Our observations reveal important aspects of their work that are applicable to the practicing of musicians at any level. We propose that our task as teachers is not only to teach students how to play or sing in our presence but also to teach them how to practice effectively.

How Experts Do It Perhaps the most important feature of experts’ practice that sets it apart from that of younger or less developed musicians is the thoughtful intentionality with which experts approach the act of practicing. First, the actions of artists are guided by a clear auditory and physical image of what it is they wish to accomplish. Every decision and subsequent action is a deliberate attempt to bring to life that mental image. Once specific goals for improvement are identified, subsequent performances involve active adjustments that provide feedback about the discrepancies between the intended goals and the performance reality—feedback that informs experts’ decisions about what additional adjustments are necessary. Repetitions are well planned and productive, with no energy wasted on mindless performance or repeating errors. Another key feature of expert practice, often absent in the approaches of young musicians, is the care that artists take to keep intact multiple components of musical performance (e.g., accuracy, tone, inflection, and fluency) from one repetition to the next. Certainly, attempting to focus on multiple musical elements at once, especially in the earliest stages of learning a piece, can be a demanding and sometimes overwhelming task. To ensure music is invariably performed as it should be from the start, experts achieve integration in a number of ways. Not only do they play slowly, but they also limit the extent of the passages they rehearse (e.g., playing or singing only one interval or one motive or phrase at speed) in ways that allow them to play accurately, in tempo, and Southwestern Musician | January 2015 33

UNIVERSITY OF SOUTH ALABAMA

DEPARTMENT OF MUSIC Audition Dates: Saturday, November 8, 2014 Saturday, February 14, 2015 Saturday, March 14, 2015 Saturday, April 4, 2015 Additional Dates Available by Request

DEGREES: BM with Concentration in Music Education MM with Concentration in Music (Instrumental and Vocal) Education (Instrumental and Vocal) BM with Concentration in Performance (Instrumental and Vocal) MM with Concentration in Music Performance (Piano and Vocal) BM with Concentration in Elective Studies (Business or Specific Outside Fields) MM with Concentration in Collaborative Keyboard

The University of South Alabama Department of Music, through its innovative curriculum, empowers professional musicians, music educators, and those who wish to enrich their lives through the arts. The Department serves the needs of the University to promote general education and to provide a vital cultural link to the great state of Alabama and to the Gulf Coast region. Its excellent facilities and faculty, promotion of technology, and dedication to life-long learning provide a wide spectrum of experiences for both the student and the community. ENSEMBLES INSTRUMENTAL ENSEMBLES Wind Ensemble Symphony Band Symphony Orchestra String Ensemble Jaguar Marching Band Jaguar Pep Band Jazz Ensemble

VOCAL ENSEMBLES University Chorale USA Opera Theatre USA Concert Choir

CHAMBER ENSEMBLES Flute Choir Trumpet Ensemble Trombone Ensemble Tuba Euphonium Ensemble Chamber Brass Ensembles Chamber Woodwind Ensembles

Percussion Ensemble USA Steel Band USA World Music Ensemble Piano Ensemble Guitar Ensemble

Contact Information University of South Alabama, Department of Music Laidlaw Performing Arts Center, Room 1072, 5751 USA Drive South, Mobile, AL 36688

251 60 6136 Ä&#x2021; E mail: usamusic"southalabama edu Ä&#x2021; www southalabama edu music (acebooM: facebooM com southalabamamusic Ä&#x2021; 6witter: twitter com usouthalmusic

The Music Starts Here

in character. This attention to integrating the various components of music performance allows composite musical memories to form completely and efficiently from the beginning, rather than learning notes and rhythms first, absent attention to tone, intonation, and inflection. Keeping It Together The ultimate goal of learning to sing or play is to make music beautifully. Think about all that doing so requires: a resonant, focused, in-tune sound, rhythmic precision, informed expressive inflection. How can we help young learners do all of those things in context when each aspect of music performance is so demanding? There are varied approaches, of course, some of which decontextualize the individual components of music-making so that each can be practiced separately (practice a demanding piece by first working out the rhythms very slowly, then playing the pitches in time, then playing with the written articulation). Others simplify the challenges of music-making so that all components can be practiced together, successfully, in context (practice this less demanding piece carefully and deliber-

ately in ways that afford me the time to think and listen and master all the things I need to do together). This is one reason we intuitively slow things down when they’re difficult. We can’t possibly give attention to everything we need to be doing at speed, so we slow down to give us more time to think, to listen, and to learn from what we hear. But going slowly only gets us so far. Anyone who’s tried to improve her golf swing or tennis stroke knows that moving the club or racquet very slowly is not at all like a swing at full speed. Not only does it feel different, but it actually engages a different configuration of nerve activations and muscle movements. Fast movements (just like fast thinking) are not merely slow movements sped up; they’re subtly and importantly different. So how do we structure practice in ways that allow for performing passages in tempo and in character? When we teach teenagers to drive, we don’t spend several days teaching them to work the steering wheel, then a few days on the accelerator, then the brake. Instead we put them in a car in an empty parking lot on a Sunday morning and have them

execute simple maneuvers, operating the accelerator, brake, and steering wheel in concert, in context. What makes such a complex task manageable for an inexperienced driver is the simplicity of the task demands (see if you can start moving and then stop without jerking the car; now try to drive over to that corner and pull in between the lines) and an environment where the consequences of error are low in magnitude (there are few physical obstacles to crash into). Now compare this to the idea of expecting every student in a class to learn the region audition music. For those students who are capable of learning to play or sing the music well in the time allotted, such an assignment may provide a valuable and motivating challenge. For those who cannot possibly perform the music successfully—beautifully, with a resonant tone, superb intonation, precise rhythm, and expressive inflection— practicing is like learning to drive in downtown Houston at rush hour in the rain when you’re not really sure where you’re going. Rather than becoming fluent and confident, you become tense, anxious, and frustrated, and you begin

Lamar University 2015 Music Auditions Saturday: December 6, 2014 • March 7, 2015 • April 18, 2015

To Schedule Audition: lamar.edu/music-auditions P.O. Box 10044 Beaumont, TX 77710 (409) 880-8144

www.lamar.edu/music Southwestern Musician | January 2015 35

TMF Music Festivals 2015 Performance Options

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TMF MUSIC FESTIVALS PROVIDES: Attraction Ticket and Meal included in all student performance packages Adult packages available for purchase Performance only fee starting at $10!!! Performance times secured upon receipt of completed registration forms Accepting requested performance dates and times now!!! All performances scheduled in the morning – Maximum park time!!! TMF Representative at performance site Comments from experienced and accredited Judges CD Recording of performances (Except SPI & Hawaiian Falls) TMF string bags with logo for every performing student package Division, Best in Class, and Grand Champion Trophies Awarded Daily!!!

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to develop habits that actually make you worse. The process of developing fluent and reliable skills is one of practicing correctly and automatizing—to a skill level that no longer requires conscious attention—the fundamentals of movement involved in the physicality of playing and singing. If you’re trying to learn music you can’t perform while maintaining all those fundamentals, then each repetition when you squeeze, pinch, bite, press, clench, take a shallow breath, or move your bow funny is one more opportunity for your brain to remember all of that instead of what you’d like it to remember. What It Takes for Brains to Learn Changes in the functional capacities of musicians’ behavior are visible manifestations of changes in the physical structure of musicians’ brains. Although we seldom think of practice sessions as brain-reorganization activities, they are most certainly precisely that. This raises an important question, namely, what is required to intentionally change the structure of memory so that skills become more refined and more reliable? When musicians practice effectively, we create memories that we can recall advantageously in subsequent practice and performance. Creating and modifying memories related to music-making requires deliberate, thoughtful repetitions during which learners recognize discrepancies between intended outcomes and the sounds they produce. Of course, to accomplish this requires first that learners actually have clear intentions about what they’re trying to sound like and what their bodies should feel like when they play or sing well. This extends well beyond intentions like “Don’t stop” or “Remember the F-sharp” or “Hold the last note for three full counts.” By intentions we mean vivid auditory images of a superb final product. When everything’s working and it’s accurate and beautiful, what will it sound like? What will it feel like? Our brains only begin the process of memory formation during active practice. The stabilization and refinement of memories continue long after we’ve left the practice room and our conscious attention has moved on to other things. Because the establishment and modification of memories are biological processes, they

Our brains only begin the process of memory formation during active practice. The stabilization and refinement of memories continue long after we’ve left the practice room and our conscious attention has moved on to other things. require time and energy not only during practice but also during subsequent periods of wake and, remarkably, during sleep. When musicians distribute practice over a longer period of time—more, brief practice sessions are more advantageous than fewer long ones—we maximize the brains’ covert contributions to the evolution of new skills. Helping Young Musicians Learn to Practice Fortunately, the behaviors that characterize expert practice are straightforward, understandable, and learnable. Even the youngest musicians can achieve productive, engaging, and enjoyable self-guided learning experiences. We can help them learn to do this if we make effective practice a learning goal. Consider some of the following possibilities: • Have students explain aloud how they’re organizing their practice of an exercise, etude, or piece. Can they tell you how they are selecting manageable sections to practice (motives, phrases, or sections that are musically coherent)? Are they setting many small, attainable goals they can accomplish during each practice session? Do they need your help doing this? • It’s not uncommon for teachers to use sound recordings to evaluate individual student progress. Consider asking students to submit recordings not only of their best takes but also of their practicing. You’ll learn a great deal about how they approach problems, how they set goals, and whether or not they persist until they accomplish those small goals. • Ask students about their intentions regularly—what are you trying to do at this spot in the music? What are you trying to convey to a listener? What might you need to do physically to accomplish that? The more you prompt this kind of thoughtful

analysis, the more it will become a part of students’ musical thinking. If you’re trying to learn to play darts in the dark, and you’re hurling darts into space in the general direction of where you think the dartboard might be, and you have no idea where your darts are landing, there’s not much chance you’ll impress your friends next time you’re in the pub. When a learner can’t tell what happens from one repetition to the next, it’s impossible to learn effectively. Music practice is just like that. If a student doesn’t have a vividly clear idea of the sound she’s trying to produce and what the relaxed, efficient movements of her body should feel like when she’s singing or playing, practice time is about as valuable as throwing darts in the dark. Effective music practice must begin with students having a clear perception of the musical goals they’re trying to accomplish. The clearer the goals—the more vivid the image of a beautiful sound produced by a relaxed body—the more precisely students will be able to identify discrepancies between their intentions and outcomes. In this way each repetition becomes a source of information—an opportunity to compare how right now sounds and feels compared to the beautiful performances young musicians hear in their heads. Robert Duke is Marlene and Morton Meyerson Centennial Professor in Music and Human Learning in the Sarah and Ernest Butler School of Music at the University of Texas at Austin; Sarah Allen is associate professor of music education in the Meadows School of the Arts at Southern Methodist University; Carla Cash is associate professor of piano and piano pedagogy in the School of Music at Texas Tech University; Amy Simmons is associate professor of music education in the School of Music at Texas State University. Southwestern Musician | January 2015 37

TCU Director of Chorale Studies, Dennis Shrock conducts the TCU Concert Chorale in Fort Worth’s St. Stephen Presbyterian Church

All-State Choir Camp Dr. Sheri Neill, camp director • Dr. Kenneth Davis, conductor

Sessions Purple Camp, July 12 - 15 • White Camp, July 15 - 18 Section Leaders Amy Allibon, Birdville High School Michael Dean, Trinity High School Billy Talley, Tascosa High School Cheryl Wilson, Garland High School Brad White, TCU

Find us on Facebook

For registration information, please visit our website at www.choircamp.tcu.edu

www.music.tcu.edu

Observations from the judging trail B Y

C R A I G

N E E D H A M

ith contest season looming, thoughts begin to drift to that moment on the UIL stage. Questions flood your mind. Did I select the right literature? Did we rehearse enough? Did we practice sightreading enough? Are the students going to go totally crazy on stage? You start having those UIL dreams— or perhaps it’s more accurate to call them UIL nightmares. Contest season often invokes panic because we expect teenagers to demonstrate to the music world—at least the part of it that pays attention to these sorts of things—what kind of teacher we are. Contest day procedures can also be a source of anxiety. We have outstanding rules for UIL, but there are also many traditions, and no one has published a How to Succeed at UIL Contest manual. Over several years of judging, I have noticed trends and seen common mistakes—and I’m sure I have made several of them myself! Here are a few of my observations and some personal opinions that might help take some of the guesswork out of the UIL contest experience. Tuning While you should absolutely check open-string tuning on stage, I believe the majority of this tuning should take place elsewhere, not in front of the judges. It can put a contest behind, and it gives the judges the impression the group did not spend adequate time tuning before the performance. If on-stage open-string tuning consistently takes more than a couple of minutes, consider

ORCHESTRA NOTES IMPORTANT DATES January 12–13—All-State housing entry. January 21—Deadline to cancel a convention hotel reservation without penalty. January 22—TMEA convention online preregistration deadline. February 11–14—TMEA Clinic/Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.

Remember to view the UIL contest experience as an evaluation tool and not the end-all-be-all of your career. Learn from the contest experience DQG UHÁHFW RQ WKH FRPPHQWV DQG UHVXOWV WR KHOS make you a better teacher. Southwestern Musician | January 2015 39

WAYLAND BAPTIST UNIVERSITY

SCHOOL OF MUSIC

AUDITION DATES: NOVEMBER 7-8 FEBRUARY 20 MARCH 27-28 B. M. IN MUSIC EDUCATION B. M. IN PERFORMANCE B. A. IN MUSIC GENERAL MUSIC THEORY AND COMPOSITION CHURCH MUSIC AND WORSHIP

Wayland School of Music Faculty Ensembles Debra Buford: Wayland Singers, Choral Performance Lab Hyung Chae: International Choir, Praise Ensemble Lab Timothy S. Kelley: Symphonic Wind Ensemble Anthony King: Marching Pioneers, Pep Band Brian Kuhnert: Opera, Musical Theatre Joseph Vandiver: Jazz Ensemble Boyce Wyrick: Chamber Orchestra

Vocal Studies Kimberly Brown Brian Kuhnert Amy Pineau Virtual Campus Douglas Brown Jennifer Brown Tammie Burger Music Education Debra Buford Timothy S. Kelley

Church Music Hyung Chae Piano Gary Belshaw Richard Fountain Jennie Hsu Composition/Theory/History Gary Belshaw Sandra Mosteller Scott Strovas Ann Stutes

Instrumental Faculty Pat Brown: guitar Kimberly Hudson: Àute Michael Johnson: bassoon Timothy S. Kelley: low brass Anthony King: percussion Sandra Mosteller: clarinet, sax Michael Newton: cello Oryana Racines Smakovik: high strings Joseph Vandiver: high brass Boyce Wyrick: bass

FOR AUDITON INFORMATION: 1-806-291-1074 OR BERRYJ@WBU.EDU OR WWW.WBU.EDU/MUSIC

The School of Music at Wayland Baptist University is an accredited institutional member of the National Association of Schools of Music.

alternate approaches to your procedures. Generally there isn’t much time between warm-up and the stage, or between the stage and the sightreading room, and if you have tuned carefully in the warm-up room, the instruments should not change that much. I have also witnessed instances where the on-stage attempts at open-string tuning actually made things worse, and I have even seen times when directors used time to personally tune each instrument on stage. Before you consider doing anything like that, consider what this experience will be like for the judges and what it conveys to them before you perform. We usually tune before getting on the bus at school and do a thorough tuning in the warm-up room, and we always have digital tuners available, even for high school students. Don’t Wait When on stage, it is not necessary to wait for judges to write comments before moving on to the next tune. Instead, focus on the performance and don’t even concern yourself with the fact that judges are in the room. Judges have plenty of time to write comments and they have a lot of groups to hear. Once you have been announced, play your program and forget about everything else. Applause The judges and the recording tech may be the only other people in the room, but if you get applause, acknowledge it like you would at any other performance. Acknowledging applause shows appreciation for those offering it. Sightreading Room Warm-up Should you tune in the sightreading room? Absolutely. But as I mentioned before, don’t dwell on it. The group just came from the stage, and the tuning should still be solid. Should you do a warm-up? Under almost every circumstance, I believe the answer is no. If there is a large gap of time between the stage performance and sightreading, and if you have rehearsed it before and the students are expecting it, and if you really know what you are doing and you know it will sound good and benefit the students, then play a warm-up. However, there are way too many ifs in that sentence for me. On the podium, right after the instruc-

tions are given is certainly not the time to decide if you are going to do a scale or a warm-up. I’ve rarely seen a warmup in the sightreading room benefit the ensemble. Sightreading Room Explanation Period I believe you should use every second of the explanation period. It sends the wrong message to the judges if you don’t. It is fascinating to watch a group barely get through the music in the prescribed time only to watch another group shadow bow through the music two or three times. Use your time efficiently. A good mantra is: less talking by you and more action by the students. If you don’t know what else to do, and you still have time left, practice starting and stopping, or shadow bow through the tune again until time is called. Sightreading Room Jargon While cute and cozy slang expressions might connect with your students who are accustomed to hearing you say them and know what they mean musically, the judges, parents, and administrators in the room may not get the connection and could find that jargon unprofessional. Keep your dialogue at a professional level during the explanation period. Your rating is based on the performance, but offending judges before you play is certainly not a good idea.

teacher take these students to the exemplary level on the music you selected for them in the amount of given rehearsal time? If you are a less experienced teacher and you are not sure of the answer, it’s better to back off and select a safer program. If you are an experienced teacher, make sure you can sleep at night with the program you have selected. Teaching to the Test Do you teach differently for UIL contest than you do the rest of the year? If so, have you ever considered what would happen if you prepared every performance like it was for UIL contest? The stress of adjudication can bring a heightened sense of focus for students and teachers. If your goal is to try to reach this zenith for each performance throughout the year, UIL preparation will not be any different than the fall concert preparation, and the stress of going to contest will diminish while the performance level increases. Remember to view the UIL contest experience as an evaluation tool and not the be-all and end-all of your career. If you don’t get the rating you expect, the sun will still come up the next day, and

Programming I remember being told early in my teaching career that a rating was earned the day the music was passed out. While this is an oversimplification, there may be nothing more important to the success of our groups at UIL contest than proper programming. Finding the right balance between student level, music level, and teacher level is an art. Playing difficult music won’t impress anyone if there are major ensemble, tempo, control, and intonation flaws in the performance. While it is appropriate throughout the year to challenge our students with difficult music, UIL contest is probably not the best arena for a high-risk program. Your UIL program should probably not be the most difficult of your year. Every director should read the UIL judging rubric before selecting music and answer this question: can your skill as a Southwestern Musician | January 2015 41

Competitive Scholarships & Performance Awards

Audition Dates Jan. 31 â&#x20AC;&#x201C; Feb. 1, 2015 Feb. 28 â&#x20AC;&#x201C; Mar. 1, 2015 (see website for details)

Bachelor of Music Bachelor of Arts Accredited by the National Association of Schools of Music

Music Department Faculty Jason Hoogerhyde, Department Chair

Conducting & Ensembles

Music Literature

Voice & Opera Theatre

Lois Ferrari, Orchestra & Wind Ensemble David Guidi, Jazz Ensemble Kenny Sheppard, Chorale & Southwestern Singers

J. Michael Cooper, Margarett Root Brown Chair in Fine Arts

Bruce Cain Kenny Sheppard Nicholas Simpson Agnes Vojtko Dana Zenobi

Strings Keyboard Vincent Lam, piano David Polley, organ Pamela Rossman, piano Kiyoshi Tamagawa, piano David Utterback, piano Robert Warren, piano

David Asbury, guitar Delaine Leonard, harp Steve Kostelnik, guitar Eri Lee Lam, violin Jessica Gilliam-Valls, double bass Tim Washecka, viola Hai Zheng, violoncello

Music Education

Theory & Composition

Lois Ferrari Kenny Sheppard

Jason Hoogerhyde Eileen Meyer Russell Kiyoshi Tamagawa

Woodwinds, Brass & Percussion Anna Carney, clarinet Daniel Chrisman, bassoon Patrick Creel, horn Susan Douglas, oboe David Guidi, saxophone Adrienne Inglis, flute Kyle Koronka, trumpet Erin Martysz, percussion Eileen Meyer Russell, low brass 1001 E. University Ave Georgetown, Texas 78626 (512) 863-1504 music@southwestern.edu www.southwestern.edu/sarofim/music

Martin HS Symphony you will still have a job. Most importantly, learn from the contest experience and reflect on the comments and results to help make you a better teacher. 2015 TMEA Clinic/Convention Update Be sure to preregister for the convention by the final preregistration deadline of January 22. The convention schedule is now available online at www.tmea.org/ convention. You can create a customized convention schedule designed to take maximum advantage of the daily convention opportunities. This year, we expect you to be able to transfer that data to your convention mobile guide (keep checking the convention site for information about that new feature). Be sure to make time to visit the exhibit halls and check out all our industry partners have to offer, and while you’re there, thank them for their support of our organization and of music education in Texas! This month, I’m excited to share more

about our High School String Honor Orchestra. Be sure to include their concert in your personal schedule. Martin HS Symphony Michael Stringer, Director Martin HS, named for former Arlington Superintendent James W. Martin, is located in southwest Arlington. Martin currently has an enrollment of 3,400 students, grades 9–12, and over 200 faculty members. Since its beginning in 1982, Martin HS has established and maintained a consistency of excellence. Martin is known for cooperative learning and for the exemplary way that academics, including the fine arts departments, as well as athletics persevere and set high expectations for student achievement and performance. The string instrumental program of the Arlington ISD began in 1972 with an initial enrollment of approximately 400 students. Today, Arlington ISD has

HS Honor String Orchestra Results Congratulations to the following orchestras and their directors for this outstanding accomplishment: Rank

School

ISD

Director

Martin HS

Arlington

Michael Stringer

Jasper HS

Plano

Ryan Ross

Plano West SH

Plano

Jo Wallace-Abbie

Westwood HS

Round Rock

Susan Williams

Liberty HS

Frisco

Julie Blackstock

Seven Lakes HS

Katy

Desiree Overree

Allen HS

Allen

David DeVoto

Austin HS

Fort Bend

Carolyn Vandiver

Clements HS

Fort Bend

Ginger Wolfe

almost 5,000 students enrolled in the orchestra program. The Martin High cluster alone boasts an enrollment of over 1,000 orchestra students. The music curriculum of MHS includes orchestra, band, choir, jazz band, and music theory. Students in the orchestral program participate in Region 5 Orchestras and in the Texas AllState Orchestras. The Martin Symphony has achieved 30 consecutive UIL Sweepstakes awards and numerous best-in-festival awards at national music competitions. The Martin Symphony Orchestra has been chosen as a finalist in the TMEA Honor Full Orchestra competition five times and a finalist for the TMEA Honor String Orchestra competition nine times. Special Thanks Special thanks go to those who made our fall contests possible, especially Melissa Livings and Kaitlin Gallman for hosting both rounds of the HS Honor Orchestra contest and Tanner Ledford and Victoria Ebel for hosting the All-State Area judging at Klein Oak HS. Thanks go to all who judged or hosted any of these events. Please take some time to show appreciation to your Region Chair. They are on the front lines of leadership and we owe them our gratitude!

Preregister by January 22 Save Time & Money! tmea.org/convention Southwestern Musician | January 2015 43

TUTTI who what when where why

)

UNLESS YOU TRY TO DO SOMETHING BEYOND WHAT

YOU

accommodations & teaching tuning

HAVE

ALREADY MASTERED,

YOU WILL NEVER GROW .

r a l p h w a l d o e m e r s o n

What accommodations have you successfully implemented so that all learners can participate fully in your classroom or program? Lisa Anikienko, Sealy JH Band, Sealy ISD: For a student with juvenile macular degeneration, we enlarge her music. We enlarge it to 11×17, fold that in half, and repeat. We purchased an 11×17 binder (landscape) with appropriate page protectors so her music is contained just like all the other members of the band. After we found a way to enlarge the music enough and keep it organized, she has been very successful in our class. Neil Dusseault, Private Music Studios, LLC, Boerne: I currently have a young percussion student who has fine motor and speech therapy delays. Learning to hold drum sticks properly and play on a drum helps him with hand-eye coordination. When I ask questions, I allow sufficient time for him to process and respond. In addition, I use Finale to create rudiments with the notation greatly enlarged and with plenty of space between systems. This works well for him! Jacob Garcia, Hillsboro JH Band, Hillsboro ISD: I have taught students with hearing and visual impairment. Understanding how to use assistive technology and resources (Braille music software, Braille computers, cochlear implants, sign-language interpreters) has helped me give my students music and learning resources. A vital step is working closely with resource professionals (teachers of the visually impaired, sign language interpreters, etc.) to help plan strategies ahead of time and evaluate the effectiveness of those strategies. 44 Southwestern Musician | January 2015

o n t h ’ s f e at ure m s i s) th

Stephanie Wlodkowski, New Waverly HS Band, New Waverly ISD: One of the accommodations I’ve used for learners with special needs who struggle in band is reducing the amount of music they are responsible for knowing. For example, I might assign a student only the first beat or note of each measure. Jennifer McHenry, Hedrick MS Orchestra, Lewisville ISD: I use a tall, cushioned cello chair for better posture with a student who has autism. Some students who are on the autism spectrum have weaker core muscles. Utilize other helpful students to work with willing musicians. Students learn far more from peers than teachers. Make recordings so students can play by ear before integrating music reading. Some students can’t read music at the same time they are using two hands in different ways on an instrument. There are just too many things going on at once, and they get visually distracted by the music. Try to divide reading and playing the instrument into two separate skills at first. Tristan Roberts, Kilgore HS Orchestra, Kilgore ISD: I use proximity as a musical tool. I teach several autistic students and some need more space and some want to use a separate stand. Other students have learned, through gentle guidance, to be compassionate and kind toward these students’ needs and to be helpful. We all have things to deal with and improve upon. Treating each other kindly is a good start for all. Erika Warren, Private Instructor, Dallas: I volunteer on a weekly basis in a contained special education classroom to teach music. There are students who have autism, Down syndrome, and other physical and learning differences that prevent them from fully participating in a general education music classroom setting. I print lyrics to songs we are learning in different colors and make the words bigger—green for the chorus, red for verses,

University of North Texas College of Music

University of North Texas Audition Dates Saturday, January 31, 2015 (Denton)

Regional Auditions

Friday, February 6, 2015 (Denton)

(live jazz and percussion auditions offered on campus only)

(Graduate Percussion, Piano, Voice, and String Auditions ONLY)

Friday, January 23, 2015 (Chicago)

Saturday, February 7, 2015 (Denton)

Friday, January 23, 2015 (Los Angeles)

Saturday, February 28, 2015 (Denton)

music.unt.edu

DEPARTMENT OF MUSIC

Admissions & Scholarship

AUDITIONS 2015 AUDITION DATES*

February 21 March 14 March 28

DEGREES Offered:

To APPLY:

Bachelor’s and master’s degrees in Music with emphases in Performance and Music Education

Visit tamuc.edu/Music. For more information, call 903-886-5303.

*Additional dates upon request. Auditions are required of all entering and transferring music majors.

Performance.

Pride.

Passion.

and blue for a bridge. I have a son with autism, and I have learned from him that using colors helps him learn. I also utilize YouTube because this allows me to show my students a finished product first. Also, when I pass out music, I have permission to print the music and superimpose the notes for students who have an I.E.P. or 504. They use a highlighter to highlight their notes in their music. Sometimes I give them only their specific part (voice), to help them focus on just their line. I have learned so much about music and how to teach, simply because of what my son emulates and learns on a daily basis thanks to his incredible teachers. Kris Lytle, Herod Elementary, Houston ISD: I have found that the most successful modifications have been based on determining what a student can do, not what they can’t. Where most fifth graders can play a complex rhythmic part on a drum, a special-needs student might just play the steady beat. Students who are nonverbal may be able to add to a singing piece with movement or instruments. Students who struggle with note reading may be able to echo or improvise a part instead. Cary Vanarsdall, Petrolia Elementary, Petrolia ISD: I use Note Knacks, SMART Board lessons I create, and Quaver for regular instruction. I address each student individually within each of my lessons. I taught a student who couldn’t use both hands well so he played drums. He used his main hand for most of the music and would only use his other hand when there was no other way around it. I also gave him larger marching sticks wrapped with tape used on baseball bats and hockey sticks to give him a better grip.

What do you find most effective in helping students learn to play in tune and match pitch that doesn’t involve using an electronic tuner? Jeffrey Cottrell, Hardin-Simmons Univ: I have seen remarkable progress made by my students when I have them tune to a drone. I even use it while they play an etude—you just have to find measures with simple harmony. For a measure where the melody is mostly Cs, Es, and Gs, I play a C drone. I also use recorded piano accompaniments for etudes and solos. These are available through SmartMusic and for low brass you can find them on CD for the Bordogni/Rochut melodic studies. Robin Korevaar, Highland Park ISD Clarinet Instructor: The best method I have found is to match my example. I play a note and students first either hum it or hear it in their head and then play it with me. If they are out of “tone,” I ask them to adjust voicing (tongue position), clarinet angle, jaw pressure (bite), or air speed until they match. I work a lot with intervals (particularly in the clarion and altissimo registers) to encourage locking into proper tone/pitch using the different tones that result. Playing basic chords and resolving tritones are useful tools to encourage good pitch within a harmonic framework. Al Torres, Livingston HS Band, Livingston ISD: Teaching students the tendencies of notes on their instruments, along with the general concepts of how heat and cold affect the instrument, are great and essential to learning how to tune. The more students

LA TRADICIÓN MUSIC

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Southwestern Musician | January 2015 47

“As is known, once something becomes a habit it is difficult to break. This was the reason I turned to EggMATE for a student who had been playing with “waiter wrist” for the past couple of years before I took on the challenge of teaching her. After almost a year of constant reminding, progress was slow since out of class, she resumed her default position. After using EggMATE for around 3 months, I weaned her off it and it seems to have done its job! I was actually quite surprised at the effectiveness as I was quite skeptical at the start that effects would remain after removal. So far a second student has shown improvement after just 3 weeks and I’m looking forward to using it with any students who have difficulty grasping the wrist position.” Yee Lynn Violin Teacher 10+ years Malaysia

Lightweight sizes for 1/32 violin up to 16½” viola based on 1st position thumb placement—interchangeable for thumb placement between 1st and 2nd position

Will not interfere with correct finger positioning— custom design services available to accommodate all training methods

Fits in the case between practice sessions

Felt-covered “egg” provides comfortable contact

Educators: Standard or Custom Studio Packs available with a special discount per unit and reusable, through our EggMATE Encore Program!

The EggMATE is a positive approach to guiding the ball of the player’s hand, and preventing the wrist from collapsing against the neck of the instrument. This develops and reinforces “procedural” or “muscle memory” of the proper wrist posture. Importantly, it is also designed not to inhibit proper finger reach. The simple 3-piece system features two attachment accessories which magnetically hold the felt-covered “egg” during practice. The magnetically positioned “egg” pulls away easily for convenient case storage. Just like fingerboard position-marker tape, the attachment accessories adhere to the instrument. Sizes are available from 1/32 violin to 16 1/2” viola, with weights ranging from ½ ounce to just over one ounce, depending upon size.

See Our Positive, Proven Approach to Proper Wrist Posture at the TMEA 2015 Convention—Booth 3223!

designs4harmony.com

know about the nuances of their instruments and engage their ears, the less they will have to rely on an electronic device. This will help in showing players how to adapt depending on the venue and the climate. Anthony Wilson, Anton HS/MS Band, Anton ISD: While some students won’t sing in class, I have never met an adolescent who won’t blow into a kazoo, so I issue one to each student. It allows us to piggyback on their elementary solfège training and exercise articulations at the same time. It makes all of the students about equal volume, and allows us to eliminate fingerings momentarily to lock in the pitch. It helps them hear the target pitches in their heads as they play. For fun, they can plug the small end of the kazoo into the lead pipe of the brass instruments to hold the horn and practice the fingerings while they play kazoo. Brittany May, Lone Star College: I believe the best strategy is to have students listen up in their sections. While listening down to the lowest instruments in band has its benefits, listening up in one’s section has its benefits as well, both for intonation and style. With the exception of the first chair in each part, every student should listen to one chair immediately higher and try to fit inside that student’s sound. This eliminates competing tones and volumes, therefore greatly diminishing intonation problems within a section. Also, for sections of instruments playing with vibrato, any students not first on a part should decrease the amount or width of their vibrato and fit within the vibrato of the chair above. In my experience, fitting sound and vibrato into that of the student one chair higher results in a more well-blended section, while inadvertently fixing intonation. Michael Alexander, Baylor University: Once students play or

sing well enough to produce a smooth, even tone, I like to demonstrate the elimination of vibrations or beats by singing or playing in tune and slightly out of tune against a sustained pitch from a student. It is amazing how many students try to tune without being aware of this concept. Once made aware of the ugly (vibrations or beats), the beautiful (in tune, with no vibrations or beats) becomes obvious! Jennifer McHenry, Hedrick MS Orchestra, Lewisville ISD: Play echoes back and forth with students as individuals or in small groups. Have them identify ring tones and count the seconds these ring tones can last once the bow stops. This brings awareness of the resonance of our instruments. They will start listening for each note and making adjustments (assuming they are able to adjust with nice left-hand position and tall fingers). Susie Moten, Terry MS Orchestra, Mesquite ISD: I demonstrate on my cello what an in-tune and out-of-tune note sounds like (playing open A string and A on the D string at the same time). Then I have a student play and I play along, matching their pitch. I then play along with a student but I pull my pitch flat so students can hear in tune versus out of tune. I also have a group of students play a line of music and stop on a note to see if they can get it in tune. I learned in a TMEA workshop to have the class play a note or chord as in tune as they can, then have them move it out of tune slightly, then move back in tune. Tristan Roberts, Kilgore HS Orchestra, Kilgore ISD: I teach string orchestra, but most days I have students sing melodic passages as well as rhythm and articulations with consonant syllables. When they audiate, they achieve, and voice is one of the best ways to teach this and to assess student understanding. For

APPLY NOW

The University of Texas at Tyler - Center for Music Education OPENING FALL 2015

uttyler.edu/music

903.566.7450 Southwestern Musician | January 2015 49

Music is your passion TCU is your school SCHOLARSHIP OPPORTUNITES AVAILABLE FOR YOU At TCU, you can receive both music and academic scholarships that make attendance more affordable. NORDAN SCHOLARSHIP The NORDAN Scholarship is an exclusive award, open to entering freshmen vocalists, instrumentalists, and composers of superior talent, who have chosen to major in music. NORDAN winners receive a four-year, FULL TUITION AWARD. The deadline to apply is December 1, 2014 - NORDAN Live Auditions are held on January 17, 2015 by special invitation. More information is available at www. music.tcu.edu/nordan-request.asp TCU APPLICATION DEADLINE The TCU Application deadline is February 15, 2015. AUDITION DATES FOR SPRING 2015 January 31, 2015, February 21, 2015, and February 28, 2015 GRADUATE PROGRAMS AVAILABLE FOR YOU TCU offers Master of Music and Doctor of Musical Arts degrees in different disciplines. Graduate Assistantships are available. For more information on undergraduate and graduate admission requirements and application deadlines, please visit our website or call the School of Music at 817-257-7341.

Find us on Facebook

www.music.tcu.edu

a strings pedagogical approach I would say the chromatic scale has improved students’ understanding of where notes are placed and half-step, whole-step relation. Once they become more comfortable with left-hand movement, their ears may help adjust left-hand technique to achieve almost perfect intonation. Band students use it, why don’t strings more often? I see that it helps. Amanda Schubert, Private Instructor, Woodway: What I find most effective is slow practice. Whether or not students know they are playing out of tune, calling attention to intonation and assigning slow practice does wonders. Often I have a student match fingered notes to open strings (ring tones) or match my pitch when we play a passage or exercise in unison. Also, I will play a sustained note slightly flat or sharp and then gradually adjust my finger to the correct pitch, asking students to hear the difference. These methods are all best accomplished by doing them slowly. Megan Lied, Berkner HS Choir, Richardson ISD: Work with individuals and have them sing first and match their pitch to teach what in tune should sound like. It’s not always possible to work individually, so lots of vocal falls and sliding to explore range is helpful. Stopping in different parts of the range to hold a pitch (any pitch) can help them feel the difference between high and low and help them navigate so that feedback like “you’re a little too low” is understood. Finally, passing the pitch is a great tool to get every student on the same note. One singer starts, and then add one student at a time, adjusting each person as necessary. Paul Norris, Creek Valley MS Choir, Lewisville ISD: I have students take a nice low breath, focusing on feeling the breath. Then they do high sirens. Use your hand to motion a low breath in and then back toward the diaphragm and up to draw the sound

and breath from there. It helps students understand the support needed for higher notes. It also helps them learn to navigate their range. Sirens starting from low, going over break into head voice/ falsetto, and coming back down helps them find the breath support and control needed. James Park, Clear Creek HS Choir, Clear Creek ISD: I teach students about the harmonic series, sympathetic vibrations, and just temperament. We learn what root, third, fifth, and sevenths are in chords, and we learn what each chord tone’s tendencies are and how to tune them using only our ears. Then we go chord by chord in our literature and apply it. Every time we start a phrase, we give the starting pitches in this order: root, fifth, third, seventh, and we tune every single pitch until it rings. Over time, their ears are trained so they intuitively tune their chords on their own. Scott Vernon, Lanier HS Choir, San Antonio ISD: To help teach audiation we play “The Radio Game.” I explain that the radio keeps playing music when we turn it off. So, after a few measures of singing a capella I say “Off!” and the students stop singing aloud but continue singing in their mind—audiating. After a measure or two of silence I say “On!” and they sing aloud where they now are in the music. I have found this to be very effective. Patrick R. Lollis, Cannon Elementary, Grapevine-Colleyville ISD: I have recently started matching the student’s pitch with my voice. With my hand out flat, I slowly move my voice and hand up or down to the target pitch and ask the student to sing again. It’s working about 70% of the time with students who are severely out of tune or off pitch.

Southwestern Musician | January 2015 51

I NT RO DUCING O UR NEW DI R EC TOR’ S TRAC K! • Earn CPE credits while your students learn their All-State Music

FOR HIGH SCHOOL MUSICIANS GRADES 9-12 SMALL SCHOOL & LARGE SCHOOL TRACKS JUNE 28 - JULY 2, 2015

• Great clinicians • Reading Sessions • Technology Sessions • All-State Diction Sessions • Observation of All-State Rehearsals

COST: Including Room and Meals • FREE when bringing at least 10 campers • $200 when bringing at least 5 campers • $325 with less than 5 campers

We invite all high school students who love to sing and who have a desire to advance their technique to join us for the All State Choir Camp at Hardin-Simmons University. Campers will learn ALL of the All-State music, performing a portion during the end of the week concert.

Tuition & Fees Non-refundable Registration Fee (applies towards tuition) - $50 Dorm Residents, Including Meals - $325 Day Campers, Including Meals - $275 Late Registration (after June 8) - $350 A $100 discount applies for past All-State choir members CO N D U C TO R S Dr. Clell Wright - HSU Director of Choral Activities Dr. Dee Romines - HSU Associate Professor of Choral Music Education

CLINICIANS Tara Sikon - Carrolton Creekview High School Natalie Walker - Highland Park High School Aaron Hawley - Permian High School Joshua Brown - Coppell High School

H S U VO I C E FAC U LT Y Dr. Lynnette Chambers Dr. Jaynne Middleton Dr. Chris Hollingsworth Dr. Melody Rich

Register online at www.choircamp.hsutx.edu Or call (325) 670-1415 For more information contact Dr. Clell Wright | School of Music and Fine Arts Hardin-Simmons University, Box 16230, Abilene, TX 79698 | choircamp@hsutx.edu

Solid standards for the larger outcome B Y

D I N A H

M E N G E R

art of our job relies on the meticulous scrutiny of dots on lines and in spaces and how to make them leap off the page and become a moment, a memory, a tangible presence of sounding art. Our secret code of symbols and markings represents hundreds of years of musical evolution. Preserving the ambiance, style, treatment, and historical colors of timeless compositions and re-creating these great opportunities for today’s choristers is such an important part of our responsibility as educators. Our insistence on immersing our students in the works of the great masters, leaving an imprint of historical connection in their minds and hearts, serves as the most profound and honest experience of oral historical tradition our students could possibly have. Without the opportunity we give them in our choral halls, they might never hear, know, or sing anything other than the programming on pop radio stations or television. Their exposure to classical music might very well be limited to the background soundtrack of random movies. Will they even know what they are listening to should they hear it? Contemporary Top 40 songs stay with that generation’s listeners. There is no aural connection to those who have gone before them or who will come after they are older. However, being able to relate multigenerationally to the time-tested classics is a great gift that our students can share time and time again once they experience the pride and passion in mastering works of renown. Will our students immediately fall in love with this repertoire? Probably not. In fact, their resistance might be rather aggressive. Our standards must

I can think of no better permanent gift to our students than unveiling this rich tapestry of timeless masterworks for a lifetime of enrichment.

VOCAL NOTES IN MEMORIAM DAVID BRUCE CUSTER January 12, 1963–November 18, 2014 JOYCE A NN HULL March 13, 1951–November 24, 2014 K ATHY BLAIR May 31, 1961–December 6, 2014

IMPORTANT DATES January 10—Area Vocal and Band auditions. January 12–13—All-State housing entry. January 21—Deadline to cancel a convention hotel reservation without penalty. January 22—TMEA convention online preregistration deadline. February 11–14—TMEA Clinic/Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.

Southwestern Musician | January 2015 53

remain high. We know the outcome for the majority of singers who get the opportunity to share in music that has been performed for hundreds of years. Great minds know great music. The organic experience of falling in love with Renaissance polyphony, mastering a Baroque melisma, understanding classical fugal material, and relishing the rich colors of Romantic chordal structures and lush phrasing creates a higher standard for our choristers. Let’s work to create true musicians who fully understand and seek out repertoire that requires attentive listening and thinking. Being able to see the bigger picture and knowing that the permanent outcome is well worth the temporary struggle is easy for us to understand because we see the results from our students. I can think

of no better permanent gift to our students than unveiling this rich tapestry of timeless masterworks for a lifetime of enrichment. 2015 TMEA Clinic/Convention Update Be sure to preregister for the convention online by January 22. The convention schedule is now available online at www.tmea.org/convention. Create your own schedule to be sure you take full advantage of the daily convention opportunities. This year, we anticipate you will be able to transfer that data to your convention mobile guide app (check the convention website for information about that new feature). Be sure to make time to visit the exhibit halls and check out all our industry partners have to offer, and while you’re there,

thank them for their support of our organization and of music education in Texas! As the convention nears, I am proud to introduce our final six performing choirs for the 2015 convention. These friends and colleagues will appreciate your support and attendance at their concerts as they share their choristers’ gifts with you. Cypress Falls Varsity Women’s Choir Deidre Douglas, Director The Cypress Falls Varsity Women’s Choir is made up of women from the Varsity Mixed Choir who have a reputation for being hard workers, eager to learn, and quick to share their passion and love of music. Diversity, charm, witty personalities, and sweetness are infused in the character of this fine group of young women. The Varsity Women have

SCHEDULE OF EVENTS

3 R D ANNUAL

BRASS DAY January 31, 2015 Featuring guest artists:

8 a.m.

Registration

9 a.m.

Warmup Classes with Tarleton Faculty

10 a.m.

Morning Brass Ensemble Performances

11 a.m.

Masterclasses with Guest Artists

2 p.m.

Tarleton and Guest Faculty Showcases

3:30 p.m. Q&A Session with Tarleton Faculty and Guest Artists 5 p.m.

Evening Concert with Guest Artists

www.tarleton.edu/ brassday Participation fee $20 includes ticket to the evening concert.

GAUDETE BRASS QUINTET

Hosted by Tarleton faculty member: BRIAN WALKER Trumpet 54 Southwestern Musician | January 2015

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a history of members being selected to District, Region, and All-State Choirs, winning medals in music competitions, and offering award-winning choral performances. By following in the footsteps of former members, the Varsity Women continue to dedicate themselves to the pursuit of musical excellence in performance. Deidra Douglas is in her 26th year of teaching in the Cypress Fairbanks ISD and serves as head choir director at Cypress Falls HS. Douglas received her bachelor of fine arts and master of arts from Stephen F. Austin State University. There, she was named the Presser Scholar and the Lenvill Martin Outstanding Music Graduate. Douglas is a frequent adjudicator, clinician, and soloist throughout Texas and the surrounding states. She is a member of TMEA, TMAA, TCDA, ACDA, Mu Phi Epsilon, Alpha Chi, and Pi Kappa Lambda. Harlingen HS Varsity Men’s Choir Joel LaMar Cruz, Director Under the direction of Denise Pitcock and Joel LaMar Cruz, the Harlingen HS Choral Music program continues a reputation of excellence. The Varsity Men’s Choir is one of seven ensembles and reflects this standard. Under Cruz’s leadership, the HHS Varsity Men are a small but mighty group of 19 singers in grades 10–12. The members are talented, intelligent, passionate, and dedicated to success. Notable engagements include an invitation as guest artists at the UT/Pan American Men’s Chorus Festival in 2015. Members of the Men’s Choir have earned top ratings at regional and state Solo & Ensemble contest and placement in Texas All-State Choirs. They are leaders in other campus activities such as the National Honor Society, Academic UIL, Speech, Drama, Debate, Band, ROTC, and athletics. The Harlingen Varsity Men are honored to represent their school at the 2015 TMEA Clinic/Convention. Cruz is currently in his fourth year as Assistant Choral Director and serves as the Region 28 Vocal Chair. Before coming to Harlingen, he was director of choral activities for the Los Fresnos Consolidated ISD. He has extensive experience as a chorister and soloist, appearing with the Arlington Choral Society, the

Turtle Creek Chorale, Schola Cantorum, the Note Vole Singers, and most recently with the South Texas Chorale. Cruz is a member of TMEA, TMAA, TCDA and ACDA. He has received the Bell Award and the Master Teacher Award. Hebron HS A Cappella Choir Rachel Forester, Director Hebron HS is one of five high schools in the Lewisville ISD. The Hebron HS Choral department has 210 students in five performing ensembles. The members of the A Cappella Choir earn consistent UIL

Sweepstakes awards and have garnered best-in-class honors in New York, Los Angeles, San Diego, South Padre Island, San Antonio, and Houston. Many members earn places in the Region 24 Region Choirs. The A Cappella choir members pride themselves on personal integrity, self-discipline, dedication, and devotion. They are actively involved in all aspects of school life, including athletics, band, orchestra, theater, cheerleading, journalism, academic decathlon, National Honor Society, and Key Club. The choristers are challenged daily

DEPARTMENT OF MUSIC Dallas Baptist University produces quality musicians who become servant leaders in various areas of performance, music education, worship leadership, and the music and entertainment industries.

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to prepare, perfect, and perform varied musical genres to share with the multicultured community. Rachel Forester is the Director of Choral Activities and Department Chair for Hebron Fine Arts. Forester became the choir director upon the school’s opening in 1999. Prior positions include The Colony HS and elementary music specialist positions in Oklahoma. She has completed master’s courses in music education and counseling at Oklahoma State University, the University of North Texas, and Texas Woman’s University. She is a member of TMEA, TCDA, and TMAA. West Ridge MS Varsity Treble Choir Andrea Snouffer, Director The West Ridge Varsity Treble Choir consists of 40 young women in the seventh and eighth grades who enjoy a reputation of excellence and a tradition of superior musicianship and dedication. The Varsity Treble Choir is one of six ensembles at West Ridge, a choral program with 350 students. From Eanes ISD in Austin, the choir participates in a variety of activities, including annual performances at the state capitol. The group is in demand for school and civic events, winning rave reviews from administration, faculty, parents, and community members. The girls are active as leaders in all areas of campus life including National Junior Honor Society, yearbook, student council, athletics, cheerleading, robotics, debate, and school service organizations. They are honored to be performing at the 2015 TMEA Clinic/ Convention. Andrea Snouffer, director, credits her father for her love of music, leading her to a career in music education. In 2009, she was appointed head director at West Ridge. Under her leadership, the choir program has more than doubled in membership. Snouffer was previously the choir director at Lake Travis MS in Austin, also serving as their fine arts chair. She is the principal accompanist for Tapestry, an Austin women’s chorus. She is a member of TMEA, TMAA, TCDA, ACDA, and Delta Kappa Gamma and is an active clinician and adjudicator throughout Texas.

University of North Texas A Cappella Choir Jerry McCoy, Director Founded in 1938, the UNT A Cappella Choir has enjoyed a rich international performance history. Accolades since 2000 include refereed performances for the national conferences of the American Choral Directors Association in 2005 and 2013 and the National Collegiate Choral Organization in 2008. Recent international engagements include acclaimed participation in the 2nd Daejeon (South Korea) International Choral Festival in 2012 and the 9th Taipei (Taiwan) International Choral Festival in 2009. The choir is greatly honored to be singing for TMEA for the third time since 2004. The A Cappella Choir is led by Jerry McCoy, 2013 winner of the prestigious TCDA Choirmaster Award. He is Director of Choral Studies and Regents Professor of Music at UNT. Along with conducting the A Cappella Choir, he directs the UNT Grand Chorus. He teaches graduate conducting and choral techniques and guides the choral studies program. He serves as national chair of the ACDA’s Past-President’s Council, music director of Schola Cantorum of Texas, and choirmaster for University Christian Church of Fort Worth. McCoy has served as guest conductor/clinician in 38 U.S. states, in addition to guest roles in Austria, China, Cuba, Great Britain, South Korea, Sweden, Taiwan, and Venezuela.

Young JH Young Men Christi Jones, Director Young JH, located in Southwest Arlington, is one of the midpoints along the journey between the wonderful Fine Arts programs of the Martin HS Cluster and the AISD. Young is a two-year school with an enrollment of 800 students. The band, choir, and orchestra programs at Young earn consistent UIL Sweepstakes awards, and members within each organization garner numerous individual performance awards at City, Region, and UIL Solo & Ensemble Contests. The choral department has over 300 singers, many of whom are also involved in band, orchestra, athletics, pre-AP classes, and student leadership. The Young Men number 70 strong and are directed by Christi Jones, who is in her 15th year of teaching, 14 years of which have been at Young JH. She is joined by Keith Daniel, and they have worked together for 6 years. Under their direction, the choirs at Young have performed at the middle school/junior high national ACDA Convention, the Southwest ACDA Convention, and for the State Board of Education. The tradition of excellence at Young has been built on more than 30 years of leadership from former directors Toni Worley, Danny Detrick, and Linda Ice, along with extremely supportive administrators, colleagues, and parents.

Southwestern Musician | January 2015 59

Cypress Falls Varsity Women’s Choir

Harlingen HS Varsity Men’s Choir

Young JH Young Men 60 Southwestern Musician | January 2015

Hebron HS A Cappella Choir

West Ridge MS Varsity Treble Choir

University of North Texas A Cappella Choir Southwestern Musician | January 2015 61

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by Deborah A. Imiolo

Five Keys to Classroom Management

y principal is not only a great leader but also a wise educator. He once said, “If you can predict a problem, you can prevent it.” Each time students enter my room, I’m reminded of his advice. All it takes is for one student to behave in a certain way, and immediately others follow. Any kind of student reaction can interrupt the flow of teaching and learning, so we all need to establish routines that prevent the domino effect of those behaviors. Throughout my training to become a music educator, no one ever focused on classroom management strategies. And while I don’t claim to be an expert in the area, after struggling through my first years, I have learned various strategies that consistently help in this important area of instruction. Hopefully they will help you as you work to meet this challenge each day. Establish Routine Children need routine in their lives. They need to know what is expected and where the boundaries are. Too many rules, however, can complicate discipline and cause frustration. I have found the magic number is five. Establish routines and communicate them in five steps or fewer. At the beginning of the year, give families and your administrator a flyer or newsletter that includes your procedures, expectations, and learning goals for the year, and be sure to post them in your classroom and on your website. Inform your students that their principal has a copy and agrees with the information. Our students arrive without background knowledge of what being in a learning environment is like. They are growing up in a media-sensationalized environment, so we need to understand that elementary-aged students may not know how to appropriately walk into a classroom, wait their turn, or respectfully ask for something. Demonstrate, describe, and practice these procedures

with your students until they become routine. Actions that might need defined procedures include the following: • entering the room • exiting the music room when class is done • leaving class to go to the restroom or get a drink • retrieving an instrument • taking a bar off an instrument • learning a song • learning a dance • walking into the chorus rehearsal space or auditorium • storing coats/backpacks • taking care of music/folders • waiting backstage • being an audience member Create songs or chants to gently remind children of your expectations. For a PDF of two songs I use, go to www.tmea.org/expectationsongs. Also post in your room a list of consequences so that students clearly see what will happen if they don’t follow your classroom procedures. Communicate Positively Who would you work harder for—the boss who praises your skills, compliments your projects, and provides positive feedback or one who complains about your work and criticizes your ideas? Speak to children using positive language. Show them and tell them you care regardless of the situation. Look them in the eyes; sing to them, not at them, during every lesson. Eliminate no and Southwestern Musician | January 2015 63

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don’t from your rules and everyday speech. Here are some common commands that can take the place of negative responses: • Play the instruments in the right way at the right time. • Always use kind language. • Respect everyone and everything. • Be safe. • Be caring. • Be ready. • Make good choices.

floor with them, silently looking at that student keeping your hands to yourself. Show them and tell them what it looks like to listen to music with respect. Model this by playing a piece of recorded music and actually sit and listen. Time students to see how long they can listen without interrupting the music. I don’t allow children to interrupt me when I’m singing or playing or dancing a new piece for them. It’s disrespectful to the music. While developing this respect, it’s important to realize that boys need move-

ment or activity that is big and loud. They need to release their energy or they won’t be able to sit still and listen. Include a short and loud activity right in the middle of your lesson. Primary activities could include Five Little Sausages, jack-in-the-box, when the drum says walk/jump/hop, free dance to music, or steady beat simultaneous imitation to up-tempo music. Intermediate activities could include echoing rhythmic patterns with body percussion, especially stamping. Pace your lessons interspersed with

• Let the teacher do her job. • Let the other students learn. • Know when to be silly and when to be serious and focused. • Look at the teacher when she’s teaching. • Touch the toys when the teacher tells you. Think about what you say and how you say it to children. Have you ever caught yourself stopping your chorus and saying, “I didn’t hear the letter T sound at the end of the phrase. You have to make a clear T, so let’s do it again.” Next time, try saying this instead: “I heard some children in this section end the phrase with a beautiful T sound. I want to hear that again because it sounded so good!” Encouraging words will inspire those children and they will work harder for you. With that in mind, we must always be genuine in our praise. Praise only when it is deserved. Hard work and accomplishing a goal builds self-esteem. Telling children superficial compliments such as “I like your shoes” or “I like your hair” doesn’t promote self-esteem. These are just temporary feel-good statements that are quickly forgotten. We must instead look for moments when our students have spent time and effort on a goal and then praise that (regardless of how significant the goal is). Model Respect It seems that we are more often having to teach students what respect looks like and what listening looks like. We need to begin this with kindergartners or, if you teach them, pre-K students. It takes time, but it is worth it. Be consistent! Explain and demonstrate what it looks like to listen to you with respect. Pick a student to be a pretend teacher. Sit on the

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Southwestern Musician | January 2015 65

A U D I T I O N D AT E S

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B AY L O R S C H O O L O F M U S I C B AY L O R P R E S E N TAT I O N S / P E R F O R M A N C E S AT T M E A 2 0 1 5 FA C U LT Y PA R T I C I PAT I O N :

Thursday, February 12

Friday, February 13th

Saturday, February 14

MICHAEL ALEXANDER AND RUSSELL GAVIN 10:00-11:00am, Room CC 001 Good Cop, Bad Cop Part I: Discipline in the Ensemble Classroom

KENT ESHELMAN 2:30-3:30pm, Room CC 008 Buzzin’ the Blues Away: Strategies for Success in Low Brass

ALEX PARKER 4:00-5:00pm, Ballroom B Conducting the TTCBDA All-State Jazz Ensemble (Texas Two-Year Band Directors Association)

MICHAEL ALEXANDER AND RUSSELL GAVIN 1:00-2:00pm, Room CC 001 Good Cop, Bad Cop Part II: Discipline in the Ensemble Classroom BAYLOR CLARINET CHOIR PERFORMANCE 4:45-5:30pm, East Registration

ERIC AND LYNETTE WILSON 2:30-3:30pm, Room CC 213 “Am I on the Crazy Train: Psychological Aspects of Teaching” JUN QIAN AND ERIC WILSON 4:00-5:00pm, Lila Cockrell Hall Jun Qian, clarinet soloist with Robinson School District Honor Band, Eric Wilson, conductor

B AY L O R A L U M N I R E C E P T I O N

Friday, February 13, 9:00pm Rio Grande Room of the Hyatt-Regency

S T U D E N T PA R T I C I PAT I O N :

Saturday, February 14 VANESSA TODORA (BU), JACOB ANGEL (BU), STEPHANIE ASSLIN (DBU), AND AUBREY KISTLER (TCU) 11:00am-12 noon, Room CC 213 “Rejuvenating Your Collegiate Music Education Organization”

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Once you have their attention, use the time wisely! Students learn the most in the first five minutes of class, so don’t use this valuable time taking attendance. Announce the learning goal and teach. Take attendance or do other non-music activities later.

big and loud movements that last only 3–5 minutes, then continue. Most years I end up with one class in which personalities clash and negative behavior persists. Teaching effectively, having fun with learning, joyous singing, and creativity are stifled by negative attitudes, rudeness, and snide remarks among the children. When this happens I create a star chart divided into eight sections. When the full class behaves positively throughout a class period, I add a star to the chart. They earn stars by completing the music lesson with positive attitudes, good listening skills, and appropriate focus. When a star is earned, it can’t be removed. Earning stars should require the entire class to fully participate in positive behavior, so sometimes it takes my students eight weeks or more to complete the chart. Once the chart is full, the class earns a major reward, such as a pizza party. I have found this to be an effective method with more difficult classes as students begin to monitor each other and promote better behavior. Gain Their Attention Sometimes I’ve needed an attentiongetter to invoke appropriate behavior. Begin singing a familiar song, and you will find the students will chime in with you. At the completion of the song, continue your planned lesson. You can also say, “If you can hear me clap once,” or “If you’re ready for music do this (strike a pose, etc.).” Say and do something

five times, and each time decrease the dynamics of your voice until you are only mouthing the words. I have also stood in front of the class and slowly moved my hands and arms until the children mirrored me. Mirror image in silence works wonders. You could also perform a body percussion ostinato until all have joined you. Once you have their attention, use the time wisely! Students learn the most in the first five minutes of class, so don’t use this valuable time taking attendance. Announce the learning goal and teach. Take attendance or do other non-music activities later. For transitions from one activity to another, you could say, “Children, you are gathering here to the countdown of 5. You are sitting with respect at 4. You are looking at me at 3. You are silent at 2. You are ready at 1. Thank you!” Find songs, write songs, or improvise songs to familiar melodies that have lyrics with gentle reminders of your expectations. Sing during transitions (improvise words and melodies). If these strategies don’t work to focus the students, as a last resort I turn off lights or stand in silence and wait. Children love rewards, and there is nothing wrong with rewarding good behavior. Choose a role model of the day or a star student. The role model is the one who followed all procedures, had a good attitude, and was an all-around great student during that music class. Put a dry-erase board on your class door and have the child sign their name on the

board after class and present the student a half-page certificate that says, “Role Model of the Day in Music.” The role model could be the line leader back to their class. Keep track of the students you select, and remind them during class by asking, “Is what you’re doing showing me that I should choose you as the role model?” Manage with Music While these classroom management strategies are invaluable when you have classes full of excited children ready to use their stored up energy, it’s important to remember why they’re in your classroom. Before we get to the point of employing these non-music strategies, we must first select music that will challenge our students. If our curriculum is too easy, it can cause boredom and behavior problems will result. Move at a medium to fast pace and keep students actively engaged. Music class can be the most rewarding class of the day for your students, and if we offer them high-quality learning experiences through great music, behavior issues will lessen and their engagement will increase. Deborah A. Imiolo is an elementary music educator at Heritage Heights Elementary School in New York and is an Elementary Division Featured Clinician.

Southwestern Musician | January 2015 67

Baby, it’s cold outside! B Y

C O L L E E N

R I D D L E

his bright, chilly month is the perfect time to share energizing, winter-themed songs, games, and instrumental activities with students who have had a little too much independent time during their winter break. After being home or on vacation for two weeks, students are especially excited to get back to singing, moving, and interacting with friends in their favorite music classroom. Take advantage of this yearly opportunity to motivate your students’ creativity with fun, winter-themed pieces. As we present our additional four 2015 TMEA elementary invited ensembles, I will conclude our series on Orff sequencing skills. This month I will feature Orff skills for grades four and five. Earlier grade suggestions appear in the September and October Elementary Division columns in SOUTHWESTERN MUSICIAN. You may view these articles online at www.tmea.org/emagazine. Fourth and Fifth Grades Have music playing, such as the music from the lesson, as students enter the room. Instruct them to file behind each of the 8–10 instruments set up in the room. If you are concerned about space, place instruments in front of the seating area of the classroom right in front of where the instruction normally takes place. Create a seating chart that is centered on this format. Review all skills learned in third grade, concentrating on alternating hands for repeated or ascending/descending notes. Introduce a winter piece, such as the following that has been edited for older grades: MY FUNN Y SNOWMAN

I made a funny snowman. Who was so fat and round. I started from a snowflake that fell upon the ground. I used two buttons for his eyes, a great big scarf of red, I placed a carrot for his nose, And a hat upon his head.

Watch him as he melts to the ground.

ELEMENTARY NOTES IN MEMORIAM JUDY A LFORD January 1, 1951–November 29, 2014

IMPORTANT DATES January 21—Deadline to cancel a convention hotel reservation without penalty. January 22—TMEA convention online preregistration deadline. February 11–14—TMEA Clinic/Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.

It’s much more fun in January to stay inside and help your students create meaningful, musical moments that will stay with them for a lifetime. Southwestern Musician | January 2015 69

This song can be used from kindergarten through fifth grade by adapting skills for each ability level. Use an appropriate key in the students’ singing register such as D major for singing only or C major for singing and accompanying on instruments. The first line is sung on repeated notes of the do of the scale. The second line is sung on re and so on until you sing high do for the “and the hat upon his head” part. On the word watch begin descending the scale for each word in the song. For kindergarten, first, and second grades just sing the song and have students pretend

70 Southwestern Musician | January 2015

they are the snowman by bending low and gradually standing up to make the snowman. Then reverse motions to look like the snowman is melting to the ground. For older students, sing the song in C major and practice alternating hands on the xylophones for the repeated notes of the scale. As students play the descending notes, again alternate hands. Repeat the song giving everyone in the class a turn. (Of course if students forget the classroom rules, they lose their turn to play.) To add an additional flair, embellish

the students’ playing with teacher accompaniment on the digital keyboard. I enjoy putting the keyboard on the marimba setting as it provides resonance for the xylophones. Students will be overjoyed with their performance and eagerly anticipating what’s coming next. Students are now able to play arpeggios on the Orff instruments that accompany a multitude of folk songs in the curriculum. Apply these arpeggios to pieces that have few chord changes in their structure. Suggested pieces can be found in the textbooks you are currently using: “The Orff Source” books by Denise Gagne, “Third Rhyme’s the Charm” by DeLelles and Kriske, “Simple Gifts” by Jill Trinka, “Music K–8” by Theresa Jennings, and many others. Arpeggios are played by hand-crossing. Either the left hand remains stable or the right hand remains stable. For example: for the C-major scale, the right hand remains on G and the left hand plays C1 and crosses to C2. The pattern is C1, G, C2 followed by a quarter-rest where the mallets lightly click. You may eliminate the quarter rest if the students are able to play G for the fourth beat of the song. The right hand can do the crossing by having the left hand remaining stable on the G while the right hand crosses from C1 to C 2. Fourth-grade rhythms to cover include syn-co-pa, ti-pi-ti-pi, dotted-half note, dotted-quarter note, and meters of 2/4, 4/4, 3/4, and 3/8. Introduce, practice, and later present fa. Use rounds and partner songs frequently. When these skills are mastered, students are ready to begin playing simple melodies on the Orff instruments. Select a motif of the song for students to perform as they accompany their singing. Progress to teaching students to read and perform the melody to an entire piece. Afterschool ensembles allow students to truly master this skill. TMEA elementary invited Orff Ensembles are shining examples of the instrumental sticking precision that elementary students can attain. Students can experience rounds by performing them on the xylophones. Gradually add instrumental parts with different rhythms. If students are having difficulty with this, return to earlier skills until students are more secure playing independently. If class scheduling allows, introduce

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Scholarship awards are available! Degree programs in instrumental and vocal music are available on the Brenham Campus. Auditions are available on the following dates (all Saturdays):

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Auditions are also available by individual appointment: Jill Stewart (jstewart@blinn.edu) ...................................... Instrumental Dr. Joel Plaag (joel.plaag@blinn.edu)...............................................Vocal String Private Lessons, Choir, and Voice Lessons are available on the Bryan Campus. Auditions are scheduled by appointment only by contacting Todd Quinlan (Todd.Quinlan@blinn.edu) Any general questions may be directed to Todd Quinlan, Performing Arts Department Head 979-830-4288.

Our outstanding music faculty members are waiting for you! Blinn College Music Faculty Dr. Marcelo Bussiki ....Division Academic Dean Todd Quinlan...............Performing Arts Department Head Jill Stewart ....................Instrumental Music Coordinator Brenham Campus Harry Blake..................Co-Director of Bands Dr. Sarah Burke ...........Co-Director of Bands/ Percussion John Dujka .....................Piano/Music Theory Dr. Craig Garrett ........Jazz Studies/Trumpet Brian Klekar.................Jazz Studies/Saxophone Karen Blake .................Color Guard/Woodwinds Larry Campbell ...........Tuba/Euphonium

Jeffrey Hill.....................Double Bass John McCroskey .........Trombone Marie McElroy .............Flute Dr. Eric Miller .................Double Reed Jill Stewart ....................Clarinet Felipe Vera ....................French Horn Steven Winter .............French Horn/Trumpet Dr. Joel Plaag ................Director of Vocal Studies/ Aural Music Daniel Bircher .............Assistant Director of Vocal Studies Lauren Shelton ............Voice Vicki Wehmeyer..........Voice and Piano Cheryl Amelang ..........Accompanist

Pat Daugherty .............Accompanist Leah Jorgensen............Accompanist Robert McElroy ..........Accompanist/Recruiting Linda Patterson...........Accompanist Bryan Campus Chris Hoffman ............Director of Vocal Studies Nannette Pope............Accompanist Dr. Sterling Allen .........General Music Nicole Cherry.............Violin Diedra Lawrence ........Viola Prudence McDaniel....Cello Dr. Alan Strong ............General Music

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the recorder to fourth and fifth graders. I prefer method books that include professional accompaniments, as they provide a huge incentive for students to perfect their recorder skills. Be very strict about hand placement on the recorder, making sure that the left hand is in position to play B, A, G, C, and D. If students are allowed to play these notes incorrectly with their right hand, they will have added difficulty learning to play a woodwind instrument in band. Fifth graders may be introduced to ti and have opportunities to experience mixed meters along with various modes, including Ionian (do-centered) and Aeolian (la-centered). Provide many more performing opportunities for your fifth graders. Have them create special effects from a story they found in the school library and perform it for kindergarten and first grade students. (I suggest The Nappin’ House by Gayle Berthiaume.) Prepare a recorder/xylophone piece to perform for middle school band and choir students during recruiting season. Combine all of the above for a concert that students, administration, parents, and faculty will truly enjoy! Who cares if the weather outside is frightful? It’s much more fun in January to stay inside and help your students create meaningful, musical moments that will stay with them for a lifetime. Speaking of Orff performances, you can learn more below about our TMEA Elementary Invited Groups currently preparing for their outstanding concerts during our convention in February! Be sure that you preregister before the January 22 deadline to save time and money when

you arrive in San Antonio. For the latest updates, go to www.tmea.org/convention. Lister Elementary Choir and Orff Ensemble Emily Hopkins & Jessica Shindle, Directors Lister Elementary is a Title I campus in Garland ISD, serving more than 500 students in grades K–5. The Lister family works together to foster excellence and provide an enriched learning environment for all students. The school ensures all students are given opportunities to reach their full academic and creative potential while also supporting their individual needs. These goals are reached as parents, students, and teachers collaborate as a team. The Lister Elementary Choir & Orff Ensemble is an unauditioned group of fourth and fifth graders who rehearse for 45 minutes on Wednesday mornings before school. The ensemble, led by Emily Hopkins and Jessica Shindle, is honored to be invited to perform at the 2015 TMEA Clinic/Convention. Hopkins earned a bachelor’s degree in music education from Baylor University and a master’s degree in music education from Southern Methodist University. She taught for 11 years in Richardson ISD and is now in her third year at Lister Elementary in Garland ISD. Shindle earned a bachelor’s degree in music education from the University of Nebraska-Lincoln and a master’s degree in music education from Southern Methodist University. She taught elementary music in Richardson ISD for five years and is now in her sixth year at Lister Elementary in Garland ISD.

Both directors completed OrffSchulwerk training at Southern Methodist University and serve as full-time music specialists at Lister for grades K–5. Fara Bango Jerry Manto & Sabrina Silva, Directors Fara Bango was established at Exley Elementary in Katy ISD in the spring of 2011. The group’s name means “happy little wooden bars” in the Shona language of Zimbabwe. The group consists of approximately 20 fourth and fifth graders. Students are invited individually to join the group based on multiple musical, academic, and non-academic criteria. Students make a two-year commitment to Fara Bango. They rehearse twice weekly before school and perform in and around the Katy and Houston area, usually performing in 12 to 15 locations per year. The group is led by Jerry Manto and Sabrina Silva. Manto is a graduate of the University of Northern Iowa with a degree in music education; she has been teaching elementary music in Katy ISD for 15 years. Silva is a graduate of the University of Texas in Austin with a degree in vocal performance; she has been teaching elementary music in Katy ISD for 7 years. Garden Ridge Elementary Gator Choir Courtney Seale, Director Located in the town of Flower Mound, Garden Ridge Elementary is an exemplary campus in Lewisville ISD and serves more than 450 kindergarten through fifth-grade students. The campus mission is to have highly qualified teachers who provide an atmosphere where students are

Garden Ridge Elementary Gator Choir Southwestern Musician | January 2015 75

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highly engaged in becoming 21st-century learners and citizens. This is directly in line with LISD’s Strategic Design, in which all students enjoy thriving and productive lives in a future they create. The Garden Ridge Elementary Gator Choir is an afterschool ensemble that rehearses for an hour once weekly. Any fourth- or fifth-grade student who has the desire to sing may participate. The Gator Choir is honored and delighted to have been invited to perform at the 2015 TMEA Clinic/Convention! Choir director Courtney Seale is in her tenth year as the music specialist at Garden Ridge Elementary. She is a graduate of the University of North Texas. A choral music enthusiast, she continues to be an active choral musician in the Denton Bach Society, an organization that’s been offering fine choral and instrumental music to the Greater Denton Community since 1976.

the choir’s second time to be invited to sing at the TMEA Clinic/Convention, having previously performed in 2012. Angela Ramsey, choir director, has a bachelor of music degree from the University of North Texas and has been

teaching elementary music for 15 years. She began her career in Katy ISD and joined the Lamar CISD staff in 2009, opening Hubenak Elementary. Ramsey has Kodály training and is also a member of TCDA.

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Hubenak Elementary Choir Angela Ramsey, Director Hubenak Elementary is an exemplary school in Lamar CISD. Opening in 2009 under the leadership of Principal Diane Parks, Hubenak sets a standard of excellence that is evident in academic and fine arts instruction. The Hubenak Elementary choir is a group of unauditioned fifth-grade students. Any student who maintains good grades and excellent conduct is allowed to participate in the choir program. The choir rehearses before school twice weekly for 40 minutes. They sing as a community service at nursing homes, hospitals, malls, and for special events. The Hubenak Elementary Choir has consistently received all superior ratings at the Blinn College Music Meet and has been named Outstanding Choir three times. This is

Preregister by January 22 Save Time & Money! tmea.org/convention Southwestern Musician | January 2015 77

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Community engagement B Y

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eyond preparing future music educators, music education programs in colleges and universities across our state are also providing musical enrichment to their local communities in many creative and inventive ways. In November, I wrote about the OsoMusical project at Baylor University—a program designed to provide musical experiences for the special-needs population in that community. This month’s column features a program at the University of Texas at San Antonio. Bringing Strings to the San Antonio Community The University of Texas at San Antonio String Project is one of 40 string education programs nationally that are members of the National String Project Consortium. Across Texas, six universities sponsor String Projects—Baylor University, Texas State University, Texas Tech University, the University of North Texas, the University of Texas at Austin, and the University of Texas at San Antonio. Founded in 2002, the primary purpose of the UTSA String Project is to offer beginning- through advanced-level music instruction to community students on stringed instruments and classical guitar, while providing string education majors the opportunity to develop skills and gain experience needed to become successful music educators. The UTSA String Project is rare, in that it reaches both suburban and urban communities by offering separate programs at their

COLLEGE NOTES IMPORTANT DATES January 21—Deadline to cancel a convention hotel reservation without penalty. January 22—TMEA convention online preregistration deadline. February 11–14—TMEA Clinic/Convention in San Antonio. March 4–5, 2015—Arts Education Days at the Capitol.

Each year the UTSA String Project serves over 100 children and their families through lesson and concert opportunities that would not be available to them otherwise. Southwestern Musician | January 2015 81

main and downtown campuses. Each year the UTSA String Project serves over 100 children and their families through lesson and concert opportunities that would not be available to them otherwise. Nineyear-old String Project student Jordyn noted, “This was the only guitar class my family could find—I like to do guitar, and it is fun!” Another significant way in which String Projects serve the community is by offering high-quality instruction at an affordable cost. Students are required to pay nominal weekly lesson fees, as well as acquire an instrument, but the majority of the costs are subsidized through external funding. UTSA provides a model for seeking this kind of support. Originally funded through a national grant from the Funds for the Improvement of Post Secondary Education, UTSA later received grants from the National Association of Music Merchants, the Genevieve and Ward Orsinger Foundation, the Ford Salute to Education, String Letter Publishing, Lockheed-Martin, and numerous other agencies. In 2008 the UTSA String Project began to receive funding from

the Charlotte Louise Dashiell and Lota M. Spell Endowment at UTSA. A parent of a homeschooled child in the project wrote that the UTSA String Project “is an incredible, affordable opportunity to get music instruction.” In addition to serving the surrounding community, the UTSA String Project provides valuable guided teaching opportunities to 15 university student teachers each year. Project assistant director and university student-teacher Sundas Mohi observed, “The string project is an opportunity for me to become a better teacher, leader, and person. It’s a privilege to be a part of my students’ first musical experience.” Carlos Gonzales, another String Project student-teacher values the “opportunity to get real-life classroom experience. I know I’ll be well prepared and hit the ground running once I graduate.” Kristen Pellegrino, Assistant Professor of Music Education at UTSA, is enthusiastic about the benefits of the program: I love having our UTSA string students teach their own students for one, two, or three years! They have complete ownership of the program and student learning but I

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am able to guide them in a real-life setting. This year, we added a weekly one-hour pedagogy session for all string project teachers (SPT) so that we can discuss pedagogy and watch videos of each SPT teaching and comment on what they think each SPT is doing well and give suggestions for improvement. SPTs come to me with specific questions about how to better relate to specific student learning or behavior issues, and they are able to try suggestions out within the next day or two. Teaching our SPTs the relevance of curriculum and lesson planning becomes much easier when they are actually teaching. The experience and mentoring pays off. Twenty-five teaching alumni of the program have been placed as orchestra directors in the music education profession over the last 10 years. Additionally, five school districts in the San Antonio area have started string orchestra programs in cooperation with the UTSA String Project. UTSA Professor and Founding Director of the UTSA String Project Eugene Dowdy reflected on the program’s success: Looking back over the 12-year history of the UTSA String Project, I’m so proud of our 25+ student-teachers who have gone on to professional orchestral positions around the state. I love seeing our former teachers at TMEA and TODA conventions and hearing them talk about the important pedagogical and real-life lessons

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they learned as a result of teaching in the string project. With our current teachers, I get so much energy from watching them challenge their students in inspiring ways to joyfully make excellent music! We are in a wonderful profession, and I feel fortunate to be a part of developing new teachers. College Division Fall Conference Report Representatives from more than 25 colleges and universities across the state attended the annual College Division

Fall Conference on Friday October 10, at the TMEA headquarters in Austin (see page 80 for images). In the morning session, Eric Simpson, Assistant Professor of Music Education at TCU, presented the findings from his study of music education programs in Texas. Included in his presentation were comparisons of degree requirements in music education courses, music courses, education courses, and general studies (core) courses. (Simpson will be presenting a clinic during the 2015 Clinic/Convention on this topic, so if you

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are interested in learning more, be sure to look for it in the convention schedule.) In almost every area, degree requirements spanned a wide range of minimum hours. Breakout groups discussed each area of study, with participants sharing ideas and examples from their own campuses and inquiring how others structured similar requirements. One of the breakout groups was specifically for twoyear colleges that have their own unique set of curricular challenges. Chaired by Kathy Mayer, from Northeast Lakeview College, the newly constituted TwoYear College Committee will continue to address these and other concerns for this population. Their next meeting will be during the TMEA Clinic/Convention in February. Please contact Kathy at kmayer6@alamo.edu if you have questions or topics for the committee. In the afternoon session, Tim Miller, Director of Educator Preparation Programs for TEA, shared an update on new teacher standards and recent changes to the Texas Administrative Code that may impact music education programs across the state. Matt Matthews, one of TMEA’s lobbyists, gave a report on the election outlook, a preview of the upcoming legislative session, and upcoming issues that may impact arts education. Robert Floyd, TMEA Executive Director, provided an update from TMEA, including recent happenings in UIL, staffing news, and a convention report. The next College Division meeting will be during our convention on Thursday, February 12, at 5:30 P.M., in room CC 212. All College Division members are encouraged to attend this meeting held immediately following the annual Research Poster Session. Please note that the Research Poster Session is on Thursday from 3:45 P.M. to 5:15 P.M. in CC Park View lobby (outside of CC 217). Be sure to preregister for the convention before the January 22 final deadline so that you can save time and money when you arrive in San Antonio. For more information on registration and the latest convention information, go to www.tmea.org/convention.